Everyone calls my mother by how I call her: mommy.
Sweet, dearly Mommy!
But mostly, I call her by how she is always right,
as she still makes fun of my fire:
"Son, pour your blood onto something else";
Sweet Mother, goodness gracious, Mommy!
My mommy loves a husband clothed in reeking patriarchy;
regardless, he is a Plath's "Daddy," and my Mommy's love for him is a Shakespeare's until-death-do-us-part.
Then he comes home, and she dies every time he speaks.
Poor, Mommy! Is love that delight?
I have known love as how it looks like a two-sided coin:
with rusting ridges, still
I use it to pay the fare,
but it is not fair: distance still wrecks.
I am far from where they are,
I am near my Mommy and we will never meet.
"Twenty-four seems scary," I tell myself. Sometimes, I tell jokes, or mostly, it was conveniently told, like how a laugh returns and introduces itself as villainous friend, but an enemy is the positivity that takes. It is so much scarier when it visits me: a quicksand brought by faux geniuses, a peeking sock-made puppet, I am a whole drama— a ventriloquist of his own dreams. Delighted by my father's cake: "Happy birthday, son!" I still know how to stay still when everybody sings me one. My Mom gave me bills: Money is an angel. Indeed, for it lets me fly out of the reality— out of reality that everything is still made of infinite loops, as in manmade experiments, and how they can be destroyed by one gentle blow.
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