Egon

Schiele’s quickened passing
at twenty-eight years of age –
just days after his wife’s death
and his pillow-propped sketch
of her looking back into him –

was more shocking to you
than his egregious
unfurling of women –
than his use of cadaver colours –
than his fists of cherry red knuckles
and brush-heightened nipples
in rude ochre brightness

His death scene was art –
like his eroticised life
where his place in it
was at the centre of sex
which he kept in twists of love –

of girls in their pulled-up stockings –
lifted tight – but not as high as
their dog-dark fleeces
on their ridged pubis regions –
which they pointed at – and into –
with their gnarled finger touches –

There above the not-quite contrite
cock-spaced curves – which he sculpted
in paint over yet another stretched canvas –
there in the air between their swayed thighs –

there lay those air-kissing sex-salted lips –
all his undressings pre-dating porn’s
artless forms –
there to feed others’ sexual pleasures –
those of the greedy male collectors

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