And here
interpolate every last
word
of the
“Cardiac Diaries”. And
here
againagain fill
a wineglass to
the
brim Jim
with ballerinas and
porcupine
spines, consinge
and gueterea and
chyre,
and sing
along with YouTube,
Blue, blue windows behind the stars
Yellow moon on the rise
Big birds flying across the sky
Throwing shadows on our eyes, leave us
And remember when I moved in you
the holy dove was moving too
And every breath we drew was
Helpless
Helpless
Hallelujah …
as
if I
know some other
things
besides. Like
the stairs. Where
do
they go?
To Korčula. Which
is
not to
say nowhere. A
good
town but
not the place
we
live. Feel
the plea tug
its
way forward
in the morning,
in
the absence
of the faintest
whir.
Suddenly [var.
swift as speech]
a
heavy storm
of rain [var.
the
web of
the storm thickened
over
head]. I
dreamt of nothing;
last year 20th keeps every direction certainly before. Cannot hear the south moral flower news still, February does and the flower news which sees fifth from day Insa-dong comes in contact first. Is a still tender flower, the polyvalence one cluster keeps a faint every direction carefully. Also with mind of one cluster earnest desire puts in the breast and puts in the eye. And one cluster is noble and leaves space a red Japanese apricot news with joy.
The warm sun jacket puts on the newly married woman very small amount which puts around the crimson light skirt the red Japanese apricot sees, throbs, to catch a mind barely. Writing the most yearly window photograph << best thought >>
You
can tell
by the lips
of
modern sensibility
the α, the
λ
and smoky
rockies of, the
peripeteia
and other accouterments
of … Zesty, zesty,
all
the way
round to my
heart
craves amore,
amore con carne.
Five gallons ............................... pou
red into an eastward flowing stream on or
near the Continental Divide U.S.A.
Five gallons ............................... pou
red into an westward flowing stream on or
near the Continental Divide U.S.A.
my eyes.
___________ ___________ ___________ ___________ ___________ etc.
no. ___ ___ ___ ___ ___ ___ etc.
Wash
your hands,
we are going
to
take a
walk. I could
make
diagrams outlining
where we are
and
where we’re
going. But then
I’d
have to
go there and
do
that and
be that. There
are
two vertical
lines in the
margin
suggesting that
this passage signifies.
No;
the lines
are next to
Does
this happen
all the time?
I
believe they
were drawn by
the
author whispering
behind a screen
flickering
x X x
Vast wilderness
in clear
x X x
the rain’s meat
sewn
on
the
breathing
veils
by
its own
shadows, o en-
trusted
to en-
trusted to … I
don’t
remember how
I maybe I
just
picked it
up and put
it
there, though
anything so direct
as
that seemed
unthinkable. A thou
trades
at a
teeny. Cross em
all
in there.
All. Herr Liebemeister
dances
(in an
empty space between
not
and then)
(in an empty
space
between –izing
and of) (at
and);
the resultant
While Leaves Are
Falling
series features
images … slightly off …
trees
are wrapped
in black netting …
(at
the margin):
the dogs across
the
park / will
sing as ever /
of
the wagging
tail of happy.
[Note: Sources: Alan Baker, “Cardiac Diaries”, “Little Elegies”, ‘The Man Across the Park”, in Hotel February; comments box validation words, and comments, as found in the comments to Tom Clark, “The Lonesome Guitarist: What Is The Place of Poetry On A Blog?”, at Vanitas Magazine, 8 Feb 09; Neil Young, “Helpless”; Leonard Cohen, “Hallelujah” (the Young and the Cohen are for K); William Bronk, “To Praise the Music” and “The Stairs at Korčula”, in Selected Poems; Carrie Etter, “Divining For Starters (27)”; in Yet; Alan Halsey, The Text of Shelley’s Death; Babel Fish Korean-English translation of caption of photo at 좋은생각사람들 (link sent me by Inso Chung as a “Happy President’s Day”; email arrived at this very moment of composition); Philip Nikolayev, “Moi aussi j’aime les nuages qui passent la-bâs”, in The Reality Street Book of Sonnets (ed. Jeff Hilson); Lawrence Weiner, untitled, in 0 to 9, 6 (eds. Vito Acconci and Bernadette Mayer); Philip Corner, title uncertain, in 0 to 9, 6; Basil King, “Identity”, “Karla Faye”; in Warp Spasm; Geraldine Monk, “Metempsychosis x 3”, in Escafield Hangings; Meng Hao-zan, “Stopping at Chien te Chiang” (trs. Doris Pai and her father), in Ten Thousand Miles of Mountains and Rivers; Gustaf Sobin, ‘Eleven Quatrains and a Note from Ventadour”, in By the Bias of Sound Selected Poems: 1974-1994; Hannah Weiner, The Fast; Juliana Spahr, “After Richard Plum”, in Hilson; Omo Bob, photo title, at Omo Studios, 14 Feb 09; Bernadette Mayer, “X ON PAGE 50”, in 0 to 9, 6; Eric C Shiner, on Takahiro Kaneyama, in Making a Home: Japanese Contemporary Artists in New York]
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