In her long distance gaze,
unblinkingly chaste
and running,
the bayonet plunges
between a rock
and hard place,
and I, gasping,
to air on the side
of trespass
and empathic fall.
In her long distance gaze,
unblinkingly chaste
and running,
the bayonet plunges
between a rock
and hard place,
and I, gasping,
to air on the side
of trespass
and empathic fall.
The work as in the dreaming,
as in the dreaming-doing,
as in the beat drumming at the core
underscored by silence and dark
spooning.
In the dark we bump into walls,
clumsily grope,
and tell ourselves stories,
sometimes all at once.
In the everpresent holydark
aligned with its slow burn sibling,
Silence,
blessing the clumsy
and clamor of occurrences,
phonetics wired to a magnanimous source,
a marvelous opera in miniature
and measureless grandeur
and all that jazz.
Sentences as underground covens for ritual members,
lo-fi temples for speakeasies and orgies,
vaginal enclaves for hermetic bent.
All in all in all
compounded into a single sentence,
gorgeously stunning in its complexity and depth,
its capacity to sunder and bewitch.
One word playing with another
and then the next,
parlaying kinetic boogie-woogie
and taxi-dances
into shapely and seductive
rounds of yes and tender and yes-again.
In other words,
what is there to do in this dreaming-dark
except cherish and bless?
1.
Can you imagine your life without you in it? I can. And cannot. Can and cannot, because when I am not there, who is doing the saying, who the authoring, who or what the voice? You must imagine yourself from all angles, in this case gone from your life, yet the narrator, the voice, continues to go on and on about your life. It has something to say whether you are there or not. It continues whether you are a ghost, a rumor, a zombie, an avatar … choose your calling or guise, it doesn’t matter. The voice, in its power of unlimited speech, eclipses your personal ending every time.
2.
Imagine that you are not there. You are no longer taking up primary residence and occupancy in this thing called your life. You are gone. Yet you hear echoes spanning an archive. A voice, an existential device, a neutral orator, speaks on your behalf, in Memoria. You get to outlive your death, outlast your ending, which is pretty cool. You departing your life did not spell out The End. Imagine yourself talking about yourself to someone else, not unlike you, but somehow truer, better. A more reliable source. In becoming the witness to the witness, you drift a little further away from your so-called life, this drifting both glacial and cinematic. It would serve you well to remember that: the drifting is both glacial and cinematic.
3.
Imagine your life without you in it, or imagine your life without your life, it seems impossible, how can one imagine such a thing, doesn’t the exclusion and evisceration of you consequently preclude the imagining, the capacity for imagining? No. You must imagine beyond those limits. We are pushing you beyond your comfort zone, we know. We are asking you to become you-less just long enough to experience what might become a revelation. Or a waste of time. Subjectivity is in the I of the beholder.
Can you imagine your life
without you in it?
An inquiry,
and unwritten obituary,
concerned not with facts,
but with tracking the vividly suspect fiction
of a disapperance
rumored to be happening
in real-time.
I could not stare into anyone’s eyes too long.
It was like staring openly at the sun.
The light was too much to bear.
Not to mention,
within the stunning freight of light
projected from eyes were congealed
glittering specks and motes bearing
shame, longing, innocence,
volumes more.
My eyes
looking at other eyes
looking at me
made for dizzying
and disorienting foreplay.
Foreplay not as precursor to sex
bur rather the meekest intimacies
of childhood’s inheritance
revealed in eyelock.
In eyelock we meet
and look away
even when still looking at.
We look away within.
Then the eyes follow suit.
Sometimes they don’t
and you go deeper
and foreplay leads to frictive rubbing
of tenderest wounds,
scarry stories to tell in the dark.
The eyes beacon aspects of self
–hidden, remote, sublime–
high-wattage, and it goes into me,
intravenous jolt and subtext,
and I slip 20,000 leagues
under sea change and unmarked wrecks.
Once I sink,
I want to keep sinking,
I want to stay there,
savoring the opiate depths
and sighing aaaaahhh softly.
The eyes, in their staggering catalog
and akashic record,
are a lot to digest.