Richard Siken’s poems are intense, cinematic, and emotionally charged, blending love, fear, desire, and danger into a single burning voice. His most famous collection, Crush, reads like a fever dream—full of fast-moving scenes, sudden confessions, and moments of brutal honesty. Siken often writes in a way that feels like someone running toward or away from something at the same time: a lover, a memory, or a version of himself. His lines are short, urgent, and breathless, creating a rhythm that mirrors panic, longing, and obsession.
A key feature of Siken’s poetry is the blending of violence and tenderness. He uses images of car crashes, chase scenes, burning houses, and broken bodies, yet beneath all this intensity is a vulnerable heart asking to be seen and loved. His poems explore queer desire with raw openness, showing how love can be both a refuge and a battlefield. Siken’s speakers often struggle to control their emotions, resulting in monologues that feel both intimate and overwhelming.
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| Richard siken |
His work is deeply visual, drawing on film-like snapshots that make the reader feel they are inside the scene. Overall, Richard Siken’s poetry captures the beauty and chaos of human desire—messy, frightening, and unforgettable.
Scheherazade
Tell me about the dream where we pull the bodies out of the lake
and dress them in warm clothes again.
How it was late, and no one could sleep, the horses running
until they forget that they are horses.
It’s not like a tree where the roots have to end somewhere,
it’s more like a song on a policeman’s radio,
how we rolled up the carpet so we could dance, and the days
were bright red, and every time we kissed there was another apple
to slice into pieces.
Look at the light through the windowpane. That means it’s noon, that means
we’re inconsolable.
Tell me how all this, and love too, will ruin us.
These, our bodies, possessed by light.
Tell me we’ll never get used to it.
Still Life with Skull and Bacon
A thing and a thing and a thing held still—
you have to hold something still to find the other
things. This is speculation. You will die in your
sleep and leave everything unfinished. This is
also speculation. I had obligations: hope, but hope
negates the experience. I owe myself nothing.
I cut off my head and threw it on the ground.
I walked away. This is how we measure, walking
away. We carve up the world into feet and minutes,
to know how far from home, how many hogs
in the yard. My head just sat there. Fair enough.
A map without landmarks is useless. Science
dreams its dreams of knowledge—names it, pokes it
with equations. The crucial thing is not fifty
times whatever but how we got these notions: how
much, how many, how far, how long. It’s good
to give explicit answers, showing all the steps,
necessary and sufficient. Finding the dots,
connecting the dots. An interrogation of the dots.
A pip, a point, a seed, a stone. This is philosophy.
These are suppositions. If one has no apples,
one has zero apples. There is, you see, no shortage
of open problems. We carve up the world
and crown it with numbers—lumens, ounces,
decibels. All these things and what to do with them.
We carve up the world all the time.
Detail of the Woods
I looked at all the trees and didn't know what to do.
A box made out of leaves.
What else was in the woods? A heart, closing. Nevertheless.
Everyone needs a place. It shouldn't be inside of someone else.
I kept my mind on the moon. Cold moon, long nights moon.
From the landscape: a sense of scale.
From the dead: a sense of scale.
I turned my back on the story. A sense of superiority.
Everything casts a shadow.
Your body told me in a dream it's never been afraid of anything.
Meanwhile
Driving, dogs barking, how you get used to it, how you make
the new streets yours.
Trees outside the window and a big band sound that makes you feel like
everything's okay,
a feeling that lasts for one song maybe,
the parentheses all clicking shut behind you.
The way we move through time and space, or only time.
The way it's night for many miles, and then suddenly
it's not, it's breakfast
and you're standing in the shower for over an hour,
holding the bar of soap up to the light.
I will keep watch. I will water the yard.
Knot the tie and go to work. Unknot the tie and go to sleep.
I sleep. I dream. I make up things
that I would never say. I say them very quietly.
The trees in wind, the streetlights on,
the click and flash of cigarettes
being smoked on the lawn, and just a little kiss before we say goodnight.
It spins like a wheel inside you: green yellow, green blue,
green beautiful green.
It's simple: it isn't over, it's just begun. It's green. It's still green.
Dirty Valentine
There are so many things I’m not allowed to tell you.
I touch myself, I dream.
Wearing your clothes or standing in the shower for over an hour, pretending
that this skin is your skin, these hands your hands,
these shins, these soapy flanks.
The musicians start the overture while I hide behind the microphone,
trying to match the dubbing
to the big lips shining down from the screen.
We’re filming the movie called Planet of Love—
there’s sex of course, and ballroom dancing,
fancy clothes and waterlilies in the pond, and half the night you’re
a dependable chap, mounting the stairs in lamplight to the bath, but then
the too white teeth all night,
all over the American sky, too much to bear, this constant fingering,
your hands a river gesture, the birds in flight, the birds still singing
outside the greasy window, in the trees.
There’s a part in the movie
where you can see right through the acting,
where you can tell that I'm about to burst into tears,
right before I burst into tears
and flee to the slimy moonlit riverbed
canopied with devastated clouds.
We're shooting the scene where I swallow your heart and you make me
spit it up again. I swallow your heart and it crawls
right out of my mouth.
You swallow my heart and flee, but I want it back now, baby. I want it back.
Lying on the sofa with my eyes closed, I didn't want to see it this way,
everything eating everything in the end.
We know how the light works,
we know where the sound is coming from.
Verse. Chorus. Verse.
I’m sorry. We know how it works. The world is no longer mysterious.
Litany in Which Certain Things Are Crossed Out
Every morning the maple leaves.
Every morning another chapter where the hero shifts
from one foot to the other. Every morning the same big
and little words all spelling out desire, all spelling out
You will be alone always and then you will die.
So maybe I wanted to give you something more than a catalog
of non-definitive acts,
something other than the desperation.
Dear So-and-So, I'm sorry I couldn't come to your party.
Dear So-and-So, I'm sorry I came to your party
and seduced you
and left you bruised and ruined, you poor sad thing.
You want a better story. Who wouldn't?
A forest, then. Beautiful trees. And a lady singing.
Love on the water, love underwater, love, love and so on.
What a sweet lady. Sing lady, sing! Of course, she wakes the dragon.
Love always wakes the dragon and suddenly
flames everywhere.
I can tell already you think I'm the dragon,
that would be so like me, but I'm not. I'm not the dragon.
I'm not the princess either.
Who am I? I'm just a writer. I write things down.
I walk through your dreams and invent the future. Sure,
I sink the boat of love, but that comes later. And yes, I swallow
glass, but that comes later.
And the part where I push you
flush against the wall and every part of your body rubs against the bricks,
shut up
I'm getting to it.
For a while I thought I was the dragon.
I guess I can tell you that now. And, for a while, I thought I was
the princess,
cotton candy pink, sitting there in my room, in the tower of the castle,
young and beautiful and in love and waiting for you with
confidence
but the princess looks into her mirror and only sees the princess,
while I'm out here, slogging through the mud, breathing fire,
and getting stabbed to death.
Okay, so I'm the dragon. Big deal.
You still get to be the hero.
You get magic gloves! A fish that talks! You get eyes like flashlights!
What more do you want?
I make you pancakes, I take you hunting, I talk to you as if you're
really there.
Are you there, sweetheart? Do you know me? Is this microphone live?
Let me do it right for once,
for the record, let me make a thing of cream and stars that becomes,
you know the story, simply heaven.
Inside your head you hear a phone ringing
and when you open your eyes
only a clearing with deer in it. Hello deer.
Inside your head the sound of glass,
a car crash sound as the trucks roll over and explode in slow motion.
Hello darling, sorry about that.
Sorry about the bony elbows, sorry we
lived here, sorry about the scene at the bottom of the stairwell
and how I ruined everything by saying it out loud.
Especially that, but I should have known.
You see, I take the parts that I remember and stitch them back together
to make a creature that will do what I say
or love me back.
I'm not really sure why I do it, but in this version you are not
feeding yourself to a bad man
against a black sky prickled with small lights.
I take it back.
The wooden halls like caskets. These terms from the lower depths.
I take them back.
Here is the repeated image of the lover destroyed.
Crossed out.
Clumsy hands in a dark room. Crossed out. There is something
underneath the floorboards.
Crossed out. And here is the tabernacle
reconstructed.
Here is the part where everyone was happy all the time and we were all
forgiven,
even though we didn't deserve it.
Inside your head you hear
a phone ringing, and when you open your eyes you're washing up
in a stranger's bathroom,
standing by the window in a yellow towel, only twenty minutes away
from the dirtiest thing you know.
All the rooms of the castle except this one, says someone, and suddenly
darkness,
suddenly only darkness.
In the living room, in the broken yard,
in the back of the car as the lights go by. In the airport
bathroom's gurgle and flush, bathed in a pharmacy of
unnatural light,
my hands looking weird, my face weird, my feet too far away.
And then the airplane, the window seat over the wing with a view
of the wing and a little foil bag of peanuts.
I arrived in the city and you met me at the station,
smiling in a way
that made me frightened. Down the alley, around the arcade,
up the stairs of the building
to the little room with the broken faucets, your drawings, all your things,
I looked out the window and said
This doesn't look that much different from home,
because it didn't,
but then I noticed the black sky and all those lights.
We walked through the house to the elevated train.
All these buildings, all that glass and the shiny beautiful
mechanical wind.
We were inside the train car when I started to cry. You were crying too,
smiling and crying in a way that made me
even more hysterical. You said I could have anything I wanted, but I
just couldn't say it out loud.
Actually, you said Love, for you,
is larger than the usual romantic love. It's like a religion. It's
terrifying. No one
will ever want to sleep with you.
Okay, if you're so great, you do it—
here's the pencil, make it work . . .
If the window is on your right, you are in your own bed. If the window
is over your heart, and it is painted shut, then we are breathing
river water.
Build me a city and call it Jerusalem. Build me another and call it
Jerusalem.
We have come back from Jerusalem where we found not
what we sought, so do it over, give me another version,
a different room, another hallway, the kitchen painted over
and over,
another bowl of soup.
The entire history of human desire takes about seventy minutes to tell.
Unfortunately, we don't have that kind of time.
Forget the dragon,
leave the gun on the table, this has nothing to do with happiness.
Let's jump ahead to the moment of epiphany,
in gold light, as the camera pans to where
the action is,
lakeside and backlit, and it all falls into frame, close enough to see
the blue rings of my eyes as I say
something ugly.
I never liked that ending either. More love streaming out the wrong way,
and I don't want to be the kind that says the wrong way.
But it doesn't work, these erasures, this constant refolding of the pleats.
There were some nice parts, sure,
all lemondrop and mellonball, laughing in silk pajamas
and the grains of sugar
on the toast, love love or whatever, take a number. I'm sorry
it's such a lousy story.
Dear Forgiveness, you know that recently
we have had our difficulties and there are many things
I want to ask you.
I tried that one time, high school, second lunch, and then again,
years later, in the chlorinated pool.
I am still talking to you about help. I still do not have
these luxuries.
I have told you where I'm coming from, so put it together.
We clutch our bellies and roll on the floor . . .
When I say this, it should mean laughter,
not poison.
I want more applesauce. I want more seats reserved for heroes.
Dear Forgiveness, I saved a plate for you.
Quit milling around the yard and come inside.
Road Music
1
The eye stretches to the horizon and then must continue up.
Anything past the horizon
is invisible, it can only be imagined. You want to see the future but
you only see the sky. Fluffy clouds.
Look—white fluffy clouds.
Looking back is easy for a while and then looking back gets
murky. There is the road, and there is the story of where the road goes,
and then more road,
the roar of the freeway, the roar of the city sheening across the city.
There should be a place.
At the rest stop, in the restaurant, the overpass, the water’s edge . . .
2
He was not dead yet, not exactly—
parts of him were dead already, certainly other parts were still only waiting
for something to happen, something grand, but it isn’t
always about me,
he keeps saying, though he’s talking about the only heart he knows—
He could build a city. Has a certain capacity. There’s a niche in his chest
where a heart would fit perfectly
and he thinks if he could just maneuver one into place—
well then, game over.
3
You wonder what he’s thinking when he shivers like that.
What can you tell me, what could you possibly
tell me? Sure, it’s good to feel things, and if it hurts, we’re doing it
to ourselves, or so the saying goes, but there should be
a different music here. There should be just one safe place
in the world, I mean
this world. People get hurt here. People fall down and stay down and I don’t like
the way the song goes.
You, the moon. You, the road. You, the little flowers
by the side of the road. You keep singing along to that song I hate. Stop singing.
