Monday, January 29, 2018

Angela Gardner #1

three fragments:


unruly process of bestowal
: into ballgown
the zipper stuck on flowers


High wire step
through strangely
giddy, joyous worlds


half-way to splendor hesitates
sun-forgetting reels around us
the hinge we all hang from

Sunday, January 28, 2018

Kit Kelen #9 -- relict / re:licked (memorandum)


relict / re:licked
(memorandum)

after Greg McLaren





drawing a new coastline
with just this little ink
a wash
hard not but to think Norway

come closer ear of sea
and islands -- you lie further off

I'm telling this tale, am I not?

and is it sky draws on
so shaded from green thought?

lake longing to be ocean
the river draws the sea

you'd want to climb back in
from this heat
batten hatches
and the egg rolls away

the one perfect thing today
perhaps is I'm not telling

it's from which a world

the wobble!

look at this layer
the Anthropocene
they made some plastic, this mob

stage strewn in the Shakespearean sense

hither all before us
for eternity vast deserts

last sun is the brightest
all we leave goes to it

the only principle of comedy
must be that we survive

Friday, January 26, 2018

Greg McLaren #3, Offshore, after Kit Kelen's "open the hatches of the egg"


 
          Offshore

After Kit Kelen/After Ed Wright

Who were they,
the people who loved
that wide green country,
underwater now
a long time?
                     The far far ice
unfurling its long slow
banners of wash and wake?
Pouring the coast’s broad
forested band into an untimid
ocean, tipping those
remembered places under glass,
into undertow?
                         The sky-wide rivers’
broad and salty mouths flushed open
testing how the time, so thick
and covering here,
rocks and eddies about, here,
and here.
                Past there, west
somewhere, the moving water’s
flanked by sandstone walls and
dips through shade
into a narrowing valley.
                                     How long
did the trees take on their long
die-off, salt-poisoned, even as
they still stood on the sloshing tongue,
that slow tsunami, & who
watched over their old land
from receding coasts, not even
beach yet, let alone beach
the thing we make it, but
the bitter refuge of high ground
as it slowly islanded out,
the snaking waves making a new sound
to sing this place,
spilling darkening light
over the places of the old
songs.
           Was there time enough
for the relict mangroves to up their
fingery roots, before they were shushed under
            with curls of brittle breakers?

Béatrice Machet # 6 EURYDICE'S LAMENT



#6 - after Greg McLaren’s words (#1 Standing to Penrith, https://conversationinpoetry.blogspot.com.au/2018/01/greg-mclaren-1-standing-to-penrith.html

“Late light is a lot like early light,
            falling onto the flattened land
creekside in the wood.”
                   
Eurydice’s lament

1

This space offers low-light conditions capable of disturbing one’s ability to spot and be oriented. Consequently be so kind as to come here accompanied.  

Damp December
low wattage of the sky
lit candles and fireplace instead      
the dull sound of rain drops echoing through the gutter
mild and lukewarm sorrow
no real rhythm     no real hit nor strike
a stern gaze     
            but a tremor of rage inside to tell what’s in the guts …

2

Forsaken for hell’s sake Eurydice is
picked up in an eye   in a look     beyond the reach of
words beyond notes and score
Eurydice is
just a certain color    simply the burning   
a longing as a source     a flow 
locks and  fringe     threads of a net as if phrasing of gestures
dancingshadow   baïlalasombra eloscurodanza danselombre
a flow
words conceal other succeeding words with letters
the shade of which measures
a feeling of loss 

3

For if one says Orpheus
one sees the elbow
and the gaze
beyond which  
not yet out
Eurydice
not yet out
stumbles and 
stutters then
disappears

Greg McLaren #2 Reverse gear, after Nathan Curnow's "Versing"


 

Reverse gear
After Nathan Curnow


These kids were at their parents’ wedding.
Weddings can be undone, a marriage busted,
broken open like grammatical rules
where nouns are twistable as verbiage
will do to suggest.
      Thinking about language
enough to get to first principles
’s back-engineering at its least most
obvious.
                 Stage One are working on how
to STFU, and if they haven’t yet, they never will.
Their jokes begin to make sense, like this one:
"What do a grape and a chicken have in common?
They both have feathers.
                                      Except the grape. It
doesn’t have feathers."
                                     But by not making sense.
Entire parents blame the school system,
and comfort themselves in the knowledge
it could be verse.

Thursday, January 25, 2018

Anne Kellas #2 - The pond, moonlight (responding to a line in Nathan Curnow's 'Versing')

The pond, moonlight

(responding to a line in Nathan Curnow's 'Versing':
Once I helped a kid who said ‘all music is music’
 https://conversationinpoetry.blogspot.com.au/2018/01/nathan-curnow-1-versing.html

Once I helped a poet who said all words were just words.
The first time she said that, I smiled.
She was a new poet. I was old.
The next time she said it, I stared her down
like a child arguing. No they’re not.

But she came back at me with a backhand,
slammed the ball so fast I did not see it coming.
Zen koan.
Why are you so sensitive about your words they’re just words
she snapped.

And then she said my words made no sense
and pointed out the lacunae I had left open,
like the space between one stanza and another
where a cloud had been.
Dammit it’s true I had been imagining a cloud,

thin, whispy. It had gone.
The words left in my poem sat on the page.
They knew their place,
their status
in an old game. Prayer or prophesy.

Sense, she said.
It makes no sense, 
that last line. There’s no logic.
Logic, realism? I argued,  It’s a poem!
I’m an abstract poet I added,

And you’re an artist, I said,
imagining her watercolour palettes
sticky with colour. I'm a surrealist. 
You ... me ... But nothing rubbed off.
The cloud was there between us.

Blooming words. And what of the strong poet
I thought later, for whom the words of others
are not just words,
but worlds looked into.
A deep mirror

like the pond at midnight.
where the past
is.
See, there it stands,
patient as black trees

silent, still
in a very old photograph.
The pond, the moon, midnight.
In exact order.
No cloud.

http://100photos.time.com/photos/edward-steichen-moonlight-pond

Wednesday, January 24, 2018

Kit Kelen #8 - I like a chain letter with a juicy curse (after André de Corowa's 'Dear Beneficiary')


I like a chain letter with a juicy curse
after André de Corowa's 'Dear Beneficiary'

https://conversationinpoetry.blogspot.com.au/2018/01/andrew-burke-2-dear-beneficiary.html
with Mag


consciousness was there before it was known
-- Sartre




the thing you find may not be a poem

won't it be greed if I entice?

finding it won't make one either

could be an offer of marriage

I won't be sending them
my pictures of great men, women
I give these out for whatever I want

hundred forint my favourite --
the ancestors arriving

though at the current exchange rate
amazing how your odd purport is not a thing at all

or electronically imagine
transfer of funds
for someone's excitement

pig in a poke--
by means of a PIN
you're in

out your window
not a picture
you cannot help
but frame 







 

Tuesday, January 23, 2018

Magdalena Ball #6 To Prove I’m a Bastard in response to Nathan Curnow #1 Versing

To Prove I’m a Bastard 

in response to Nathan Curnow #1 Versing


 that’s it     there     the slippery dip your spine        

    in context

            where we met on the playground

signals into       stones

or sticks      but not broken bones     not then

 

now it’s all coffee         and barking dogs

        the wind turns   maybe a storm is brewing

while     you drive the colloquial

         create trends       speak in tongues

                  promise all the things  

         saliva slides down

                     the chin those

              lovely lies

 

            wishing on cigarette butts

      do people      really still

cellulose acetate damp with addiction

            sticky with it    almost sweet

like little pastries    like words    

              like discarded birds

 

it was all concrete   shuffling in an empty

                    school yard

leaning towards the idea of children playing

an abstraction   did someone 

         say sweet

 

           none of this feng shui

     snowflakes against eyelashes

everyone       has to be first in the queue 

so the rest of us can be last    

pretending to be

             the bastard

            cause who wants to be victim

 

once it was possible to be subversive

            who could guess

what we’d      become

reminiscing about greenery 

caching thoughts in     blood red ink

         don’t be goth it was just ink


tomorrow          is another newspaper