from: Zoo Birds

Mute swans

form pictograms from
unknown languages; write with
mango beaks on lakes;
move at will from one kind of
perfection to another.

Meditation

Icons of the art
of now, of being nowhere
but here, they practise
pure stillness, freedom from thought.
Then hunt a little. Herons.

Macaws

A rainforest – this?
They congregate on dry boughs
under the vast dome:
bitter gossip, a cracking
silence like that of felled trees.

Rufous owl

In the night creatures enclosure

Her gold-circled eyes
become black moons when the lights,
on a time-switch, dim.
Still clear: grey beak, the striped down’s
unnecessary beauty.

Posted in 60: SILENCE | Tagged

The Book of the Dead Man (Silence)

Live as if you were already dead.
Zen admonition


1. About the Dead Man and Silence

The dead man has cultivated an alien silence.
Amid cacophony, his deepest ear remains at low tide, his insides go
quiet.
He has turned down the amp, curbed the snaky squeal of the mic, and
asks now a favor of the audience.
He asks the audience not to applaud early.
For he holds within him a solitude within crowds, a sanguinity in air and a
buoyancy at sea.
To have been this way when younger would have meant no schooling, no job,
no offers for his soul.
In geezerhood and beyond, the dead man has thrown a blanket over the
make-work dissonance of the national treadmill.
Humor in the face of the inevitable has been fundamental to an
Existential Absurdist like the dead man.
That, and earplugs.


2. More About the Dead Man and Silence

To the dead man, silence is the norm, interrupted at intervals.
The dead man listens for silence while the earth rumbles.
He hears the molten lava churning in the planetary core.
He registers the interruptions of wind assailing the trees.
He does not seek it in the traffic of the ether or in sleep where the
machinery of ears makes dreams of bees and swordplay.
To know pure silence, he will have to stop his pulse, neutralize the
magnetic pull of each particle in the universe, and just stop.
To just stop will mean no more swish or fizzle or bubbling, no delusion of
an interval.
Then, the music.
In the meantime, don’t ask, he won’t hear you.

Posted in 60: SILENCE | Tagged

Earplugs

The din of leaf blowers recalls the promise of jetpacks
and the wide-eyed at space launches.
Progress has boosted the noise level so high
I can’t hear myself think. I can feel my brain sliding
from the impenetrability of man-made clamor.
Our minds have become echo chambers of man’s refusal
to stay put. Scientists are making noises about Mars.
They have sent back space art to amplify
the thrumming of expectation that lies dormant
until we are shown something at a distance.
Here comes the thunder. Run run run. One-thousand-one,
one-thousand-two, one-thousand-three, turn to see
the lightning. We sketch the stars. The quietude
of distant conflagrations in dark matter
amplifies the intrigue of light rays from before time
buzzing our rooftops. What is hope?
It’s a backfiring existence as we brake downhill.

Posted in 60: SILENCE | Tagged

A Capella: On Hearing the Tallis Scholars

Wild bird
in your cage of rib
and lung,
I hear you break
into open space
daring
the high and unmarked air
surrounding stone,
startling the dusty film that settles
across the rafters –

untrammelled soprano reaching above
a mesh of voice,
where human bodies
attuned
play their notes of breath
pouring
(we were thirsty,
dying
for want of this)

streams of falling light
swoop and
we ride the textured wave,
braving rapids of prayer –
so many hearts’ ancient longings –
trusting to this crafted
ship of sound,
its promise of quiet water.

Posted in 60: SILENCE | Tagged

Sendai

I

Leave me
I am late in my life
and have seen many summers
my mind now is only wreckage and waste
once houses stood and people teemed
a busy anthill watched over by the quiet dead
rice paddies glowed emerald in the distance
and the sea rolling
gently onto our shore
brought us fish and abalone
seaweed in abundance

now all is mud and stinking
death falls from the sky like rain
that once brought us clouds and flowers
fruits of the cherry tree and almond
rain that gave us washing water bath water
the wooden tub I bathed you in
our garden lost to me as you are
the ancient gods are angry
our ancestors have deserted us
stay away
and let me love you
with my last breath

II

Our futons
make a giant quilt
a pattern of fields growing green
and lying fallow collage of what little is not lost
these two metre squares we will share forever
nothing has happened before this
not the birth of my daughter
nor the death of my father
not the joy of early morning
crisp purity of air and bird song
persimmons in a bowl

we kneel to try and feed our child what
has been given us by foreigners after
standing for hours on ice
even the temperature has turned against us
I try to keep my feet
within our space
there is nowhere to go nothing to do
I teach my daughter
how to fold a paper boat
notice my grandmother’s
fine stitches
have come loose


Posted in SPOONBENDING | Tagged

Tide Edit

Encumbered, embarrassed, he turns day to irony and spikes
each word onto the carpet

One come-down itches another, and perpetrates
its dreams of ghosts, haloed in gold

that black and white day ignores
The Academy turns opinion in its kiln of instructions

Show your merch. to the phone and pass over, trolls and summits
Temple of Heaven screws into sky

citations buttoned down a chart
whose copyists swirl

Downstairs pervious voice glasses the phone
Go out into the ute-green world, gleaming and catastrophic

Swift wind absconding time
now another April’s toasted sunset extinguishes its screen

Posted in SPOONBENDING | Tagged

Waiting

at night the traffic lights change rapidly almost erratically / cars parked 90° front to kerb their noses grazing the nature strip in a mizzle of rain / it’s autumnal when your taste for news peaks in the morning / then descends sharply through the day until the 11pm news break is sickening

corals speak unambiguously of climate change / why is mars so lopsided magnetically / the broad three-dimensional webs of st andrew’s cross spiders straddle telephone lines again / in the space of waiting created by a knock at the door is autumn / the platform rushing up towards you as a train slows

a desultory cloud trail sits like a smudge of dirt on the horizon / at the end of a song your mind plays automatically the beginning of the next before its first chords sound / in the five previous known extinctions of all life / coral was the first to die / your eyes meet again in the rear vision mirror

Posted in SPOONBENDING | Tagged

Metamorphosis Drumming | Tambur Metamorfosa

Metamorphosis Drumming

let there be a river
let there be a rock
let there be water
let there be earth
let there be a fish
let there be light on the sea
let there be a ripple
let there be a current
let there be a flood
let there be a scream
let there be a tree
let there be a root
let there be a leaf
let there be a quivering
let there be a falling
let there be a season
let there be a decay
let there be a forest
let there be a shout
let there be a song
let there be a lament
let there be ash
let there be a body
let there be a bending
let there be a dance
let there be a shadow
let there be a swaying
let there be a finger
let there be a fang
let there be a waiting
let there be a garden
let there be a lamp
let there be a shadow
let there be a fear
let there be loneliness
let there be a whisper
let there be a wound
let there be a gaze
let there be a sigh
let there be a darkness
let there be a silence
let there be a mountain
let there be a time
let there be a promise
let there be regret
let there be a curve
let there be a direction
let there be a tear
let there be a spirit
let there be god
let there be everything
let there be a ripple
let there be nothing
let there be sometime
let there be a question
let there be a window
let there be me
let there be emptiness
let there be an echo
that defeats the mind
dulls the pain

Tambur Metamorfosa

menjadi sungai
menjadi batu
menjadi air
menjadi tanah
menjadi ikan
menjadi pendar
menjadi riak
menjadi alir
menjadi bah
menjadi jerit
menjadi pohon
menjadi akar
menjadi daun
menjadi getar
menjadi gugur
menjadi musim
menjadi ringkih
menjadi belantara
menjadi riuh
menjadi lagu
menjadi ratap
menjadi abu
menjadi tubuh
menjadi liuk
menjadi tari
menjadi bayang
menjadi lenting
menjadi jemari
menjadi tusuk
menjadi tunggu
menjadi taman
menjadi lampu
menjadi bayang
menjadi takut
menjadi sunyi
menjadi bisik
menjadi luka
menjadi tatap
menjadi tiup
menjadi lamat
menjadi diam
menjadi gunung
menjadi waktu
menjadi janji
menjadi sesal
menjadi liku
menjadi arah
menjadi renta
menjadi ruh
menjadi tuhan
menjadi segala
menjadi riak
menjadi lenyap
menjadi bila
menjadi tanya
menjadi tingkap
menjadi aku
menjadi kosong
menjadi gaung
melamat kalbu
setumpul sembilu…

Posted in SPOONBENDING | Tagged

Companion Poems     from the French

apricot asparagus
baba bald man in a polo neck
basket bamboo
boutique bar
bean
blind man on wheels
bonhomme
brackmard
brush snake
cat cigar with a moustache
crackette crossbow
custard puff pastry
daisy dart
earthworm
fig firebrand
grinder/gripper
hot water pistol
Johnny Baldhead
lake little broom
letterbox little brother
lettuce little tail
love-tap
mintie
mound
mussel
Parisian river
pussy plough-blade
rollie
sewing-box sabre
slot Senegal butterfly
slobbering clarinet
smuggled salsify
treasure chest third leg
tongue
tool
undie eel
windsock
Envoi – inside & out
bonbon
button
cli-cli
cliquette
coffee-bean
praline
raspberry
trigger
bearded man
chimney-apron
lawn
tuft
watercress

Posted in SPOONBENDING | Tagged

Found Names

The police called her ‘Precious’,
acid burn on her skin,
long drop toilet, Humansdorp.

A nurse named her ‘Vicky Unknown Monday’,
rubbish dump, Lotus River,
March 2010.

And ‘Moses’, on the banks of the vlei,
‘Valiant’, who was covered in sores.
Never ‘Baby X’, never ‘Baby Y’.

For those who find infants
know they must be named
to properly be saved,

to survive, to be recalled.
We want to remember
Agatha, August, Adamastor

when we tell the stories of
cold, cords, maggots, rags,
the foundlings without cauls.

Posted in SPOONBENDING | Tagged

from _Memory Cards_

A thin black hand, a white ham hand. Confucius with a typewriter. The poem loses history, like the small stuffed animal we left on a Madrid subway station bench. I went back on the train, but it’s been lost again since. Ads for Valentine’s Day feature enormous stuffed bears, strawberries drizzled in chocolate. Consumption insures object-loss. She cut me into ribbons with her questions, then asked if I was angry. I would have liked to have heard Mandela, says Father Bob. You have committed crimes against humanity, and we forgive you. Mostly, we forget. He had not consumed his rage like gristle, spitting it back. On the bus, someone spat at me, Petra says. After her soccer team lost, the tall girl spat at my daughter’s shoe. We spit at, but the and is arbitrary, knows its boundary, releases it.


–for Petra Kuppers
–14 February 2014
Posted in SPOONBENDING | Tagged

The Allure of History | Зов истории

A fugitive of history like me, he nevertheless discusses it with enthusiasm
in the back room of a café – a vestige amongst the plastic chic of Acland Street,
where the walls are impressionistic paintings stained yellow and green.
Aging bohemians come here mainly:
hunched men in berets and women with long gray plaits.
The rest are just like us – foreigners whose accents don’t fit in other places.
He finds the local air too thin, the waters too shallow.
In Moscow, he tells me, everything is anchored in centuries.
You cannot move your hand without bumping into some famous ghost.
He is convinced history must be made tangible, to layer our lives
with pleasurable excesses of language and of everything else.
I wish I could love history like him. But more often than not
this word brings to me visions of angry men from my former country
and the sensation of a rifle hard on my shoulder,
the desert dust under the wheels of military jeeps
and the music the radio there plays for hours
after things go wrong – as quiet and repetitive as tears.
For me the allure of history is similar to Salome –
at its most seductive when unattainable,
covered with the scarves of foreign continents.
I say: tell me more about Moscow. I say it urgently.
His conversation layers the local air with pleasurable excesses.
Of his history.


Зов истории

Беженец истории, как и я, он, тем не менее, обсуждает её с энтузиазмом
В дальней комнате кафе – прибежище среди пластикового шика Оклэнд Стрит,
Где стены увешаны импрессионистскими картинами, испятнанными жёлтым и зелёным.
Сюда, по большей части, приходит стареющая богема:
Сутулые мужчины в беретах и женщины с длинными седыми косицами.
А остальные – такие, как мы: чужаки, чей акцент не вписывается в другую обстановку.
Он находит здешний воздух слишком разреженным, а воды чересчур мелкими.
В Москве, говорит он мне, всё закреплено в столетиях.
Ты не можешь двинуть рукой, чтобы не вляпаться в какой-нибудь знаменитый призрак.
Он убеждён, что история должна быть осязаема, чтобы устилать нашу жизнь
Избыточными наслаждениями языка и всего прочего.
Мне хотелось бы любить историю, как он. Но чаще всего это слово
Вызывает у меня видения сердитых людей моей бывшей страны,
Чувство тяжести автомата на моём плече,
Песок пустыни под колёсами военных джипов
И музыка по радио, которую передают часами
После того, как что-нибудь случится. Спокойная музыка,
Периодически повторяющаяся, как слёзы.
Для меня зов истории подобен Саломее –
Нечто предельно соблазняющее и одновременно недосягаемое ,
Таящееся под покровами чуждых континентов . Я говорю:
Расскажи мне побольше о Москве. Я говорю это настойчиво.
Его беседа насыщает местный воздух избыточными наслаждениями. Его истории.

Posted in SPOONBENDING | Tagged

Their Bodies | Onların Bedeni

Their Bodies

are carved on ice – contemplation
as water, once flowing towards
another Antarctic
as a ruin of holy residuals
failing to become soulless
and have failed to be consumed
by inebriated modernizations.

They were once Lemurians
hypothetical root-race of nothingness
they hid their passions and retributions
within star-seed crystals:
a wordless speech inherited from
one generation to the other
for poetry is formless, when the suppressed
is being spat out like that.

Their freedom is our terror
our freedom is a nonsense-play of the future…

Their chanting can be heard
in the time of full moon.
Our non-clairaudient humanity
deaf… senseless… colossal…
cannot hear a cantus of a sensitive soul

Their glances are imprinted within fixations of
our children, born and unborn
with each abuse another child will be sprouting,
starting a gamble as an illusionary devil.


Onların Bedeni

başka bir dünyanın Antartika’sına doğru akarken
donan suya kazılmış –tefekkür gibidir
ruhsuzlaşmayı beceremeyen
ve sarhoş modernizasyonların tüketemediği
kutsal kalıntılar yığını.

Onlar bir zamanlar Lemurian’lıydılar
hiçliğin farazi kök-ırkı
tutkularını da intikamlarını da
yıldız-tohumu kristallerinde sakladılar
nesilden nesile aktarılan sözsüz söylev…
çünkü şiir, bastırılmış olan tükürülürken
hiçbir biçime bürünmez

Onların özgürlüğü bizim terörümüz,
bizim terörümüz ise geleceğin saçmalık oyunu…

Onların şarkısı dolunay zamanı duyulabilir,
bizim duyumsama hassasiyetinden
yoksun insanlığımız sağır… hissiz… kurnaz…
hassas bir gönülün türküsünü duyamaz ki

Onların bakışı
doğmuş ve henüz doğmamış
çocuklarımızın bakışlarında gizlidir,
verilen her zarar ile yeni çocuklar filizlenecektir,
aldatıcı bir şeytan gibi kumara başlayan.

Posted in SPOONBENDING | Tagged

soma dear

watched attentive on yolky salute
on velocity so much honest living make this city
howl like when he left her to bleed in the school
what is trying and what is not a hostage stole
something that was a bear
it’s not i don’t care but terrible
sentences for why is tenderly the furthest
streams here paint thanks for it owned

through the code of light streaks salol
rescues from modern times
salol comes to collect the pus
a rampager summer not cheaply
not gently in removal of reserve

saltily talons embed sheets of coarse fibres
loyalist faints and vines the future split the decade of
who are so fast and defend affirmations of slipping away towards reification
textually speaking there are no polygamous tendencies between threads

elderberry slip not jelly of eyes
who is a guardian of our sleep
who is not an armed one but is dangerous
nor a mild one for a sense of preservation

the caresses to seek fool but heartily so

a saddened brow
who is diabolist mounted

how we are astonished by simply
repeating minor arpeggios outside of a circle
wood canals, struck here and bath sheets
and have kept it within folds without options

i did not know what to do / witcha life
books of adoring are where cuteness remains

Posted in SPOONBENDING | Tagged

cannes f. fest 21C

a posse of surgicals
dead sexy
that disinterested lens

the host – credit on the tongue
pushing up a rotted sky
the musical ability to survive

somewhere films are screening

Posted in SPOONBENDING | Tagged

everything in the garden

is lovely. would that mean
symmetrical? bilingualism is hardly symmetrical

consider this dimerous flower: have – have

and how English sentences bloom. with haves. with gardens. secret
but known to those who know

Danish
or plurilingual gardening

attend to all the floral whorls of have. essential and non-essential.
cut in half its semantic pistil
how many carpels fused

you gather such wordbuds to hold them (in hand), that is,
by definition, have
now you possess your own handy garden or

predicated not of you the possessor but
of the thing possessed: there is to you a garden

you stand in that dative
sheltered, in the shadow of
your property pollen-dated
to Old Norse

enclosed in garð-r you hold hafa in your hands
turn it the English way – own
turn it the Danish way – own
but turn it the Danish way again – garden

hardly symmetrical this turn of phrase
of migrant wording

‘The Use of Gardens
seems to have been the most
ancient and
most general of any
sorts of Possession among Mankind’ (OED)

you claim your garth by fingering the earth of your sentences
by planting haves and every have unfurls
to petalled

Posted in SPOONBENDING | Tagged

A Good Idea

Coincidentally Contiguous
or
Non-Einsteinian Relativism


a ‘Bad’ Idea
gets a quick approving
slap on the butt
and takes off fast;

a ‘Good’ Idea
gets its bottom patted
comfortingly (several times)
by the ‘Formal Soothing Hand
of (Fickle?) Approbation’
and glides away.

From either
of these ‘Ideas’,

n o t h i n g
results.

Whereas,

in capitals similar
to those

m i s s i n g
at the start of
Wittgenstein’s
‘The Big Typescript’

HOW TO
TART UP
APPLES

(headlined
in a lucent, gloss-red box)
on a
magazine cover,
facing lined-up shoppers
at a checkout
counter,
gets picked up,
taken home
to turn into food.

Question is:
will the food
produce, in its consumers
‘good’ ideas?
(and who … would decide who
would be the better judge
… of what these ‘good’ ideas
might consist of?),

‘Good’ being a concept
that only ‘really knows its place’
when its weak back is butted up against a rock
of something strong that tout le monde
thinks heinous

& is there really such a place?

Posted in SPOONBENDING | Tagged

The Spider in the Kitchen

I fed the spider beef.
Summer flies
in town were oddly few.
The spider took it in her stride,

tackled the bloody meat
with her black legs and due
surprise. She liked it.
Mince, matchhead size, soon

burned in her abdomen. She thrived
and bred, though I never saw
her dark stranger call. The babies
were little monsters, big

and hungry. I obliged. Fillet steak.
No-one else now entered
the lovely kitchen until,
one day, a wise guy

– distant relative in his teens –
who’d got wind of my arachnids,
looked down on me and from
his core, swore in a baritone

it was the hormones in the meat.
His bent head proved the ceiling now
too low. The spiders stretched
themselves across wide windows.

I looked heartlessly into their eyes.


This poem appears in Andrew Sant’s collection, Fuel, published by Black Pepper Publishing.

Posted in 58: PUMPKIN | Tagged

Circles

(for Rebecca, my Beloved)

In the slow turning of the seasons
we hang our names over the cabin door
and hold each other close
in your grandmother’s bedroom, grandfather’s bedroom,
our heads and feet perpendicular to their phantom limbs,
still at the axis, engendering Love.
Same axis, new direction.

Across the lagoon where winter ducks dive deep
spreading circles in the dark
houses hang like shimmering paper lanterns
and circles spread like blessing eyes.
So still. I recall the first time
your eyes danced for me
your upturned face, alighted.

We were young activists then,
committed to our lovers and our causes
but no one had ever looked at me that way before.
Men and indeed women
had looked at me in many ways
but the illumination of your gaze
and the startling movement of hazel eyes
held me. So still.

And we were god-like,
our limbs so strong I could spin 100 miles in a single day,
Brought together in April sunlight
I extend my hand
to connect us climbing a red rock in the desert garden.
How we walked then, the silence sufficient for holding
our proleptic sacramental moment.

Somehow I folded the yucca seeds into your hand
and we said goodbye.
You held those seeds for eighteen years.
Now we dive like ducks in winter
into circles of our own making.

Posted in SPOONBENDING | Tagged

Vibrations

I just ended that one with the Hispanic boy. I’m always thinking,
sexually, mentally, physically, whatever, there’s an end,
and that makes it less. Just less. Even if it’s just
that one of you dies. It makes it less.
My last one, you know, he’d go down
stairs and play the piano, anytime he was happy,
or angry, or sad, or bored, or whatever, he’d go downstairs
to the piano, it was instead
of conversation. Which was fine,
because he was talented. He brought the baby
grand home from his parents.
Downstairs, the vibrations,
from that baby grand, were really something.
The neighbours were fine with the vibrations,
we got on well, both sides
and they just knew if he was playing the piano he was angry,
or happy, or sad, or bored, or whatever. You know pianos die,
eventually? You replace the hammers
and strings and keys and pedals, and the only thing left
is the shell. So economically, he brought the baby one
back from his parents. But no conversation, it took seventeen years
to figure that out. Well, ten. The other seven
I was just cruising. We stayed together
for the house depreciation. It was fine, he’s talented,
that’s part of the attraction. But a bad debt
is harder to get away from than a bad ex.
There’s always an end. Sexually,
mentally, physically. Whatever.

Posted in 58: PUMPKIN | Tagged

How to Name a City: a Dual Approach

Firstly, settle on a name adopted, let’s say, from a river or a mythical heroine.
Allow its heft and gloss to determine who chooses to live there, who imagines
their days to fit. Let the pivot of vowel and consonant, like the sway of a body
between ankle and hip, call on those who sing in darkness or those who speak

in orange voices, or those who miss their lives. Alternatively, observe how
a city scaffolds and instructs itself. Withhold a name until it offers one, when
its every corner steams nouns and verbs, and every street is a vessel brimful
as a barrel filled with rain. By such means will a city learn to predict its end.

Whether to silt up or wither; whether to blaze or collapse; it is all the one
to the one name dissolving in moonlight, like sugar brought slowly to boil.
Like the way you counted off your every named lover on my slight fingertips.
Like how, though I knew you would never have me, I sucked each finger clean.

Posted in SPOONBENDING | Tagged

Diary Poem: Uses of Silence

The great basso profundo Vladimir
Miller explained that the reason
Russia loves the bass voice is that
there are no musical instruments in Church
so that the profoundly resonant singer
holds the sound of the choir together.
When I mention this to Katharine,
she adds that one real cause
of the Russian shock at Pussy Riot
was that they played a guitar
in Church, and I remember
again that quote from Argentinian
Borges that one use of having written
under a dictatorship was his knack
at metaphor. When asked to write
this poem, one of the first
pictures I saw on the internet
was a bright primary monastery garden
in South America with the sign
‘Silencio’ prominent and no doubt
the sounds of a thousand bright
winged things all around it. Meditation
requires some subliminal noise.
Silence is never whole, as Hamlet,
declaring ‘the rest is silence’, perhaps
realised as he heard the military din
of Fortinbras arriving at the last.
And speaking of military din, the Government
has just declared silence, at least
on a weekly basis about arriving boats
of asylum seekers. Outcry ensued
and everyone on Christmas Island
said they would speak out whenever
any boats arrived. General Schwarzkopf in
the first U.S. Gulf War would explain
delay was the very best form
of censorship. Perhaps we should explore
if all silences are tactile with what
I’ve called ‘the violence of waiting’, first
when writing of Winnie Mandela, later
of things like Manus Island. Silence
is well-populated, whether as a choice
or as an imposition. In the Sixties,
pop songs protested silence as cancer,
saw it as lack of care. Chesterton
earlier saw it as virtue, but with limits, as
the ordinary people of England, who hadn’t
‘spoken yet’, but he seemed to hope
would speak if the time was right. That
of course was before many Coronation Street‘s
like boxes of human chocolates
and commercial football wistfully conceived
by Flash Harry as a military endeavour.
At football matches, the English often
observe minutes of silence for those
crowds who weren’t heard dying, some
crush or other, marked by silent
teddy bears and flowers. The silence
of teddy bears is overpowering, like
the silence of mouthless stuffed cat
dolls scattered from people’s houses
near Fukushima. Yeats wrote
‘we have nought for death but toys’, but
he meant playthings for a sick person, not
helpless soldiers at a quiet tomb,
where the winged light still plays strange. I am
wondering now if snow country quietness
isn’t full of pied eucalypts
breathing out air and what we hear
as a silent blanket is just how the ear
classifies that needed intrusive, hence
actually hearing the silence. I often
value my lack of audience (except
for you, of course) in that one
can speak freely in a poem because
no one will read it, which is like
being silent, but with almost none
of the corollary frustration. Prose
is self-conscious with inhibition. Hopkins
begged his ‘elected silence’ to speak
for him and explain his reasons
to him and his readers, but
like Nye Bevan who used to laugh, ‘That
is my truth, now tell me yours’,
without waiting much to listen, I doubt
Hopkins paused from writing, nor
should he have. The human always is
the best song for the divine. Bergman
used God’s silence as a subject
allowing for his best fine images
like manse as wilderness in the black
light from trees or the helicopter-
spider overwhelming distraught Karen.
Silence illustrates well. However,
the silence of Pussy Riot in prison –
even if politically well-planned – is
a problem as that provocative guitar
is as profound as all pleas for attention:
ipso facto innocent. They objected
to the Chuch hierarchy being state-appointed
mostly KGB like Putin, and
as in any Russian Church the human voice
was the first and last thing they heard. Putin
having silenced Chechnya, however, can
luxuriate loudly in peace, outwit
the silent-as-a-drone-in-air Obama
on all from Syria to Snowden. Russia
has profound snow forests of silence, versts
vast enough to exhale resurrection. I like
that Vladimir Miller was born
somewhere in Siberia, whose silence
has uses other than prison. Silence
is a silent stage for the alive, can
not exist except as metaphor.

Posted in 60: SILENCE | Tagged

(untitled)

can can tu tu da da do do
can do da da can tu tu do
tu can do da da tu do can
tu do tu do da can da can
da can do tu can tu do da
da do can can da do tu tu
do da do da can tu can tu
do tu tu can can do da da

ooh la la!

do dance,
blown spawn sprawls tulle torn,
forlorn, a cry never born
a father sown regret, you, you
can never no hope

hula-hula alleluia!

Posted in SPOONBENDING | Tagged

CERN 43

I dreamt the firewall debate only engendered slews of new language until the O.E.D. could no longer keep up with the scientific lingo being born daily, hourly, by the minute and second. Subsubatomic particles beyond Leptons, neutrinos, the Higgs Bosons, Cherenkov detectors and particulates of spooky matter meant to be quantum post-post pre-octanic subor or postorganic space rooting in the rayites of bits of bundles of blotchers needing names for whatever that green goo was or could be a line crossing an advanced version of a nuclear electroinstascope—but then even those words were brought into doubts by SoupCanning Maldacena theories of particulate redirections. Translators, linguists and theorists alike were collapsing from exhaustion, servers and backup generators were being fried, bundles of wires in and out of cerebral cortexes were called into question until there was nothing left to do but unplug it all, go dark, pause, wait, sleep.

Posted in SPOONBENDING | Tagged