Six-Toed Quami

The Prodigal Son in the Brothel (1637) - Rembrandt Harmenszoon van Rijn - public domain
The Prodigal Son in the Brothel (1637) – Rembrandt Harmenszoon van Rijn – public domain

 

Coyote and Boone sat relaxed in the drawing room
a now-invisible reproduction of the Dutch Golden Age
with its combination of chiaroscuro and beweechgelickhijt
in the beloved dark Protestant palette of the time
the master’s tall glass raised congenially to the boys
Saskia also turned to take in the beauty of the world
the canvas cut to frame the merry couple’s revelry
the earthy celebration of the theme turning moral
the wine will be consumed and the tavern departed
a return home to the father in another absent work

Coyote asked, “do you remember Quami from Cub camp”
“who’s gonna forget that crazy Quami,” Boone replied

the brothers were astonished by the boy’s deep blackness
they had never seen such amazing richness before
and he was made unique and more profound by extra toes
a deformed nub beside each baby piggy who went to where
his difference also arose from his perpetual state of riot
an uncontrolled dynamo rending the order of the camp
one morning he enthusiastically chugged a glass of milk
and sprayed it in laughter all over himself and his place
a beautiful contrast of black and white in action
a solid foundation splattered Jackson Pollock style
the carnival opened in every boys’ heart and guts split
Pantagruel emerged yet again from his mother’s ear
as she gave birth to a fresh stinky stool for swaddling
the moment frozen in the eternity of the boys’ memory

“remember the day he sprayed milk all over himself”
“it was the funniest thing I ever saw in my life”

“I hear you, brother”