Basement: damp breath of plaster and turpentine.
A lamp pools like a small sun over a half-face—
a mouth not yet finished, a jaw undecided.
He works until the light invents patience.
There’s a calendar pinned above the sink,
the months crossed out with cigarette ash.
Ideas gather in a cardboard box —
old ticket stubs, a hand-scrawled compliment, a smear of cadmium red.
“Who are you painting for?” the jacket on the chair asks.
Impostor sits on the windowsill, a gray thing with cold hands.
Sometimes he answers in the dark: the answer is a sound
like coins collected in the throat.
He wagers with mornings: one folded newspaper, one knock at the door.
He signs his name in the lower-left corner, quietly, as if to test
whether ink will hold a life.
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