Alongside VI

I checked out Frank O'Hara from the library

it was when he was the good old Harvard boy

making out with John Donne and Henry Miller

oh and some of the French guys too, Donald

Allen did the intro, it's a pretty neat selection

and an insight into the evolution of Frankie

he used the poem as a diary and catharsis

don't we all, it seemed to be something in lieu

of something else, kind of like what I do here

writing about Frank O H , and other shit is on

the boil, I mean I sense, Kermode, an ending

see I inserted another Frank in between,

and then used him in association with F OH

and the sense of ending, the critical book

All in the middle of a line, and KermOde

takes on an adjectival role, while the path

of the poem is multidimensional, as seen

in the reference, to Martin Amis, whose

pregnant woman got me worked up, nose

out of joint, he is a merchant of the literary

allusion, they come out with the sure rapidity

of a penis in an artificial orifice, sperming

the fan of the book, who reads with avidity

all the shit about the shits, and the fuck

of fucking the fucks, its a diversion of muck

which the Brits love to wallow in, like the S&M

clubs in Birmingham and fisting in Coventry,

Its the butchers, its the meat and the flesh

in underpants from Marks & Spencer's

The softporn that goes hard and very dirty

as the limits are pushed further up the ass

into rectal space of , and the distraction, finito,

I thought I would add something about the composition and how to read the poem. The first stanza has the play with "o" sounds - in the Frank O'Hara, oh, intro, and ends with finito. There is the play with the "sense of an ending" the topic of the poem. The levels of discourse revealed in Frank KermOde. Then there is the use of the line break and Of. This works on two levels firstly it connects the stanza as the possessive, secondly it works as the subject marker; meaning as regarding. Notice the sound equivalents throughout. For example "Brits love to wallow in" "Birmingham". There are many acoustic patterns - some delayed. The tempo in the stanzas varies greatly.