WEBVTT

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I think because I'm feeling
like we need something

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on a lighter note before
I read the last poem--

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and I just lost the
page so bear with me--

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I'll read "Posteriors
for Posterity."

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And that poem is one
of those poems that

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made its own way in the world.

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My best friend and I, when
we were in our early 30s--

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and there's a friend
in the back row

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who knows this other friend.

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Magda Reyna just amazed
me when she came up to me.

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We haven't seen
each other probably

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in 30 years since our sons were
in grammar school together.

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[COUGHING]

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My girlfriend and I decided
that we were looking so hunky

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that we needed to document
this, so my husband graciously

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agreed to photograph us
from the back in the nude.

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And we did this for
two years in a row,

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but then the third
year came around

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and we hadn't been going
to the Golds as much,

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and age does do something
with sagging and whatever.

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So I thought that's
what the poem was going

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to be about, but in the way that
writing takes on its own life,

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so did this poem.

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"Posteriors for Posterity.

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How to talk politely in mixed
company about the behind,

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the backside part of
the front you can see,

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the backdrop hidden
from your view

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except for those treacherous
times when you lean way over

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then back over your
shoulders, full light

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against the dark and a
mirror catches your flanks.

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Imagine strolling down the
street self-conscious, so

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conscious of your jeans
too tight across your butt,

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clutching the curve below the
rise, dipping just enough,

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those matched rounded
onions unless you're

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one of those flat wonders of
whom others mutter pero ni

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quiere nalgas as if
life's success revolves

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around a fat, not flat, ass.

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Then you shake by
in a sultry mode,

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and someone shouts
mueve la cintura.

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And it's not your waist they
desire but those sweet notes

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side by side, crooning as
they dispense papal blessings.

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Then I tell you, that's
some ass that man has,

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a nice juicy butt."

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[LAUGHTER]

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