Skip to main content

From "thesecstasies"

that hurt

he was as big a man as she was hard to please and together they were a twist into the penumbra and were gone so sit alone upon a park bench in late sunlight patternings and feels so ever so what?

his spasm becomes her rictus twitch all truth being relative including this one still it is possible to be convinced by an ill-kept enigma likened to the psycho-somatic role of the tears in personal history

whose story can tell the least about most of us yes tell me that one the community at large so massive in fact to think it makes the head fuzzy woken blearily I figure you would rather sleep off the affect

shitting yoursen or better brickin' it the light in the mall will stop flickering minutes before the end of season sale of the centuries go from something to everything in very quick succession if you ask it to

the two things just don't add up because one thing isn't a thing but a horizon to thinking about it so you can I give up a lot and ask for nothing in return don't forget to read the "turn" bit

london is a hard city and belfast is in some ways easier but whose counting the result will be courteously disregarded at first and later spit on it you can't believe you ever voted that lot in

I mean I ask you you reply something is missing a wonderful segment either left out or over its value becomes exacerbated rather only because we are like saying it no I don't know what it means

the pain I am going through is obvious and besides we are not allowed to be neurotic anymore that's just the way life is some vestiges of a cancelled tide my dribble atop the lagoon but the surface is a smooth as plastic

what no longer shows on their bumble-faces in flashes or murmurs of humanity below is the life lived by the streets in the people a weapon of nature to sweep away the structures but leave the population all outstanding

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

John Ashbery, Self-Portrait in a Convex Mirror

John Ashbery, Self-Portrait in a Convex Mirror (Manchester: Carcanet, 1977) First Published (New York: Viking, 1975) Close Readings and annotations of every poem in the collection March-April 1997 in preparation for In the Process of Poetry: The New York School and the Avant-Garde (Bucknell UP, 2001) Introduction: · Shoptaw notes that this return to poetry is dominated by images of waiting, that narrative (especially fairy-tale) returns, as do the musically based titles, there are no prose poems and no fixed forms such as sonnets of pantoums, most are free verse paragraphs, also bring forward a new American speech, more direct and inclusive. “As One Put Drunk into a Packet-Boat”, 1-2 · Shoptaw notes this was the original title for the collection, marking a self-consciously Romantic return to poetry, recording the thoughts of “I” from afternoon to night, just outside a childhood country home. Has a pastoral crisis narrative in that a summer storm gathers but passes leaving the poet reli
Post a Comment
Read more