Skip to main content

From "Lines out of Space"

"let's call it timothy"

all this is yours to keep

with a false sense of something wondrous lost
okay strike up one more time with that balsa guitar play
melodies no sweeter than the most sentimental of us can bear think
however not of what we once had and then let slip
away from this settlement is a whole heap of things that are
not this settlement and of such matters I say, why worry?
the water sugared by the underside of small boats, flaking
early morning drunk with a gulp by a searing day which promises
simply by refusing ever to give us anything leaves us panting
part actual thirst and part are kinds of thirst let’s just forget
happiness was never ours to keep but always yours to make
look out there in the shrubs I sense a scratching
presence a long eared big eyed something we could love
so let go the halter wear a hat and if you are thirsty we invite you then to drink

we have knocked this wall that was restricting us through
and the difference it has made in contrast to before is over-
whelming my wife says it feels like her kite has been borne up
by warm pine-scented winds yes we have left that time behind
us now forever the future is a wine-glass never to be put down
as it is never empty enough or even next to empty
there must be something fuller which fronts
the launch into the desertion of all the platitudes

let’s call it timothy


CowboyLuvr :) said…
AAAAWWWWW!!!! Its so CUTE!!!!

Popular posts from this blog

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)


· 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 relieved i…

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 and …

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 really…