poemimage

The visual & the poetic.

Category: Digital collage

Nine Lives

Nine lives in nine stones.

I put a spell on you.

History doesn’t repeat unless it rhymes.

A manuscript forgery evaporates in rhyme. Edges evaporate.

Count the scratch marks.

You sift metallic ink. The edges of stone, wood and glass evaporate.

Within the inner chambers, draped within unfolded cotton,

stone, wood and glass forms vibrate, casting shadows.

Beneath a flowering tree, outside the asylum, I wait for the last train.

You read my mind in your depths.

You chanted a truth enchanting. You vanished like a flower.

History evaporates reality.

I check the schedule beneath a flowering tree.

Northern Lights slip low, cascading, casting effusive spells.

Safe Passage

A danger you rightly fear, shall obey laws beyond itself,

Granting you safe passage &

Whomsover shall enchant these words –

Caveskin Cloak of the Rounded Shadow.

Your flashlight a white moth.

Your ballpoint pen a white cane.

Don’t say anything else.

Tarot Baby brought you a silver platter.

Don’t say anything else.

Tarot Baby & her grapes gone a long long time.

A pen drawing in a small notebook ‘translated’ into a different look via digital manipulation.

I Went Down to the Mall

I went down to the mall.

They said they wanted somebody who spoke an extinct language.

They asked me which one I spoke.

I said I forgot.

They said that’s okay.

We might have something for you anyway.

They asked me if I was familiar

with the concept

of reincarnation.

Traveling Backwards in The Field of Time: A Romantic Comedy

In light of ‘the body electric…’

In light of ‘the body electric’ in the poetry of Walt Whitman.

In light of the poetry of Walt Whitman.

In light of the body.

In light of the shadow.

In light of the shadow a question.

In deepest shadow The Leisure Class.

Eyes (& Orphee by Cocteau)

I have been approaching an idea I am still approaching

I circle the idea again and again

for some reason I made this comparison of eyes.

Eyes are truly the window to the soul

The soul is truly a window to the eyes

The window is truly eyes upon the soul. 

I think of the glazier in Cocteau’s poetry-film Orphee wandering in the underworld. 

I have the VHS tape rewound & worn, rewound & worn.

I may watch Orphee again one day. It reminds me of somebody.

My very own figure of death no longer mine.

In this comparison:

Burl Ives: Actor ~ musician ~ crouching fire-starter, lonely hero, feet of clay, masculine subject-object, middle name Ivanhoe, dancing round the Maypole, related to composer Charles Ives. In the heart is the first principle.

Mona Lisa: Mystery-school perception, the sun-drenched alchemical Renaissance, feminine subject-object, diagram the ancient golden number, echoing feet, touch linen ~ hazelnut paste, envision the Milky Way. In the heart is the first principle.

President: The conceptual zero imagined in three-dimensions, museums collapse beneath clouds funnelling stones, candy cigarettes, a camoflauged animal-skin eye-patch, mythological gods stir in vengeful coughing slumber. Envision the absent first principle.

I may watch Orphee again one day.

Ovid

I  gaze upon her at the walk-in clinic

only the two of us

she carries a brilliant white bowl made of clay

her name scratched into the white glaze

I said haven’t I met you before

she said a long time ago

in the library at Alexandria

I said why are you here

she said the people who started the fire

arrested me for reading Ovid

they sentenced me to life without honey

I said what is the bowl for she didn’t speak

I thought my conversation bothersome

& fell quiet

she said I read Ovid at the speed of light

I said like a honeybee

she said honeybees are slower than the speed of light

I snap my fingers like a jazz musician 

You got it!

Honeybees are slower than the speed of light!

She said it might be the title of a brilliant love poem

about snails

I said two snails conceptually in love

she said you have to become healthy

I said what’s wrong with me

she said consider velocity

consider clay pots breathing in a cave

unfurling billowing sail-skins of air

unfurling billowing sail-skins of sunshine

the Dead Sea Scrolls

rolled and telepathic

secretly rescued in the fire 

she winks one eye

I snap my fingers

she said Im not saying anything

a voice calls her number

two snails conceptually move about in the sunshine

wrapped in honey-coloured sail-skins billowing

unfurling honey-coloured sail-skins often

I am healthy often

the people who start the fire sentence her to honey found secretly on cliff-sides

I walk in circles upon the rounded peak of a vertical mound 

chosen because it has no shade trees

I am healthy often eating honey

the brilliant afternoon drenched in honey-coloured telepathic heat

swirling like butter from the ancient cows

a deer pushes his nose into the brilliant white pages 

I read Ovid listening to a brilliant buzzing sound.

This is the Scene

This is the scene

where I follow the animal

into the forest.

This could be a bird.

A Cubist experiments

with wind

and Morse Code.

O’ Dishcloth Colour of the Sun

A classic Piet Mondrian composition collaged incorporating a photograph of my sister’s heroic torn dishcloth.

A ceiling light reflected on the floor, beside the dishcloth, resembling the flame of an oil lamp.

A dyed cotton weave delivering flame to Mondrian’s composition.

Mondrian’s static & inorganic (yet dynamic) composition collaged with incongruity, warmth & organic emotion.

Energy (like Van Gogh’s sunflowers) frayed & twisted contrasting with Mondrian’s geometric formula.

‘I Know’

‘Do you need a ride home?’

‘Yes, I just arrived.’

‘Where will you be staying?’

‘Wherever they will have me and speak the truth.’

‘Have you heard of television?’

‘I have read The Little Box poems by Vasko Popa.’

‘Those are two different things.’

‘I know.’