Of Picasso and DaVinci
Somewhere
in the pinnacle of mid-life crisis,
I took a wrong turn and came across
a roomful of broken mirrors that mocked
me with subtle persuasion - the Women of Algiers -
posing nude to distort the image of me
to me as blind as nipples hardening at your touch,
a tribute series of perturbing proportions: lines
beneath my eyes gathering the darkness, eyeliner
smudged in black-brown streaks like fallen stars,
sadness dappled under tear-stained lashes, out
of the corner of my eyes the crows' feet
tread heavily, the smile lines around my mouth
stiffening with each mask stitched into it,
a Mona Lisa hidden in enigmatic shadows
so that I am both blind and mute, a surviving
painting artistically reworked to be
photographed but never admired, leaving
no trace of the ineffable tender touch
of my master, a copy of profound genius,
an expression of both pleasure and pain
so intense that even those bare-breasted
women with judgmental eyes and wide feet
- shaking my mortal dust off with rejection -
admit that there is something more
mournful than humanity in my sheltered gaze