Skip to main content

From "thesecstasies"

just this once

look what we found in the fundament sarge to busy oneself around the act of dredging we are no longer at the level of demand growing up handsome and lonely wear nikee and pronouncing it nike

and all day we had been searching for the kingdom of gentleness once thinking we had found it it was just a dog with sad sad eyes at night across the valley the tabor sounded hollow but remained here alone

everyone's keen on having me be the protagonist but it must be kept shallow danger from deep water fast currents some thing stirring in the tarry mudflats off of birkenhead

hopeless at obeying orders a deep-seated mistrust of authority approach with extreme caution to be regarded as unarmed and mellifluous all the next spent trying to penetrate the conundrum that is plankton

plastic bags are stuffed full of plastic bags in our house at least she might call that our domestic/consumerist mise en abyme if she existed in such a fashion as to know that phrase

a uniformity of variety one day all coins will be plastic and there'll be no more wishing at the well you are not alone in finding floating on the surface less affecting than sinking to a point

brought up from sallow goop so as to be sprinkled o'er thanks to the dredger-boxes of modern urban habitation shopping drinking fucking and priggish unappreciative and de-imagined travel no you lost me there

the shell-likes gape they are loudly and mostly mute even though they are effectively all tongue and no trousers what they see down their sure too horrible to recount this deep we are mostly blind

or dared not open it for the fearsome sound of "arse" like a voice from beyond the dave or daveness of another dull passage down the aisle towards the fish counter and the sea-birds at a frenzy of feeding

Comments

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) 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

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

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. Differe