the canyon walls run with black tears - more dismal now than not.
sulky bursts - at days end - dreary mood on dreary thought.
a drenching, steamy alchemy of dirt and slate and smog.
from roof and arch and balcony: a gauzy, ghostly fog.
tall sheets of streaked cold onyx mirrors - unfurl - in ribbons, wet.
i'm glad i wore a trench coat, to this bleak, soaked film noir set.
against the looming buildings, gray iconic silhouettes
of smoky alton images - without their cigarettes.
here and there a mushroomed creature beetle-skitters down the block.
all looks to be dank-dour-drab upon the weeping walk.
a lightning bolt, a thunder crash, horns honking in the street.
bullets land on my umbrella and erupt around my feet.
the air smells like car fumes and grease and grass and musty mud,
stench of cement, a waterfall and hint of a rosebud.
splashed by a car, shoe puddled full ... now I can't see a thing.
except for street and window lights and blurry neon bling.
every surging byway, pretty much seems filled to brimming.
if i, woke from this déjà vu, i'd think that i was swimming.
Notes: posted for Poets United.
John Alton: cinematographer on some of the most classic Film Noirs of the 40's and early 50's.
In the movie Citizen Kane - when wealthy media magnate Charles Foster
Kane dies, he utters the word "rosebud". A reporter is asked (by the
producer of the newsreel about his life) to find out the meaning behind
his last word and as the reporter interviews Kane's friends and
associates, Kane's story unfolds in a series of flashbacks. Many
critics believe that Citizen Kane, with its inventive use of lighting
and shadow, is the first film noir, or (with its dark, moody atmosphere
to augment mysterious events) the direct predecessor of film noir.
photo: Ink Drawing (& negative) - Shades of Black, White ... and Gray (that are all around us) - W. Bourke
© 2015 Wendy Bourke