Parts of my body want to live. I al-
ready knew the words pulled me here but did-
n’t truly understand. Like Orpheus
I like the glad personal quality
of the prepositions. Of course, my Eur-
ydice, like his, is a part of this.
The great fugue is a great distance, it is
important to learn what the eye can hear
and the ear can see. The piano is
playing all the ifs. Clang clang clang clang ya
ya ya. Dear Seem dear cast out. In. Ay chin-
ga! We floated and it could be said that
we floated. Passing in this unreada-
ble fashion, avec-être stretched toward the sea.
[Note: Sources: John Constable, “Cloud Study”, 1822, as lifted from John Latta, “Bewick et l’écriture en plein air”, Isola di Rifiuti, 17 March 2008; Anny Ballardini, a comment left re: a post of 16 March 2008 at Slim Windows; Kim Chôngnan, “Women’s Language” (tr. Peter H Lee), in Echoing Song: Contemporary Korean Women Poets (ed. Peter H Lee); John Ashbery, “Syringa”, in American Poetry Since 1950: Innovators and Outsiders: An Anthology (ed. Eliot Weinberger); David Antin, “Definitions for Mendy”, in Weinberger; No Hyegyông, “Song of Mary” (tr. Ann Y Choi), in Lee; Mun Chônghûi, “A Single Blossom”, in Lee; Allen Fisher, “African Boog”, in Other: British and Irish Poetry Since 1970 (eds. Richard Caddel and Peter Quartermain); Susan Howe, “THOROW”, in Weinberger; Beatles, “Revolution”; Bob Perelman, “God”, in In the American Tree (ed. Ron Silliman); Jean Day, “Heavy Clouds Passing Before the Sun”, in Silliman; Michael Palmer, Baudelaire Series, in Weinberger. Please click here for a free bonus: Omo Bob's Cloud Study (After Constable)]
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