Memory
as night-blooming
carrion—
its resolve
and intrigue
leavening the supply
of demand
to feed.
Memory
as night-blooming
carrion—
its resolve
and intrigue
leavening the supply
of demand
to feed.
In
the Shiva-limbed
solitude of invention
rabbitual copulation
begets
the wildfire spreading
of hymns
lusting for voices
to subsume and consecrate.
In pools
of practiced moving distances
words labor by light’s
traveling standards
to take flight
and submerge
in due riveted course.
In the clotted rectum
of Memory,
a roving cadre of masked strangers,
who, in their Bacchanalian cosplay
and pursuits, cause you to reconsider
the darkening press of Time, and intimacy,
within the hoary cask of solitude.
Behind the ghosts,
further ghosts.
Lives carry on,
infinitely layered
and bottomless.
There is no stopping
or stopped.
Home,
placeless in its capacity
to hold space
wherever one goes,
between pauses,
to become.
Sorrow-engraved fables
read in moving plots
of psychic Braille
by wanderlusting youth,
mapless and intuitively
akashic in their fluent grasping
of worlds within
to be palmed in stigmatic thrall.
Memory,
as in missives recorded and labeled
later, then played in reverse,
or returned in due time
to a sender who is much younger now,
or dead,
echoes circling to no end
in your solitary call
for company kept.
Sepia scraps of filmreel
burnt around the edges
flickering to animate
and revive
the magnetic shavings
of a life soundly projected.
The genetics of cinema
are always hard at work
in the nimble
and forgiving dark.
Engraved in the paranthetical shadows
of intensely subjective cinema,
I cited myself,
watching myself,
submerged
in a pooling coven of ghosts
whose bluest breath of want
revived me in fleeting doses.
I knew that if I kept watching
I would go on.
The question then became
not a matter of survival
but rather the dimensions of the screen
and if the film would enjoy a wider release.