Consider
sung
scalding of the Heart burred under
Green dark lay
of breast & lungs
from which there is No Other
Green
water of Endive, eye gaping mint.
A chamber, churred pill seed/Wheat,
it driveth inward bleeding
Blue Marks by Blows,
rib Jeeping Soil of it, laid open
a running
of the head bringing thorough flesh
set
upon quivering stalk.
All of them.
Spittle Singings of the Ear:
Esteem it as
jewel,
Flag, Elding
slice of morning, closen
Water that Cleanses & Cuts Common, Wild, upon the lip:
deep colour very gently
Bellied, properly resembling
bold mattering/warm flight of the
Heart.
[2] via John Clare (1793-1864)
Yellow Flag. We Came By: black dog cupping arrow.Much branched tie of the kidney:
Fool’s page, first upon
The Drake’s Flight, it riseth
gently
Then. Slipped Silk was that & Shaded
(of a sort fishes delighteth in)
quickly(of a sort fishes delighteth in)
& very many the thready headings
were no less an inward honey
chosen always:
& the heart’s good flare
beat
w/full stem,
w/Great Water
drawn
under
(Both,were no less an inward honey
chosen always:
& the heart’s good flare
beat
w/full stem,
w/Great Water
drawn
under
crayon Bareth gypsies) – Lieth
bunching
voilet’s Green
bunching
voilet’s Green
divide &
SINGINGS
on wheaten wing Rare &
Graceful coming that way:
arc in the shell, Sea
Awash.
Clacked Wing dulsing w/pewter-steal,
& healed w/it.
(note to accompany my two Clare poems)
These two poems (via John Clare (1793-1864) (1) and (2) were made around the late 1970s/early 1980s in homage to Clare. They are included in ALTO (2009). John Clare was one of the poets I began reading in the early 1970s.
Of vital sustenance and continuing inspiration to me, are his unfettered, courageous uncompromiSingings.
These two poems (via John Clare (1793-1864) (1) and (2) were made around the late 1970s/early 1980s in homage to Clare. They are included in ALTO (2009). John Clare was one of the poets I began reading in the early 1970s.
Of vital sustenance and continuing inspiration to me, are his unfettered, courageous uncompromiSingings.
. . . . . . . . . . . . . . . .
in my own practice of weaving or assembling, making or doing or unmaking language’s VISIBLE PHYSICAL mattering on the sight/sight of the salvaging body of the page in the ear on the tongue in composition - in performance ---
how to draw from silence --- breakings up and breakings apart within utterances and hearings, deconstructing/re-constituting-as-(being)-heard --- this bodily work by which i breathe by – in process – in always searching for poetic form - No Twas No From The Although No Twas Of To No Seemed So Made Untill A Each Made I Sing I Seemed - & Beside & To & To The Each & She’d - - - in stuttering - - in pushing into not knowing --- i don’t know -
. . . . . . . . . . . . . . . . . .
how to achieve by not achieving? how to make by not making?
it's all in that.
it's not the new. it is what is yet not known,
thought, seen, touched but really what is not.
and that is. (Eva Hesse)
it's all in that.
it's not the new. it is what is yet not known,
thought, seen, touched but really what is not.
and that is. (Eva Hesse)
[Lucy Lippard, Eva Hesse (New York: New York UP, 1976) 165.]
Maggie O'Sullivan / November 2011
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