Street in Daylight

I.
It exists for the automobile:
a droll rainbow of cars
as brittle as any eggs in a nest,

as noisy as complaining chicks.
The only people
sit yolk hard within the cars

going.somewhere. They pass
with linear certainty
from here to there and back.

The street is silver, inanimate,
its chartreuse brown border
a bit of manicured pretension.

II.
The street moves
("Turn right on M
Ave and it'll take ya
to where yer goin.")

as it is moved upon.
The street moves
as words move
from margin to margin.

III.
Finally, it is the animator
who decides the reality,
who chooses the color and place.

The street can be seen
from any angle, but it is not
a Venetian canal.

Love does not change the street
from chunky asphalt to liquid,
from blood alley to romance.

The animator is limited
by the street, even though
an omnivorous viewer of the street.