poemimage

The visual & the poetic.

Category: Ekphrastic art

A Small Experimental Drawing (and the law of intended consequences)

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After visiting the JMW Turner exhibition for a second time at the Art Gallery of Ontario and wading through the busloads of students and groups of seniors from retirement/nursing homes I realized how fortunate I had been on Friday night when the place was half deserted. Possibly half full.

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Again I am reminded of Turner’s grey. Vanishing yet insistent. Drawing the eye. Drawing the eye into. Possibly even halfway in.

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Sometimes one is drawn by the air of an unexplored territory. Or summoned by insistent mystery. Summoned halfway into a vanishing mystery.

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I focus on the brilliant whites in Turner’s work, and escape the crush, wandering into a drawing exhibition pulled from the print & drawing vaults.

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Three of the works refresh anew my dilemma. I think of the Judge’s black robes.

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 I join a raiding party. The Captain’s name is Font. His horse is called Halfway.

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The raiding party does not solve my crisis. Nevertheless I raise the end of a burnt stick from the fire.

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Marking the edge of the law. My declaration marking the edge of the law.

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There is no natural boundary to the embedded law of intended consequence.

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Another edge must roll it back to where it came from. Or swallow it. Leaving its bones along the trail.

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The edge of the sun!

The ambers, and whites, and Naples Yellow in Turner’s sky, radiating with silent resolution.

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Let me tell you a story about Naples Yellow.

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I visited an artist one night many years ago.

There are many stories to tell about that night but I will tell you this one.

When I was leaving, at the bottom of the stairs, the artist began talking about Naples Yellow.

And did not stop.

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The artists, the art periods, the art movements involved with Naples Yellow.

The secret uses of Naples Yellow, The powers of Naples Yellow, the magic of Naples Yellow.

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Perhaps Naples Yellow can solve my dilemma.

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Mizzle «Garúa» by Cristina Castello (Translated by Pierre L’Abbé)

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I immigrated to the Earth draped in silence
Written on a reflection, a path to the word
I brought my fertile voice, my thornless offering,
a calm mizzle in the depth of the eyes

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I found a shelter of swamp and nettles
A Power that ignited the blood of children,
I saw men like wolves, I saw angel wolves
And a brackish deluge of moribund dreams

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Each day, more beings broken and destroyed
Cut to size, torn up, broken, killed
While Goya, Beethoven and Balzac
Affirm that life is reinforced in each Being

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An immigrant in the potent kernel of art
I curse the cemeteries and the ashes, and I remain
I remain until the foliage of men
Nurtures the roots and reinvents the world

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Cristina Castello is an Argentinian poet and journalist now living in France. Her work is committed to peace and beauty against all social injustices. Her poems are always a commitment to the dignity of life, beauty and freedom. They have been translated into several languages. Her books include, Soif, (L’Harmattan 2004); Orage, (Bod 2009),Ombre (Trames 2010) and “Le chant des sirènes” / “El canto de las sirenas” (Chemins de plume, 2012).

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Translated by Pierre L’Abbé from the Spanish original and from the French translation of Pedro Vianna

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Pierre L’Abbe is a Toronto translator, publisher, ebook designer and author of both poetry and short story collections.

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Lost by Chris Pannell

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Every street was Italian

the inks on my map blotched and ran

the motorways rose and fell like roller coasters

singing choruses from I Pagliacci.

German and English signs

had been broken and tossed aside.

Gargoyles on buildings dressed in suits

money managers amok

commandeered red double-deck buses from

their streetcar tracks.

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I was driving a taxi full of hit-men

who were expecting me to get them quickly to

their destination

and to avoid the carabinieri.

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Chris Pannell’s latest poetry book is A Nervous City (Wolsak and Wynn, 2013). This title recently won the Kerry Schooley Book Award from the Hamilton Arts Council. In 2010, his book Drive won the Acorn-Plantos People’s Poetry Prize and the Arts Hamilton Poetry Book of the Year.

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From 1993 to 2005 he ran the new writing workshop and published two anthologies of work by that group.

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He has a book of poetry forthcoming in 2016 called How We Came to Pass. He is a former board member of the gritLIT Writers Festival and a former DARTS bus driver. He hosts and helps organize the monthly Hamilton reading series Lit Live.

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Mémoire by Arthur Rimbaud

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I

Clear water, like the salt of childhood tears:
The white of women’s bodies opened in the sun,
And truth, beyond walls or the silk oriflammes, won
Out with the valour of a maid pure in her years.

The frolic of angels in their moving blaze of gold,
Imponderable arms sparkling with the coolness of the grass,
And the blues of Heaven taking up their beds to pass
Under the canopy of shade into the arch and hill’s fold.

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II

The stones, under the water, extend as in a clear broth,
And depths, freckled in prepared beds of pale gold,
And frocks of girls, loosely faded, as green as mould,
And willows, and hopping birds, unfettered, woven in the day’s cloth.

Round as the eyelid, with the warmth of a gold Louis,
Blooms the marsh marigold, fresh in its wedding vows.
The mirror at prompt noon, jealous of the day’s drouse
Tarnishes into a sphere, heat-flecked and dear to us.

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III

Too upright is Madam in the meadow’s rippled glass.
The sons of toil are in the cotton-fields falling as a white cloud.
In her fingers she twirls her parasol, tramples it, too proud
To watch her children reading in the flowered grass

Their books in red morocco. Of what they think or dream —
As on all paths a thousand angels flare upon the day —
Of hopes lost in high mountains, she cannot follow; her way
Is overcast and cold, as is the shadowed stream.

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IV

Regret of arms satiated and celibate,
Sainted, straight white beds on moonlit April nights,
And the tear-wet joy falling on abandoned river sites,
And the rotting evenings in August that these germinate.

Under walls let her weep now: the winds possess
Only the high poplars, their motions tremulously sown.
Underneath in lead, unglinting, weighed with stone,
An old dredger labours, the small boat motionless.

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V

Flotsam, plaything of these waters that nothing hinders,
A boat beholden to stillness, and with arms too short,
And flowers blue or yellow, not then ever sought,
And breath now spread upon a water dull as cinders.

And for all that there are willows, powder, the plume of blood
That would drag out roses from reedbeds of time’s jaws,
The boat stays here, unmoving, and the chain draws
On the eye, water-heavy and deep in the unbanked mud.

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Translation C. John Holcombe

http://www.textetc.com/workshop/wt-rimbaud-1.html

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 Original photo credit: Massimo Sestini

Constructing a Self-Referential Collage

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Moon shattering upon a highway her voice inside you.

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Her voice inside you, a falling stone.

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Her mountain stone an echo, your mouth erupting.

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Tattooed with Hittite song her skin barely visible, a windshield.

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Her Hittite moon evaporating, condensing upon your windshield.

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She confuses you while casting forth the vibrant song of singing birds.

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Birdsong at work within you, within a song-stone breeze, erupting.

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Her stone-sliding an echo.

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Almost a whisper

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Your voice evaporating & erupting, an engineering marvel.

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Lyrics on collage from ‘Just Like Tom Thumb’s Blues’  https://vimeo.com/113869969

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SAINTS IN MY RAIN by Silva Zanoyan Merjanian

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I learned the rain in cursive slants

I learned 
lying on doubts

spread on the sacred and not

spread on my bed, my pillow, my exhale

the crust of every lie I loved

tainted with silver sliver of your tongue

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I turned that night on its back

after you went to bed

your streets indebted

to shadows of restless dreams

bruising on its replaced ribs

where trash collectors compress

disposed remnants

in the ruble

life’s severed limbs

an envy here

a longing there

a nothingness holier than my prayers

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and I add

that face without the lips

under the face with muffled shame

under the face I used to have

on heaps of unfinished poems

where a lemon tree and jasmine blossoms

promised mornings

colored and scented at my fingertips

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I learned the rain in every lie

in stammer of your pavements

where Saints gather in line at rock bottoms stacked

between my howl and a crow’s black squawk

wrists dripping prayers on St Rita’s solemn face

she sympathizes but says tonight she owns the ledge

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there’s always mad laughter at the foot of beds

where Saints sleep on their sides facing the drapes

that catch the city’s quieting breath

misting under street lamps

that catch impelled compromise

in bourbon shots and blues on a clarinet

as lonely as you

that time when you asked my name

sometimes I tell you

long after you’ve gone to bed

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Silva Zanoyan Merjanian is a widely published poet residing in Southern California. Her work is featured in international publications.  Silva’s  second volume of poetry Rumor will be released by Cold River Press in March 2015.

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A Golden Compass by Hafiz

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Forget every idea of right and wrong
any classroom ever taught you

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Because
an empty heart, a tormented mind,
Unkindness, jealousy and fear are always the testimony
you have been completely fooled!

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Turn your back on those
who would imprison your wondrous spirit
with deceit and lies.

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Come, join the honest company
of the King’s beggars –
those gamblers, scoundrels and divine clowns
and those astonishing fair courtesans
who need Divine Love every night.

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Come, join the courageous
who have no choice
but to bet their entire world
that indeed,
indeed, God is Real.

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I will lead you into the circle
of the Beloved’s cunning thieves,
those playful royal rogues–
the ones you can trust for true guidance–
who can aid you
In this blessed calamity of life.

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Translated by Daniel Ladinsky

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Elevator

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I read a quote by art critic Robert Hughes comparing painters: There is more death in a Gustave Courbet portrait of a trout than Rubens could get in a whole Crucifixion…

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Then I heard a song by an artist we saw in concert. Who spun magic, jewelled webs we fell into after chasing each other through twilight circumstance. Twilight and traffic.

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 The labyrinth ruled by Janus one level below.

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The shadows jousting on the street didn’t remind me of your fingertips, or your January dancing, or your honeyed cake.

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I didn’t make that joke in the elevator.

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Carried, like some tragic Pieta, into the stream. The playing of a wooden flute sounding in the reeds. My hands flat against your skin. The temperature slipping.

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Forbidden music within your temple as quiet and still as polished stones. Awash in the fragrance of whispered moments. As shiny as a silver bracelet, a tunnel, a hook.

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I’m not even sure I heard anything.

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Did such music ever exist.

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I’ve never wondered how my fine shoes, sewn of ancient parchment & soft as a silk purse, got so wet.

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Nor have I contemplated Gustave Courbet’s

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Trout.

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Or the absence of all that is not

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Trout.

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While gazing into the eye of the fish,

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A future sun.

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Credits for original images: The Trout by Gustave Courbet, 1873. Cat on a Hot Tin Roof, 1958, based on the play by Tennessee Williams starring Paul Newman and Elizabeth Taylor. Skyscraper and Tunnels by Italian Futurist painter Fortunato Depero, 1930. Pieta by Michelangelo.

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I do not own the original images or claim copyright. I have created new images for non-commercial purposes of commentary under Fair Use provisions of copyright law.

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& Walk

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Walk into this land of echoes, rising, from long disappeared passages &

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Pounding with the resonance of a single, surging heartbeat.

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& Step lightly into, like a fox beneath the moon,

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Or the hunting bird, balanced, upon a branch pulsing,

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& Heavy clouds damping electrical skies.

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& Shaking berries into a bowl,

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Sharing handfuls bed to bed,

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 A nurse tending to the wound.

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The rhythm of & clapping hands,

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Two Palms, pressing deeply & into a lover.

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& Feet upon a curving world, arcing night into day,

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Timelessly vanished into a pulsing desire & always

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Echoes dress the wound.

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A heartbeat washing the sky &

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A vanishing moon, poured into bowls & delivered bed to bed.

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& Walk pulsing,

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& Walk always,

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& Walk into.

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Source material for digital collage:

Etching No 2. Soft ground etching by German landscape painter and etcher Franz Joseph Manskirsch (1768-1830).

Ancient Egyptian tomb art. Unknown artist. est. 2000 B.C.

Michelangelo, Sistine Chapel, 1508-1512

Mesopotamian Incantation Bowl, 8th Century, photo Christies.

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I do not claim copyright ownership of original images. I have created new images for non-commercial purposes of commentary or parody under fair use provisions of the copyright law.

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Yes

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I did a drawing

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And decided to call it

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‘Yes’

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Because there are so many reasons

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To say

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‘No.’

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After an extended break I find myself slowly catching up with the many interesting posts I missed. A short while longer to finish some things (I haven’t really been taking an actual…holiday) and POEMIMAGE will be active again. It will be my pleasure to introduce you to many interesting poets and writers whose work I will be addressing visually.  As well I’ll relate some of my own ideas and writing. I need to complete my end of the ‘Blog Hop’ bargain after Richard Guest generously shared my page with his readers. Thank you for gracing this page with your presence.

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