Skip to main content

well we all heard you didn't we?

from the sequence theseecstasies


brown is this season’s black which means for the truly fashion conscious brown is already black thus they can say with impunity that black is

this season’s black which is bytheby how poetry works or at least language but question is there any difference?


I want you my lover’s back please—we go all the way up the poplar smothered lane to the shrub then all the way back

don’t we not? the tautegorical hurt of ecstasy that is what I mean when I burn in my eyeballs seething “ver-ti-ge”

through tawdry gaps in my teeth the brown hurt of a dissimulating spring whilst I embrace squalls take

up droplets fell from the bushes tender green entreaties the same as dogs do I am the first to do so my hair a rose and


I am dealing with it it’s queer aint it you say potato I bow down my jaundiced thoughts and smoke it.

bare which the day it is synonymous to being borne by the winds of france to the singéd herbaceous

to the singed herbaceous and if there is love in the tongue then give back to me father that which I already got it.

Labels:

Comments

Post a Comment

Popular posts from this blog

Deleuze, Difference and Repetition

For a long time I have felt that poetics has not taken into consideration a great deal written about issues pertaining to difference and repetition to be found in contemporary philosophy. As poetry's whole energy and dynamic is based on a fundamental relation to differential versus repeated units of sense (sense both in terms of meaning and the sensible), any work on difference and repetition would be welcome. That some of the greatest thinkers of the age, notably Deleuze and Derrida, have made both issues core to their whole philosophical systems is so remarkable that poetics is impoverished if it does not fully acknowledge this. Not that I am one to talk. Although I am aware of the centrality of Deleuze's work to postmodern poetry, I have as yet not been able to really address this but in Poetry Machines I began that work at least. In preparation for the few hundred words I wrote there, here are the 10,000 words I annotated in preparation. Deleuze, Gilles. Difference an...
Post a Comment
Read more

Postmodern Poetry (2)

Postmodern Poetry, A Definition Postmodern poetry is an international phenomena of aesthetic multiplicities as is typical of many postmodern cultural products. It also operates self-consciously, even foundationally, within a philosophical and/or ideological context where categorisation and closed definition are rejected in favour of investigation and free play. A definition, therefore, can only ever be of a general nature and it must always be accepted that such a definition is closer to a strategy or better, as it is poetry of which we speak, a pattern into which the rangy, tireless energy of the poetry has settled for an unspecified but limited period of time. I could, at this point, pass the buck entirely and suggest that postmodern poetry exceeds definition but this would not be true for it operates within an environment still constituted by modernist values of summation and fixity for which definitions are essential. If I do not impose a definition some other agency will perha...
Post a Comment
Read more

Frank O'Hara, Collected Poems pp.201-300 Annotated

Frank O’Hara, Collected Poems (Berkeley, Cal.: University of California Press, 1995) Pages 201-300 Close Readings and annotations of every poem in the collection September 1997 in preparation for In the Process of Poetry: The New York School and the Avant-Garde (Bucknell UP, 2001) Frank O’Hara “In the Movies”, 206-209 · interesting that this poem has not been picked up by the critics for it is an easy point to indicate the importance of films in O'Hara’s aesthetic indicating the dissolves, cuts and montage effects he has been credited with and whilst I do not like to appropriate analogous terms in this fashion the montage of O'Hara is easily distinguishable form the collage of Ashbery in that here it is the movement from image to image in an attempt at seamlessness, a basic synaesthesia of subject in the now of consciousness. · in addition to the basic aesthetic implications of this use of films there are also certain other issues that he raises here but does not rea...
1 comment
Read more