Fake Assassinated
line like this recalls us
to surface: swallowed by
the compositional machine
drenched in civic sweat
dude across the bench
says he's a math person
who wasn't taught right
ok. it was weird to be
fake assassinated by a poet
at a place called bard
it was fake theater and
fake poetry and fake puppetry
and fake video game satire
and nothing – death was
nowhere and nowhere &
the toy rifle shot fast –
maybe that's what the goose
thinks being stuffed &
petted at the same slime
i was accused in a letter
disfigured as an email of
conspiring with trans painters
to create a new symbolism
really? at least grant me
the fake desire to reinvent
cubism or photorealism
or some other movement
from the actual fucking
paleolithic century i was
supposedly born during
the unknown is not scary
mr. stranger. imagine
testing truths while pretending
getting a master's degree is
the equivalent of guernica
or being registered in the pose
of ordinary agony. dog dog
dog, why why why it was
amazing to see so many
people fail to even give the
shrug. but that's cool. the
story's so modular & bonkers
it sounds fake itself on any
kind of repeat. in my auto
biography, which I will
never write, this will all
be outsourced as blame
to deep imagism's stylized
& resonant tribe of cloned
rabbits. you can look it up
as ol' case used to supposedly
say. i have to do at least
five more things to this
poem: got stymied today
when asked if I felt 100
percent. 100 percent of
what? who cares that it
makes breezes? this table
turns out to be reserved
for an event. i should
have quit and left after
the fake shooting happened
but i had to introduce
the next poet. talk about
being overly professional
you can run in circles
as mode of performance
disguised as resistance
or you can join the track
team. i wonder bread
how jerome sala would
finish this poem. would
he admit to having been co-
captain of the track team
in high school, and then co-
chair of a so-called discipline
at graduate art school? unlike
everyone the world claims
to be exposing us to, i
think the future is terrific
just please put everything
in the wrong order. some
ones were sitting here
& one of the ones showed
a poem on the phone to
the other one & i only
know this because the
other one said i like the
rhythm of the first stanza
but i don't like the second
stanza & so sitting here re-
reading a chapter on pablo
picasso never got called
an asshole's guernica i decided
to finally write underneath
the title fake assassinated.
fuck periods at the ends of
lines. no one noticed. that's
cooted griebe. i told myself
i'd only go back to the bard
place for 50k & an apology.
turns out 5k and "help"
was enough. please kill
me again. love, anselm
Kit Fisto
sly smiling tentacle
headed jedi never
really got to say
anything. dude was
green. highly skilled
came from a planet
named glee anselm
i love kit fisto
i hate it when he dies
he goes out like a chump
Anselm Berrigan is the author of many books of poetry: Pregrets, (Black Square Editions, 2021), Something for Everybody, (Wave Books, 2018), Come In Alone (Wave Books, May 2016), Primitive State (Edge, 2015), Notes from Irrelevance (Wave Books, 2011), Free Cell (City Lights Books, 2009), Some Notes on My Programming (Edge, 2006), Zero Star Hotel (Edge, 2002), and Integrity and Dramatic Life (Edge, 1999). He is also the editor of What is Poetry? (Just Kidding, I Know You Know): Interviews from the Poetry Project Newsletter (1983–2009) and co-author of two collaborative books: Loading, with visual artist Jonathan Allen (Brooklyn Arts Press, 2013), and Skasers, with poet John Coletti (Flowers & Cream, 2012). He was the poetry editor for The Brooklyn Rail from 2008 through 2023. With Alice Notley and Edmund Berrigan he co-edited The Collected Poems of Ted Berrigan (U. California, 2005) and the Selected Poems of Ted Berrigan (U. California, 2011). More recently, he co-edited Get The Money! Collected Prose of Ted Berrigan (City Lights, 2022) with Notley, Edmund Berrigan, and Nick Sturm. A member of the subpress publishing collective, he has published books by Hoa Nguyen, Steve Carey, Adam DeGraff, and Brendan Lorber. From 2003-2007 he was Artistic Director of The Poetry Project at St. Mark’s Church, where he also hosted the Wednesday Night Reading Series for four years. He teaches writing classes at Pratt Institute and Brooklyn College, and was a longtime Co-Chair in Writing at the Milton Avery Graduate School of the Arts interdisciplinary MFA program. Berrigan was granted an Individual Artists Award from the Foundation of Contemporary Arts in 2017, and was also awarded a 2015 Process Space Residency by the Lower Manhattan Cultural Council, and a Robert Rauschenberg Residency by the Robert Rauschenberg Foundation in 2014. He was a New York State Foundation for the Arts fellow in Poetry for 2007, and has received three grants from the Fund for Poetry.