Skip to main content

From "thirsty poems"

development of a landscape

water lay on the land there and
fleas grew fat on it as
an ox pulled through the brown whilst
simultaneously brown corn grew up whereas
between the corn the air so that
between the air the corn grew simultaneously
people gathered on the edges who
though cautious came to rule.

water oozed through the land there and
leaving a mark, softening fibres as
warming and stagnating pools of life whilst
fish came and went in their silence whereas
they mistook the weeds for thoroughfares so that
they rode the idling currents pleasurably simultaneously
hooks were dropped and raised and nets dragged who
with the falling evening were filling up.

happiness soaked and bloated and staggering and
like the soil ripe with water as
over ripe, pregnant and burdened whilst
soon to fall it lifted up its paunch skywards whereas
there was a long, grandiose, buckling effect so that
swallowing up the corn and swamping the fish simultaneously
the warm processes were turning the pools to soup who
stifled, went far too far, splitting this skin.

First published in Rialto and then Limestone


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