Review Short: Luke Fischer’s The Poet as Phenomenologist: Rilke and the New Poems

The Poet as Phenomenologist: Rilke and the New Poems by Luke Fischer
Bloomsbury 2015

Rilke’s poetry is known for its brilliance and individuality and, to an extent, for its variability. His early work is largely of a neo-Romantic and religious temper, suffused with generalisations and subjective gestures that frequently strain after significance. Nevertheless, he produced some important early poetry, most notably in his three-volume Book of Hours. In these works, ways of seeing, perceiving and understanding the world are already critical questions for him. However, had these poems been all he left to posterity, he would not now be a household name.

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Review Short: Astrid Lorange’s How Reading is Written: a brief index to Gertrude Stein

How Reading is Written: a brief index to Gertrude Stein by Astrid Lorange
Wesleyan University Press 2014

Walter Benjamin once suggested that there were two ways in which to misinterpret the writings of Kafka: either by ‘natural’ or ‘supernatural’ explanation. If Kafka’s works have the appearance of parables, the only clue to their solution is that it will be precisely what is not overtly communicated – they are parables, in Adorno’s words, ‘the key to which has been stolen’.

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Galaxy of Crumbs

gotta drop the fryers tonight
in the stainless silver chaos
of the salt machine

they chirp demented
during dinner rush with
nuggets of chicken mush
chips and burnt breadcrumb

as the teens make snapchats
and suicide pacts

I twist the red lever
in the metal guts
coke colour oil drains
a galaxy of crumbs
sinks and collects
into little black dunes

like a nightmare beach
fizzing and chattering

someone calls
the new kid
a faggot

in heat proof gloves
I sweep the crumbs in to
the hole with a steel stick
and flush them out
with a gravy jug

a kitchenhand
tells a story
about the ecstasy
last night

I take the oil cart
to the bin room
the wobbling blue wheels
skidmark kitchen tiles

a cashier bitches
over headset
about a customer
with an accent

I plug in the plastic snake
pump the oil
into the vat
in a moment
of peace

I get a new thing of oil
like a box of wine
full of thick piss
100% canola
australian made
I punch it open
unplug the yellow cap
and a lemon waterfall
fills the fryer
and heats up clean
like a golden bath

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After a Quote by Reznikoff

when I read a poem like this I often turn the page.
there appears to be no texture, no colour
only the music of someone biting an apple.

when I read a poem like this,
it occurs to me that my clothes are beginning to sag,
that the neighbour’s dog is at the garbage again.

a banality as clipped as this
will surely go a long way,
it will pass from hand to hand like a fairground token,

people will express gratitude,
aware of its utility within the confines
of a place stood outside care and time.

that is the poem’s only gift to the world.

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The A-Team

(Recorded for the archives in the Air and Space Drama Museum.)


I worked the wings during NASA Theatre’s early days. My boss, Dr Randy Lovelace and his mate, General Flickinger, expanded NASA’s first space play, Round the World in 80 minutes, to include ‘astronettes’.

The auditions starred Jerrie Cobb, with world aviation records for speed and altitude. Talent scout and financier, Jackie Cochran, assembled twelve others backstage, much more than ‘soft recreational equipment’. The women sweated the same dress rehearsals as the men for centrifuge ego-forces, monologue in a darkened theatre, lung capacity, pain tolerance for bad reviews, and equilibrium recovery.

The Mercury 13 women outsang and outdanced the Mercury 7. If the A-Team had been monkeys, Chris Kraft, the Flight Director, would have had them centre-stage on the launch pad. The NASA Boys’ Club blacked out the pizzazz of the star-spangled vaudevillians Amelia Earhart, Amy Johnson, and Laura Ingalls.

All-American hero, John Glenn, piloted drama critics at a Congressional performance in 1963 against women getting a gig on the big space stage. No kitchen or laundry graced the space capsule’s control deck for weightless women to display their talents.

Jerrie Cobb, Wally Funk, and Jerri Truhill could never launch their names in lights. The Capitol reviewers declared the NASA Playhouse an all-male revue without any transvestite sideshow. Those astral-dazzling women fell to earth. No cow jumped over the moon, or onto it.

In 1998, Senator Glenn, 77, gazumped the surviving Mercury 13 in another coup-de-théâtre via Space Shuttle Discovery touting the old NASA box-office rationale of propagating Apollo while obliterating his twin sister, Artemis. ‘One small step for a man …’ says it all.

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My Caesar

He noticed me in the line up and winked, smiling.
Then he moved on to greet the rest of the men.
But when we returned to our fires, his equerry came, panting:

“Come son, he wants to meet you, come now.”

I’m a farm boy and I know what’s what but I was shocked
by this directness. The man didn’t seem to care about everyone
watching us, even though my compatriots laughed and jeered:

“Keep your back to the wall boy, don’t let him get behind you.”

The equerry dismissed them with a contemptuous hand, pulling
at my sleeve with the other. I burned red, but I went with him anyway
and walked through the huge throng of men, lazing in the purple evening,
swilling new wine given to them as reward for a long campaign.

Finally, we reached the main tent, as big as a Roman villa and ringed
by braziers, guards’ faces bronzed and shining in the heat of a score
of torches. He was inside, tended by slaves. I found him reclining
on a divan, chewing at a leg of rabbit:

“What’s this?” he said as we entered. “Ah yes, my fair boy. Come sit with me, eat.”

I took the couch next to his and was given wine and food, but I watched him
even as I ate. His face was tanned from the march, his eyes keen, in wrinkled
pockets of dry skin, like agates in dust. And he watched me too, curious
and enjoying the novelty.

For me, used to hard bread and barley porridge, the scent
of rabbit and olives and good wine was almost too much,
I forgot myself and my nervousness and ate greedily,
rich juices streaking my hands and my face.

After a while, filled with wine and food – then carefully
washed by his slaves – I went to work on him, sweating.

He wanted soldier’s cock, so he had mine. It was awkward
and shuffling at first and he was not interested in returning
pleasure, all he wanted was to be turned over and fucked
but we managed it. And after I did him, like a sheep,
he seemed satisfied enough.

Later, I went back to my platoon and to my pallet and slept,
but restlessly, my head was still dizzy with wine, my hands
remembering the dry and sinewy touch of him.

During that long march home, he called me back
many times and I became used to the equerry’s near-nightly
nudging to leave my comrades for my commander’s bed.
(And, you should know, in exchange for these services,
I was given money and promised more).

One night my friend Lepidus, a handsome young legionnaire
from Osteia, about my own age, was invited to join us,
so we both fucked him, slaves watching while we took turns,
the stars and moon wheeling above in the night as if in a great, black cave.

But now, home again on my mother’s farm, I wonder what the point
of it all was. I fetch water for pigs, chop wood for her poor fire and yoke
the bull to the plough and it’s as hard as ever and thankless.

He’s dead, murdered they say, by his friends in the senate,
my hopes with him. The stupid fuck, who couldn’t see
what would happen if he called himself Caesar?

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Neighbours

Someday we will be sitting on our porch like they are. Your hand will be on my lap. We will both be staring forward. Then I will be looking at you. A sideways glance. What will we be talking about? We will be so tired from the day. You’ve slipped your shoes off at the heel. What will we talk about? Occasionally I will let out a chuckle and run a hand through my hair. You will take your hand back. You will join it with your other and lean forward firmly onto your knees. My book is dog-eared on the table between us. My glasses are tangled on the top of my head. More laughter and what are we talking about? Our hands are our own. Folded, holding each other, keeping each other busy. Do we talk about today? About yesterday? Tomorrow? Do we talk about the passing of time. I was I and you were you. Are we silent, then? Do we hear time pass? See it? If we knew true silence we would be like the porch itself – never speaking, always watching. Our silence is different. It creeps up our bedpost, fries itself on our pans, billows through the heating vents.

We brush our teeth with it.

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Pine

The driver stops and jumps down from his cab.
Men wander round the side of the scaffolding,
help him loosen the grey tarp that covers
the straw-coloured stack.

We balance the lengths
on our shoulders, trudge through mud and drizzle
battens bouncing with each step until
the lorry rattles off into the fog.

The others pick up trowels or carry blocks,
slosh through water on the concrete screed.
I rifle through the stacks with tape and pencil,
feel the knots where branches arched above stumps.

I tick each bundle off. In the van’s headlights
I see the stacks, wrapped in black plastic
like draped coffins, waiting to become a roof.

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News from the Farm

Jill e-mailed me just yesterday:
the weather’s dry; so, early starts
for Marsh to irrigate—
an icy play down by the creek
in freezing cold and wet and dark
to fetch the old machine.
The oats are growing well, though, Jake:
we baled six acres Friday last—
a bright and sunny day.

This morning: fog, as thick as thieves.
The cats lie stricken on the carpet
by the glass door, east-
ward clustered, peering: where’s the day?
I’m waiting, too, with washing; tasked
to dart out at first ray.
Beyond, the tractor lectures me—
a spectral putter; there goes Marsh:
he starts up, disappears.

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Flying In, Southside

At Mangere the airport welcomes you to Middle Earth,
coasting on a jet’s wing and a karakia,
but the industrial parkland unfolds as generic,
though ’nesian mystics harmonise snatches of melody
on Bader Drive by the fale-style churches of Little Tonga,
all the way round the Town Centre to busy Pak’NSave,
from whose carpark the Mountain looks back, submerging.

Manaia sail across blue heaven to catch day-dreams;
they glide like slo-mo fa’afafine above South Auckland:
the big box stores, all in orange green yellow or red,
as big as aircraft hangars in this polycotton lavalava
wraparound hibiscus paradise of Pap’toe,’Tara, Otahu —
the happy coin marts, the fly-by-night clearance outlets,
the stack ’em high, sell ’em cheap, plastic whatnot bins.

A pearl nacre overcasts closed abattoirs of Southdown,
colonial headquarters of Hellaby’s meat empire,
shunting yards of Otahuhu Railway Workshops.
Two-dollar leis sway outside shops on Great South Road.
There’s Fiji-style goat curry and Bollywood on screens,
kava, taro, fish heads on ice, hands of green bananas —
no sign of Sigatoka blight amid tart tangelo pyramids.

The suburban origami of bungalow roofs is folded over,
under the warmth of ‘Mangere’/‘lazy wind’: so hot and slow
it barely moves the washing on thousands of clotheslines.
Planes touch down; sirens yammer through the tail-backs;
Macca’s golden arches sweat the small hours,
and a police chopper after midnight bugs the sky;
weaving back and forth over quiet streets of Manurewa.

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Aquarium

She recognises me and mocks my work
with her own lithe labour, arms like kisses on the
glass. Smooth as oil
she copies my mop and wringer, slipping her body through
a narrow ring of rubber,
eight handshakes but no hands and yet slim fingers slipping,
sloping elaborately –
she’s a bag of brimming slosh and muscle, swimming.
Love was never like this. She
waits each day, we work, we talk, our conversation
is stately, balletic,
hung with dangling cephalopodic undulations.
If alarmed
she writes her name in water. Food-grifter, shape-shifter,
she paces my walking
powered in the stroll by her three hearts.
My mopping done,
I pass on, she observes me to the aisle-end. Left alone,
she’ll adjust her mantle
like a nun, then settle in a corner on a vigil,
a huddle of knots, in wait.

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Square Peg

I spent my twenties writing stories, trying
to wait tables. I waited tables like
Rabelais and Orwell wrote of shagging—
unconvincingly. I’d not aspired

to waiting tables. I waited tables like
Pollock juggling scotch bottle and dentist drill—
catastrophically. I’d not aspired
to moussing innocent bystanders: they watched

Pollock juggling scotch bottle and dentist drill
transfixed, as if he were intending
to mousse innocent bystanders: they dodged
lap-slop horrors that defied dry-cleaning

transfixed, as if I was intending
(as Rabelais and Orwell wrote of shagging)
to let slip horrors that defied dry-cleaning:
I spent my twenties writing stories, trying.

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more work needed to make a dadaist poem

with apologies to Tristan Tzara

take newspaper & scissors
you’re on your way up the purple mountain
sometimes you have to cheat

choose an article the length of your intended
you know how it is
by mistake you sit in the laughing carriage

unhorsed among damp mohair sculptures
cut the words into a bag & shake them, arrange
words in the order they escape from home

water slips down the softest window
substitute better words
change an ending or two

endowed with a bag lady sensibility
copy conscientiously a vale of tents
sliding superfluous words

behind barricades
the poem will be beyond the understanding
of the uninitiated, but charming like you

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Chemistry

Dismantling your form as you stand in the wake of white laminate,
everything takes its place as arable desire crunches under my downy boots.
I say ‘hello’ like an apology – not wanting to be a duchess of regret
(yes, I am familiar with the dogged predictability of losing)
so I look to the hem of your lips and move up to settle
on the southern tip of your nose;
soft patches of confessional skin a tourniquet to any rind of hope.
red ink, black ink, blue ink
I wager that there is grace in shutting up.

On my chart of the east, clouds chafe the sky,
my piano moaning like a bird on its last flight.
My body rushes; keening at you like you’re a finish line,
and as I usurp ribbons of catastrophe the dog pack has pinned to my chest,
I see you as a remission, where you become one long fortnightly saudade.

Gales of laughter rip through us as we fox away time.
With my foot in the door, I bury myself in busy snatches of air
where you tease me over the lure of peeling foil
before I scatter shards of pills under my tongue
but not before drawing your face into the bough of my hands;
my fingers trumpeting urgency.

I do not trust myself to hear the lilt in your voice
or to feel your hands under my caul,
for there are sounds that tumble out of my mouth
like small hymns that run in time with your easy slouch
best I learn how to pray

Meet me at the river where water
slips around our shadows like outposts of hope.
Stuck in the gullet of splitting winter winds
we are already a dirge of soupy stares and epistolary flesh
upon which I shall starve my curdling belly;
the biggest surprise being that you even remembered my name.

Posted in 71: TOIL | Tagged

Compost

When I lift the lid of the bin and see
the flick and coil of worms
as they dive from the light
my heart is lifted

and as I sit at my desk it comforts me
to think upon their quiet continual digestive work

the way they turn a mess of matter into earth,
the way that dead and failed and fragmentary things
can be transformed into fertility.

Posted in 71: TOIL | Tagged

In the Ear of the Journeyman

minus this workload established status is a mirage but with a daily ten kilometres up and down gravel maybe you’re on track to maintain a spot in the squad if you don’t expire sometime soon granted it’s a lot to do with pain this daily dose along limestone

trails but it’s also about kilometres in the legs developing a decent engine for the midfield you’ll need to dig in if you want to remain a valued player well after this preseason you’re sure to remember that twice round the Zamia Trail makes ten

kilometres which must be run in less than forty minutes so show us how much you really want an extended contract it’s not as if you’re a superstar and should the shadow of your future arthritic self stand in the way you’ll just have to run through it after this

we’ll jog to Mc Gillvray Oval where there’ll be ten twenty metre sprints interspersed with less than thirty seconds recovery time sharp circle work for an hour before we do weights and now as you run past enjoy views of the sea snatched between tortured

banksia along the ridge line then slip down the dip past thorny yellow acacia where even if you can do with a piss you must give it a miss for more squirts of daily dose as pink and grey clowns look down their beaks and screech from trees intertwined with

bridal creeper and if in the sandy vale the windblown veldt grass bends your thoughts to barefoot running in Kenya wind your way up deep green hills planted with coffee in deep red soil till you reach the pine plantation of an imaginary Olympia where you’ll

give each tree a perfect hip and shoulder before the turn to the Lookout and if the senior coach instructs you to shirtfront the trunk of a tuart you better damn well do it come on sprint the last hundred you’re weak as piss and should you pike out let the

team down squib a hit when under a hospital handpass and if you get cut during the season for dropping a mark in the goal square then don’t come squealing to me in the meantime don’t bloody well forget that at five you’re getting another injection of juice

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Vacuum

At the end of the world, will anyone think
of the man in the infomercials
who demonstrates the suction
power of vacuum cleaners?

I think about this often, of the different
ways we might finish
our sentence; perhaps a nuclear cloud

will engulf us and I’ll say
‘look, the house wears the smoke
like sweatpants’. I suppose
we won’t get to choose who shares
in our personal apocalypse.

I’ll probably fumble my lines.

Will the television networks still operate?
I hope so. I’d like to turn on the TV
and find an advertisement to fall asleep to.
To invest my last moments in thinking
about a man with an American accent
who I’ve never met. With such faith
in his vacuum cleaners how can he help
but lift the weight from the world.

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Postgraduate Finesse

An anonymous email to inform me of my absence on the shortlist

No interviews

When my statements are this unmagical

I think of the greengrocer watching clouds clear and reconvene

The rains lowering again

Over the unobtrusive roofwork of a Saturday

The decking patterns jazzing

And the unbelievable odour of sugar

As another plane goes over

The object’s dimmer

Which makes even fewer than last year

The ends these applications labour

I don’t remember it or my CV records an erosion so gradual

Or else the damage is a ready-made

Anyway I’m working on it

As an artificial ruin

All the inconsequent follies standing there in Times New Roman

I was halfway up a mountain on my way to a Greek monastery

When my alma mater called

An undergraduate asking for donations

From a campus of sensational brutalism

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Discovered in a Rock Pool

A star-shaped object rising up
out of the water – five
wavering arms, five
spokes of a chariot wheel, five
curved cylinders, at their centre
a cluster of grey barnacles, small pearls, a silver light,

the water that drips from them
heavy with salt, oxidized
incrustations. A star tiara
from a drowned mermaid, the wheel
of some vast chariot washed up.
And, as it breaks the surface, this sharp sudden

fragrance like plants
left too long in narrow vases, the water
like urine drained out of dried twigs.
The wheel is a ghost of a wheel.
The fiery chariot’s return to
the kingdom of salt. And everything

shrinks and is less than a token
miniature apple, a walnut placed
as a skull-shaped offering on an
altar to placate the goddess of devouring.
Effigies stored in a rock pool.
This is surely someone’s

childhood not mine. Such simple things
might be placation or destruction. Starfish
or a galaxy intact
as its detritus. Burnt out. Cooling off,
cooling off in a solution
of brine and midday sun.

— Whom do you seek?
The woman at the centre of the starfish-wheel asks me.
— I am after another life.

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Sun Tong Lee and Company, Gulgong, 1872

A Chinaman with strange and delicious sweets that melted in our mouths, and rum toys
and Chinese dolls for the children. − Henry Lawson, Christmas in the Goldfields


Sun Tong Lee, Storekeeper and Importer
has large shipments to arrive
from China and Sydney:
Tea, Rice, Sugar, Gentlemen’s Clothing,

boots, first-class English Calfskins, rope, tin ware,
plants in pots (‘very nice presents to those young ladies
who have a taste for floral beauty’), at such low prices
as will enable everyone to patronise him.

‘Any person requiring Chinese workmen
− Labourers, Carpenters, Painters or other
artisans − by applying to the above will be
supplied with reliable men.’

Herbert Street was busy,
especially on Sundays.
Chinese gods frowned on
wasting a good day of the week.


− after Sun Tong Lee’s Sydney Branch Store. Gulgong 1870-1875 − a2822392, the Holtermann Collection

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Surrogacy

It is the stork who labours
to deliver baby Dumbo to his sad
and silent single mother.

The heft of a hundred-kilo sack
had to be held aloft across the Technicolor
map of Disney’s pre-war USA

in search of a moving target—
a humping caterpillar of travelling circus train.
Only a domestic flight,

but imagine the sweet relief
at unlocking his beak, the tension
headache born of bearing an elephant child.

He does his job with a smile,
offers genuine warmth in generous addition
to the contractual requirement of professionalism,

congratulates the long-lashed lady
and relaunches on monochrome wings.
His total screen time amounts to three minutes,

a seasoned bit player,
agent of plot progression,
class act who only weeps in transit.

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Late Shift: Notes to Self

(Inspired by Henry Reed)

Rush hour again: a fast lane of drip poles, trolleys and beds
freighting the stricken. That skip needs
to be emptied and bed twenty nine needs a bed pan.
My husband is uncorking a merlot.
It has a bouquet of hibiscus and blackbird song.

Rush hour again: a fast lane of drip poles, trolleys and beds.

Tonight the world has a point to make about frangible bones and hearts.
I am calling down an angel to banish bed fifteen’s pain,
hold the hand of the patient in extremis whom I can’t get to yet.
Outside a white sail of birds is unfurling
and the jacaranda trees are in blossom.

Tonight the world has a point to make about frangible bones and hearts.

This is a cannula and this, the basilic vein. Irritation of the vein
may lead to phlebitis, which in our case we do not want.
Two grams of Flucloxacillin are due at six.
Somewhere other than here children are in bed
and are being read ‘The Wind in the Willows.’

This is a cannula and this, the basilic vein.

With a blood pressure that high, how does her heart hold?
Follow the algorithm ABCDE, never letting anyone see how you feel.
The dressing is soaked with blood. We call it ‘strike through.’
The daylight is draining
and the sunset over the hills is beautiful.

With a blood pressure that high, how does her heart hold?

The weight of the traction is four kilos. To turn bed nine and wash his back,
four nurses will be needed, which in our case we do not have.
He wants the lights left on.
The moons hangs like an aspirin over the city
and the breeze is palliative on my face.

The weight of the traction is four kilos.

Posted in 71: TOIL | Tagged

A Hard Poem to Market

This poem does not have a spacious deck for entertaining after a hard day’s reading itself.
It lacks a million dollar view of surrounding majestic mountains, or even filtered sea glimpses.
A poem like this boasts no walk-in wardrobes, parents’ retreats, media rooms, or en suites.
European appliances do not grace the non-existent kitchen in this poorly equipped poem.
Similarly, the bench tops are neither marble, stainless steel, stone-rich, or, indeed, extant.
This poem’s location is not convenient, as there are few shops, schools, or parks nearby.
Public transport does not run within a stone’s throw of this poem’s old, invisible front door.
Although this poem contains three words with the letter ‘x’ in them, it lacks a so-called X Factor.
Speaking of letters, its letterbox is shaped like a transparent snail. That is both lie and joke.
The poem’s garden lacks any sign of birds, toads, water features, trees, grass or space.
The curtains that cover the windows of this poem are all wonky, smoke-coloured Venetians.
A real estate agent has hanged himself using the cords of one of the poem’s most ugly blinds.
One window has a yellowed sheet of newspaper crumpled and pushed into a very large hole.
That improvised plug is made from a page of the real estate section of last week’s local newspaper.
Out of curiosity, you remove the paper, and smooth it out, to see if it reports something interesting.
That is because you do not know, until smoothing it, that it is from the real estate section.
It will not be interesting, but will contain far too many details about a hard poem to market.
Your hopes of finding a bargain are flattened. You leave by that bland, elusive front door.

Posted in 71: TOIL | Tagged

Excavation

Emptying cupboards from
the pre-Homeric Classroom era,
through strata thick as Schliemann’s Troy.
I am looking for bedrock and
the world before printing
when we worked with our bare minds
or a single piece of paper rolled
soaking wet from a banda machine.
When times were tough, we drank the fluid
and went outside to fight hairy colleagues from other lands.
Who can forget 1978 when that probationer
stole the Headmaster’s wife
and we sailed across the Firth in a fleet of long keeled ships,
the sun glinting on our oars?
Our beards have grown, our blood coarsened,
paper has closed over our bones like sand.
But there is a hot deep wind today at the skip.
It takes the sheets and spins them over rooftops,
all the dense tyrannies of words
gone to air at the end, like birds.

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