Trees in pleasing contrast
                side-on dark effect

to draw the shape              ink 
either flat or graded                reality is an impression

              impressions      aimed at that other interest 
                                            : distant trees 
look across country      distant

          size an important peculiarity of opposites 
it is true        indoors emits no colour

             when seen from this angle

                                       sun in the morning

                 early afternoon

                         to stare toward the horizon

             we continue to wish
wash in distant hills

                                        (such a luminous result)




                                   …




                           distant hills : 
     chance arrangements justify a little framing
                               studies of trees and figures

                hard and unsympathetic without subjugation
in colour and form we square off happy days 
            ‘I’ with a colourful past

‘I am’ perhaps more useful

                                                          I like that phrase,

                    it expresses perfectly the correlation 
             (a pensive insight in analysing failure)




…



the road beats more powerfully at the base 
                        an honesty in bright coloured flags

              or a man’s jersey accentuated with peacock greys 
apart from the above

one is dominated by light and shadow  
             in this sketch

I choose a bluish green… a view, simplified in the mind
             distant trees 
of certain shape, colour, and size
                        placed in bright light

             displaced…rendered




					…




composed of more than the obvious

              dissect observations
                       a madness in genetics
             repeat portions for atmospheric effect
out of my depth

demands hours of happy choice, mono- 
                        toned backgrounds…

                        re-

            directions :

opaque colours in a strong wash of ultramarine
I must leave it

transparency that runs around edges 
                    …to look long enough

to look for colours, shadows, sun-
lit

            objects casting light, a warmth… pieced…together

memory turning back restoring projections




…




                  in this handbook extras soak up surplus colour
                                                 pan of pure burnt sienna…pale…

             pale flesh on cheeks: alizarin crimson 
to give depth to something so blue… look up… deep 
             … greenish, bluish, pale

reflected light 
                        however clear the water

bright reflections translate the latter

                                    dilute actual artifacts

             (due to the colour of water)
                        absolute light 
reflections       up

on         inflections      (underwater)

       it seems the shape 	 
is the actual process employed upon the placing of light




					…




                        the trick is to love such insignificant features
             even the perfect mirror gives a darker view
nothing is unfortunate

yet more common when drawn in proportion 
             appearance re-makes a face
                         a hope that it is nearly but not quite in its essence 
             can I obtain a peculiar charm?
this freshness

softened edge washing out a veracity of colour




…




                        I am reminded of a delicate surround 
a kind of niche: the transparent



golden……

           …gleaming……

                         …seam
            clarity distracts my attention 
using the same study

in as direct a manner as possible 
                         beauty frames

arrested in altering : arranging nature by design
             (of the above remarks I have a better illustration

 as things grey

              adapting mixtures of primary colours 
                       every object demands something free

a success, suggestion of foliage

            mass of outline)




II




forget the absence of open-attachment with occasional light touches of green        a

bird’s eye view: say at spots X, Y, and Z… a skeleton of the upper roof and rafters

             the tone of roof timber, walls, posts, leaving the mind as a distant boat

drifting: inside highlights, of windows and spots of skylight…
light at first, curse, the first: Fig. B, you will see another part of the same tree, let go

of green, taste the blue and burnt sienna : process the other side, and so on: on one

side, on each edge keep a sense of the whole, a little part, a pattering, a putting on, a

new tint or tone : distance, a middle distance, re-
run… translate Fig. A: the foreground at once stationary, when there is no time to stop

or question… go on, now add a touch of crimson lake : the architecture, limitless,

hurries past :

                        reproduction is doubt’s mutual pleasure: still life : or true life, a child,

furniture, flowers, a row of trees, literally as they were : Fig. B shows nothing but the

composition, better to stand still than spoil its whereabouts: intersect | W, to join the

line X : then immediately to C, and continue the square : Fig. D extends, ricochets in

counter-balance, situated amid an indistinct pattern 
in so far as lines and masses such a simple colour scheme helps to hold the picture: a

transparency, a thin fog large and stately, a manual on…from life, a manual on

configuration : a manual with trees–grass–distant trees–clouds–reflections–of colour–

pure colour–landscape traits: 
                                   an attempt at that happy combination




III




what a happy medium life conveys : silence, to seek directions, plus in part, the use of

one word over another : when too hard one makes glint or groove in which the world

settles : oxygen from ruminations follows wing-tips : again endings… the advantage

of using one’s own imagination can point out fault-lines without remembrance…O 
…to be swept on, excepting the slightly heavier tone, I must remind myself of the

vital subject: this composition, how it emphasises the peculiarity of loss, I have no

real link but that of subterfuge: the ability to go on is important, to let the mixture get

muddy 
                         (to mix more than is necessary 
generally remembering light is entering from a comparatively present future)
highlights…I can advise little on how to advance a path serving its own purpose, the

components of this poem have made me envious of those who set forth for the first

time: that difficult tipping of a hat to those fugitives who first harnessed light: exterior

bric-à-brac…fittings pin-pointing a tone, a timbre, a distant tree.