WEBVTT

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Oh.

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Do you want to do this one?

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"Radio Couples."

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Everybody say, "Radio Couples."

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"Radio Couples."

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Isn't that a groovy title?

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Isn't a groovy title?

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"Radio Couples."

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You know, this was
San Francisco, 1980.

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And remember the big box radios?

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Yeah.

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And you know, radio couples.

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So that's where it comes from.

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"Radio Couples."

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Smooth white roads by
the mawing afternoon.

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The chrome snout praised below
the fog of sky, the sun red.

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The jury of your
father pursues you.

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Glycerin in his
gut, he loves you.

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Yes, dead, but the woman of
longing and insomniac makeup,

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the young mom does not
recognize your screams, alone

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in a plume of smoke and liquor.

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She loves you and ages.

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You see her.

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The brother envies you
and, covert in his car,

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the church shadow.

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Frigid the doors appear, open,
long to pronounce you "chente."

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You turn on the modern
networked to your ocular,

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the mouth, the throat, the
solar plexus, the hair,

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the hardened skin, shielded,
brilliant, rugged eyelashes

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of the perpetual data
crystal, the arc metal.

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Your spine, you touch
it and it twists,

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murmuring ta, ta,
ta, ta, ta, ta, ta,.

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In the rain they walk slowly
across the boulevard, happy.

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The couple peering down the
alley, the surf and rails,

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dreaming.

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You're going to do
the one in Spanish?

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[APPLAUSE]

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[INAUDIBLE]

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OK.

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All right.

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But it was called
"Radio Couples"

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in Spanish, apparently.

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Or we forgot to translate--
leave the title in Spanish.

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Just a heads up, we'll do--

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maybe that'll be it for this.

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One poem that was a request,
and then Juan Felipe

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is going to finish out
with his set from Newark.

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OK.

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Yeah?

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[LAUGHTER]

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Just so you know, generally,
where we're headed.

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"Parejas de radio,
Radio Couples."

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There you go.

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Blancas calles lijadas
por la mandíbula tarde.

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El ocío de cromo reza bajo la
pierna del cielo, la luz roja.

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El policía en tu
padre se persigue.

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Glicerina en su
ombligo, te quiere.

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Sí, muerto.

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Pero aquella de meses
y maquillaje insomnio.

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La madre, la joven,
no te conoce.

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Grita sola en un baño
de humo y licores.

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Te quiere y se hace anciana.

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La miras.

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El hermano te envidia y
es invisible en su auto.

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La catedral silueta fría.

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Las puertas aparecen.

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Se abren.

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Te quieren pronunciar "gente."

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Prendes el aparato
conectado a los dedos.

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La boca, la garganta,
los pechos, la caballera,

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la piel ronca, oscura,
brillante, dura, pestañas

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de infinitos números,
cristales, la curva.

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Plata su espalda.

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La tocas.

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Se voltea, murmurando eléctrica.

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En la lluvia caminan despacio
el boulevard feliz la pareja.

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Mirando el callejón,
la espuma y el metal.

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Piensas.

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Yeah.

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[APPLAUSE]

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Yeah, it's almost
like those go--

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bots, remember?

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It's a little car, but
you can undo the car

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and it turns into a robot.

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Remember those--

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Transformers?

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Yeah, those
transformers-- go bots?

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The transformers.

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So this poem works
like that, you know?

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There's a radio in
there somewhere.

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And there's a couple
in there somewhere.

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But it's all being opened up and
you see all these other figures

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in it.

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See, there's a father,
there's a woman,

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there's a bunch of other things.

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Because you're opening
up that transformer.

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So I guess I was treating
these poems like transformers.

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That's what I was doing, man.

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[LAUGHTER]

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That's how it's
operating for me.

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OK, all right.