Morgan: A Lyric

Morgan: A Lyric Come with me if you want to live, the great-chested Schwarzenegger commands in Terminator II. I’ve never seen it, I confess, clicking to another station. No, too busy rereading The Iliad, Morgan says. At the Met, Leonardo’s drawings: faces where things erupt, the flesh deformed in bubbling lumps; a man on whose chin a growth extrudes toward his nose like a mangled penis. His deep chest made my brother-in-law a better transplant prospect, a friend tells me at a cocktail party. I wonder if the forced coughing for over an hour four times a day concerns our neighbors in adjacent rooms. From behind the dressing room door, his voice on the cell to his girlfriend, who thinks he’s at his parents’. Blackout—that’s how he’d like to die, he says, a burst vessel in the brain. A body flayed reveals the cord-work of the muscles, a visitor’s face pressed close to the glass in the room’s dim light (to preserve the drawings). Our life contained in rooms. The walls like teeth around the sound of a word. The eyes of the corpse’s face are open, as if he remembers something that happened to him. In the New York Times, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Prairie Schooner University of Nebraska Press

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 the University of Nebraska Press.
ISSN
1542-426X
Publisher site
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Abstract

Come with me if you want to live, the great-chested Schwarzenegger commands in Terminator II. I’ve never seen it, I confess, clicking to another station. No, too busy rereading The Iliad, Morgan says. At the Met, Leonardo’s drawings: faces where things erupt, the flesh deformed in bubbling lumps; a man on whose chin a growth extrudes toward his nose like a mangled penis. His deep chest made my brother-in-law a better transplant prospect, a friend tells me at a cocktail party. I wonder if the forced coughing for over an hour four times a day concerns our neighbors in adjacent rooms. From behind the dressing room door, his voice on the cell to his girlfriend, who thinks he’s at his parents’. Blackout—that’s how he’d like to die, he says, a burst vessel in the brain. A body flayed reveals the cord-work of the muscles, a visitor’s face pressed close to the glass in the room’s dim light (to preserve the drawings). Our life contained in rooms. The walls like teeth around the sound of a word. The eyes of the corpse’s face are open, as if he remembers something that happened to him. In the New York Times,

Journal

Prairie SchoonerUniversity of Nebraska Press

Published: Aug 9, 2017

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