Fanfare of northwest wind, a bluejay wind
announces autumn, and the equinox
rolls back blue bays to a far afternoon.
Somewhere beyond the Gorge Li Po is gone,
looking for friendship or an old love's sleeve
or writing letters to his children, lost,
and to his children's children, and to us.
What was his light? of lamp or moon or sun?
Say that it changed, for better or for worse,
sifted by leaves, sifted by snow; on mulberry silk
a slant of witch-light; on the pure text
a slant of genius; emptying mind and heart
for winecups and more winecups and more words.
What was his time? Say that it was a change,
but constant as a changing thing may be,
from chicory's moon-dark blue down the taut scale
to chicory's tenderest pink, in a pink field
such as imagination dreams of thought.
But of the heart beneath the winecup moon
the tears that fell beneath the winecup moon
for children lost, lost lovers, and lost friends,
what can we say but that it never ends?
Even for us it never ends, only begins.
Yet to spell down the poem on her page,
margining her phrases, parsing forth
the sevenfold prism of meaning, up the scale
from chicory pink to blue, is to assume
Li Po himself: as he before assumed
the poets and the sages who were his.
Like him, we too have eaten of the word:
with him are somewhere lost beyond the Gorge:
and write, in rain, a letter to lost children,
a letter long as time and brief as love.

II

And yet not love, not only love. Not caritas
or only that. Nor the pink chicory love,
deep as it may be, even to moon-dark blue,
in which the dragon of his meaning flew
for friends or children lost, or even
for the beloved horse, for Li Po's horse:
not these, in the self's circle so embraced:
too near, too dear, for pure assessment: no,
a letter crammed and creviced, crannied full,
storied and stored as the ripe honeycomb
with other faith than this. As of sole pride
and holy loneliness, the intrinsic face
worn by the always changing shape between
end and beginning, birth and death.
How moves that line of daring on the map?
Where was it yesterday, or where this morning
when thunder struck at seven, and in the bay
the meteor made its dive, and shed its wings,
and with them one more Icarus? Where struck
that lightning-stroke which in your sleep you saw
wrinkling across the eyelid? Somewhere else?
But somewhere else is always here and now.
Each moment crawls that lightning on your eyelid:
each moment you must die. It was a tree
that this time died for you: it was a rock
and with it all its local web of love:
a chimney, spilling down historic bricks:
perhaps a skyful of Ben Franklin's kites.
And with them, us. For we must hear and bear
the news from everywhere: the hourly news,
infinitesimal or vast, from everywhere.

III

Sole pride and loneliness: it is the state
the kingdom rather of all things: we hear
news of the heart in weather of the Bear,
slide down the rungs of Cassiopeia's Chair,
still on the nursery floor, the Milky Way;
and, if we question one, must question all.
What is this 'man'? How far from him is 'me'?
Who, in this conch-shell, locked the sound of sea?
We are the tree, yet sit beneath the tree,
among the leaves we are the hidden bird,
we are the singer and are what is heard.
What is this 'world'? Not Li Po's Gorge alone,
and yet, this too might be. 'The wind was high
north of the White King City, by the fields
of whistling barley under cuckoo sky,'
where, as the silkworm drew her silk, Li Po
spun out his thoughts of us. 'Endless as silk'
(he said) 'these poems for lost loves, and us,'
and, 'for the peachtree, blooming in the ditch.'
Here is the divine loneliness in which
we greet, only to doubt, a voice, a word,
the smoke of a sweetfern after frost, a face
touched, and loved, but still unknown, and then
a body, still mysterious in embrace.
Taste lost as touch is lost, only to leave
dust on the doorsill or an ink-stained sleeve:
and yet, for the inadmissible, to grieve.
Of leaf and love, at last, only to doubt:
from world within or world without, kept out.
  
IV

Caucus of robins on an alien shore
as of the **-** birds at Jewel Gate
southward bound and who knows where and never late
or lost in a roar at sea. Rovers of chaos
each one the 'Rover of Chao,' whose slight bones
shall put to shame the swords. We fly with these,
have always flown, and they
stay with us here, stand still and stay,
while, exiled in the Land of Pa, Li Po
still at the Wine Spring stoops to drink the moon.
And northward now, for fall gives way to spring,
from Sandy Hook and Kitty Hawk they wing,
and he remembers, with the pipes and flutes,
drunk with joy, bewildered by the chance
that brought a friend, and friendship, how, in vain,
he strove to speak, 'and in long sentences,' his pain.
Exiled are we. Were exiles born. The 'far away,'
language of desert, language of ocean, language of sky,
as of the unfathomable worlds that lie
between the apple and the eye,
these are the only words we learn to say.
Each morning we devour the unknown. Each day
we find, and take, and spill, or spend, or lose,
a sunflower splendor of which none knows the source.
This cornucopia of air! This very heaven
of simple day! We do not know, can never know,
the alphabet to find us entrance there.
So, in the street, we stand and stare,
to greet a friend, and shake his hand,
yet know him beyond knowledge, like ourselves;
ocean unknowable by unknowable sand.

V

The locust tree spills sequins of pale gold
in spiral nebulae, borne on the Invisible
earthward and deathward, but in change to find
the cycles to new birth, new life. Li Po
allowed his autumn thoughts like these to flow,
and, from the Gorge, sends word of Chouang's dream.
Did Chouang dream he was a butterfly?
Or did the butterfly dream Chouang? If so,
why then all things can change, and change again,
the sea to brook, the brook to sea, and we
from man to butterfly; and back to man.
This 'I,' this moving 'I,' this focal 'I,'
which changes, when it dreams the butterfly,
into the thing it dreams of; liquid eye
in which the thing takes shape, but from within
as well as from without: this liquid 'I':
how many guises, and disguises, this
nimblest of actors takes, how many names
puts on and off, the costumes worn but once,
the player queen, the lover, or the dunce,
hero or poet, father or friend,
suiting the eloquence to the moment's end;
childlike, or *******; the language of the kiss
sensual or simple; and the gestures, too,
as slight as that with which an empire falls,
or a great love's abjured; these feignings, sleights,
savants, or saints, or fly-by-nights,
the novice in her cell, or wearing tights
on the high wire above a hell of lights:
what's true in these, or false? which is the 'I'
of 'I's'? Is it the master of the cadence, who
transforms all things to a hoop of flame, where through
tigers of meaning leap? And are these true,
the language never old and never new,
such as the world wears on its wedding day,
the something borrowed with something chicory blue?
In every part we play, we play ourselves;
even the secret doubt to which we come
beneath the changing shapes of self and thing,
yes, even this, at last, if we should call
and dare to name it, we would find
the only voice that answers is our own.
We are once more defrauded by the mind.

Defrauded? No. It is the alchemy by which we grow.
It is the self becoming word, the word
becoming world. And with each part we play
we add to cosmic Sum and cosmic sum.
Who knows but one day we shall find,
hidden in the prism at the rainbow's foot,
the square root of the eccentric absolute,
and the concentric absolute to come.

VI

The thousand eyes, the Argus 'I's' of love,
of these it was, in verse, that Li Po wove
the magic cloak for his last going forth,
into the Gorge for his adventure north.
What is not seen or said? The cloak of words
loves all, says all, sends back the word
whether from Green Spring, and the yellow bird
'that sings unceasing on the banks of Kiang,'
or 'from the Green Moss Path, that winds and winds,
nine turns for every hundred steps it winds,
up the Sword Parapet on the road to Shuh.'
'Dead pinetrees hang head-foremost from the cliff.
The cataract roars downward. Boulders fall
Splitting the echoes from the mountain wall.
No voice, save when the nameless birds complain,
in stunted trees, female echoing male;
or, in the moonlight, the lost cuckoo's cry,
piercing the traveller's heart. Wayfarer from afar,
why are you here? what brings you here? why here?'

VII

Why here. Nor can we say why here. The peachtree bough
scrapes on the wall at midnight, the west wind
sculptures the wall of fog that slides
seaward, over the Gulf Stream.
                                                       The rat
comes through the wainscot, brings to his larder
the twinned acorn and chestnut burr. Our sleep
lights for a moment into dream, the eyes
turn under eyelids for a scene, a scene,
o and the music, too, of landscape lost.
And yet, not lost. For here savannahs wave
cressets of pampas, and the kingfisher
binds all that gold with blue.
                                                  Why here? why here?
Why does the dream keep only this, just this C?
Yes, as the poem or the music do?

The timelessness of time takes form in rhyme:
the lotus and the locust tree rehearse
a four-form song, the quatrain of the year:
not in the clock's chime only do we hear
the passing of the Now into the past,
the passing into future of the Now:
hut in the alteration of the bough
time becomes visible, becomes audible,
becomes the poem and the music too:
time becomes still, time becomes time, in rhyme.
Thus, in the Court of Aloes, Lady Yang
called the musicians from the Pear Tree Garden,
called for Li Po, in order that the spring,
tree-peony spring, might so be made immortal.
Li Po, brought drunk to court, took up his brush,
but washed his face among the lilies first,
then wrote the song of Lady Flying Swallow:
which Hsuang Sung, the emperor, forthwith played,
moving quick fingers on a flute of jade.
Who will forget that afternoon? Still, still,
the singer holds his phrase, the rising moon
remains unrisen. Even the fountain's falling blade
hangs in the air unbroken, and says: Wait!

VIII

Text into text, text out of text. Pretext
for scholars or for scholiasts. The living word
springs from the dying, as leaves in spring
spring from dead leaves, our birth from death.
And all is text, is holy text. Sheepfold Hill
becomes its name for us, anti yet is still
unnamed, unnamable, a book of trees
before it was a book for men or sheep,
before it was a book for words. Words, words,
for it is scarlet now, and brown, and red,
and yellow where the birches have not shed,
where, in another week, the rocks will show.
And in this marriage of text and thing how can we know
where most the meaning lies? We climb the hill
through bullbriar thicket and the wild rose, climb
past poverty-grass and the sweet-scented bay
scaring the pheasant from his wall, but can we say
that it is only these, through these, we climb,
or through the words, the cadence, and the rhyme?
Chang Hsu, calligrapher of great renown,
needed to put but his three cupfuls down
to tip his brush with lightning. On the scroll,
wreaths of cloud rolled left and right, the sky
opened upon Forever. Which is which?
The poem? Or the peachtree in the ditch?
Or is all one? Yes, all is text, the immortal text,
Sheepfold Hill the poem, the poem Sheepfold Hill,
and we, Li Po, the man who sings, sings as he climbs,
transposing rhymes to rocks and rocks to rhymes.
The man who sings. What is this man who sings?
And finds this dedicated use for breath
for phrase and periphrase of praise between
the twin indignities of birth and death?
Li Yung, the master of the epitaph,
forgetting about meaning, who himself
had added 'meaning' to the book of >things,'
lies who knows where, himself sans epitaph,
his text, too, lost, forever lost ...
                                                         And yet, no,
text lost and poet lost, these only flow
into that other text that knows no year.
The peachtree in the poem is still here.
The song is in the peachtree and the ear.

IX

The winds of doctrine blow both ways at once.
The wetted finger feels the wind each way,
presaging plums from north, and snow from south.
The dust-wind whistles from the eastern sea
to dry the nectarine and parch the mouth.
The west wind from the desert wreathes the rain
too late to fill our wells, but soon enough,
the four-day rain that bears the leaves away.
Song with the wind will change, but is still song
and pierces to the rightness in the wrong
or makes the wrong a rightness, a delight.
Where are the eager guests that yesterday
thronged at the gate? Like leaves, they could not stay,
the winds of doctrine blew their minds away,
and we shall have no loving-cup tonight.
No loving-cup: for not ourselves are here
to entertain us in that outer year,
where, so they say, we see the Greater Earth.
The winds of doctrine blow our minds away,
and we are absent till another birth.

X

Beyond the Sugar Loaf, in the far wood,
under the four-day rain, gunshot is heard
and with the falling leaf the falling bird
flutters her crimson at the huntsman's foot.
Life looks down at death, death looks up at life,
the eyes exchange the secret under rain,
rain all the way from heaven: and all three
know and are known, share and are shared, a silent
moment of union and communion.
Have we come
this way before, and at some other time?
Is it the Wind Wheel Circle we have come?
We know the eye of death, and in it too
the eye of god, that closes as in sleep,
giving its light, giving its life, away:
clouding itself as consciousness from pain,
clouding itself, and then, the shutter shut.
And will this eye of god awake again?
Or is this what he loses, loses once,
but always loses, and forever lost?
It is the always and unredeemable cost
of his invention, his fatigue. The eye
closes, and no other takes its place.
It is the end of god, each time, each time.

Yet, though the leaves must fall, the galaxies
rattle, detach, and fall, each to his own
perplexed and individual death, Lady Yang
gone with the inkberry's vermilion stalk,
the peony face behind a fan of frost,
the blue-moon eyebrow behind a fan of rain,
beyond recall by any alchemist
or incantation from the Book of Change:
unresumable, as, on Sheepfold Hill,
the fir cone of a thousand years ago:
still, in the loving, and the saying so,
as when we name the hill, and, with the name,
bestow an essence, and a meaning, too:
do we endow them with our lives?
They move
into another orbit: into a time
not theirs: and we become the bell to speak
this time: as we become new eyes
with which they see, the voice
in which they find duration, short or long,
the chthonic and hermetic song.
Beyond Sheepfold Hill,
gunshot again, the bird flies forth to meet
predestined death, to look with conscious sight
into the eye of light
the light unflinching that understands and loves.
And Sheepfold Hill accepts them, and is still.

XI

The landscape and the language are the same.
And we ourselves are language and are land,
together grew with Sheepfold Hill, rock, and hand,
and mind, all taking substance in a thought
wrought out of mystery: birdflight and air
predestined from the first to be a pair:
as, in the atom, the living rhyme
invented her divisions, which in time,
and in the terms of time, would make and break
the text, the texture, and then all remake.
This powerful mind that can by thinking take
the order of the world and all remake,
w

letter to elana

for the poet elana bell

~

in a different cafe,
on a Manhattan streetscape where once, years earlier,
violence was the purview of West Side Story gangs,
ruling their internecine non-intersectionality territorial blood lines supremely

nowadays, violence replaced by the frenetic
noises of Lincoln Center theater goers,
student dancers, actors, musicians and poets joining the throng
of those who sup and run,
all hearing their own frantic
curtain calling, saying, announcing,
music dance voices words require your obeisance,
needy for a mutual worshipping reassurance fiat that:

life can be made transcendent
if even for just 90 minutes or 120 pages,
or a 3 minute poem reading

this city of millions requires billions of poems that spoon stirred  
and yet, almost always fail, to squeeze, all of the human essence that is in its ultimate source, clarifying nyc tap water,
containing the storied remnants of a hackable continuous,
single human stanza cell osmosis - a blockchain like no other

two poets sit side by side each in their own lapsed dreams,
she, a published poet of prize and rank, ^
he, a rank amateur whose only prize is his unpublished anonymity,
poetry, is his just a nightly soul cleansing,
an imported remnant of his Marrano piyyutim ancestry

one turns to the other,
in the inexplicable daily crazy miracle
of city fashionistas

in a city where stealing a parking spot, or the
forced squeezing creation of a subway seat space
where physics proves none exists,
are oft the roots of slashing and stabbings faithfully reported
on the 11 o’clock news,  
and trust and/or other encouraging words
are seldom heard and even less demonstrated,
the make-no-eye-contact of Camus’s L’Etranger anomie is the
normative, paranormal, paralysis cloak of we city separatists

“Can you watch over my electronics and stuff?”

Sure says the grayed and grizzled,
an all life long veteran of nyc,
judged to be trustworthy
based on a few seconds of being upsized and downsized,
a car wash (exterior only) perusal
despite a
“no direction home, like a compete unknown, a rolling stone,”  
this signage, yellow star permanently chest-affixed,
conveniently ignored, as it seems impossible
thieves don’t look like me,
don’t likely in their possess,
a distinguished head of gray hair (yeah, sure)

a thank you reward of (or did I imagine it) a lean-in,
a momentary head on a shoulder,
the chit chat now grows earned and earnest,
she confesses her cardinal poetry profession,
eliciting an ‘Oh Boy’ utterance from the poet
of a thousand names
and a thousand textual emendations

a fastidious nyc boundary is brief crossed for one short meal,
till the end when time sensitized IMRL intrudes and
the showtime calls out,
if not now, when? if not me, then who?

I read her poetry later in the praying supine first position of
three AM, and laugh with delight, at the contrast and no compare,
the styles clash and tho the stories told
are both writ in the aleph bet script,
there ends the Ven diagram overlap and
into the night’s coming of a Elvisian blue suede coverlet,
we both disappear, and if not for this recording,
history says, you old man confused, never happened,
just an imaginary poetry ink blot dream breaching...

~

postface:
another poetry book is no longer homeless,
comes to shelter upon my shelf, close to Angelou, far from Whitman,
now all the book’s nooks eyes collectively
reassessing the new old-owner, parsing his syntax,
undecided if his readership is worthy of them,
concluding that all these books are the
man’s owned roughened stones,
to be placed by human hands on the
serpentine curvature of his literary tombstone,
and until all stones fully read,
they all agree,
will they and he
be fully freed,
smoothing his legacy’s edges

In a midwinter night’s dream
  i found myself lost again,   
  or was it even this year ?
  It may even go back farther
  than yesterdays out of reach,  
  older than an ancient pyramid stone
 
Before the rebirth of past life deposits,
  unborn orphaned motherless sediment,
  flotsam of the ages adrift,
  unknown for more than a thousand years

... waiting for so long to see beyond the bounds

High atop a slippery edge-cliff
  i clung  ―            
Searching for a deeper understanding
  of who i am;

Roosting like a starving bird of prey
  with a broken wing
  born alone ... holding on
  With a fear in his eyes
that only i could comprehend
  
  Staring way down deep in the pith,       
into an internal pitch black abyss,
  just begging to see beyond ―
  Mindful it's so hard looking
  into the eye of a storm

Intimately parsing the recurrent source
  of reigning pain
Where the perpetual fog of isolation dwells;
an inversion,     preventing dispersion
  of the nimbus  cold  and  dark

In the darkness, there bides a suffocating
  emptiness,  
  A swelling silence what loudly knells,
  leeching through a perennial ache

An abating voice within hollers unheard,
  invisible as a bitter cold wind howling
  relentlessly through the hollow pang;
  Echoing the subsiding say
(squeezed out) ... of an orphaned soul
  deep beneath the light

Awakening to realize  ―  once i was alive
  and
i could feel me holding on to you



//////////////////////////////////////////////////////////////////////

The makers make
Everything
From everything
Hands into the void
Shaping matter
Parsing out particles
Passing electrical
Synapses to deduce
And reduce
Experience
To the simplest rules
Then changing the laws
Of science
Not god
But humanity
Making meaning
From the chaos
Imposing order
Through logic
The saving grace
Of this human race

I saw the sun steep
into the seascape ―
lonely as a drowning
    wave
         on still-waters

the dimming of the day
rescinding evanescent daylight                                                         ­         .
fading with the slack tide
         lost at sea ―
a gloaming moment
         let fall from
the remains of the day,
like some other passing
sea bird's molted feather
drifts away untamed

I sit silent as the driftwood
lingering at the watermark,
watching a random gust
    erase the footprints
of another recurring day, 
bearing abandoned memories
    and vacant heartbeats,
atrophied in the drifting sands

    and I see you walking
    towards the abating  
    midnight sunset ―
         but I know
    you're just a mirage;    
like the dimming afterglow
of so many waning moons
            elapsed
         
ever-changing tides grow low  
and promises made lightly  
         do ebb away
          
Scanning the distant horizon ―    
    a blindfold heart    
    mooning all at sea;
parsing a deserted shoreline,
    wondering if love
          is too late ,..
    to stem the tide ―


        harlon rivers

      30   May   2018

What if its totally upside down? I mean, for all practical purposes, we don’t really know which is even “up” relative to anything but us. But that’s not the important part, how existence sees us has never really been as important as how we see existence, as how we see ourselves reflected in its glossy, shimmered surface.

We sit in front of this mirror and our eyes drink in ideas that we do not understand,
children forced to listen to operas.
We sit in front of this mirror and force our mouths to mimic tiny movements, hoping that the sounds we spill are close enough to the truth that the other eyes in the mirror nod in agreement.
We sit in front of this mirror and listen with tensed, white-knuckle focus. The kind of focus you spend your whole life putting off because meditation is hard. The kind of focus that you have to exert and struggle to maintain. The kind of focus that lets us listen, in hobbled and wanton ways, to the whispers that surround us.

Some see the sun rising, others see the darkness of the cosmos. Still more see only themselves, eyes blinking blankly back and forth into each other.
Some see a white light bathing a beautiful smile and strong, soft hands. They reach into the shimmering glass and when their hands are rebuffed by it’s smooth surface, they reach back, confident that their exploration was sufficient. Sufficient enough to know that the mirror is not only real, but that it must be all that is.

Some see a looming darkness, a tiny hole in the surface of things that seems to **** itself larger as we watch it wobble. Things from the mirror start falling in, slowly at first, and usually just things like soccer *****, socks and the occasional play-mate. Some people watch the whole mirror get swallowed into itself, they listen as the panel shatters in a hundred different ways and the glass slices outward just as the darkness consumes inward. They weep, they wail and mostly they watch a cold hand of fate reach out to touch them while all the world around their shoulders swims on, buoyant and capable.

I don’t know which of these I am. I seem to flirt with the many mistresses of myself, seduced by the slow eyelash flutter of a romanticized man. A man guilty of sins and seeking to repent, of hands that fumble but can learn to grip, of feet that plod but are desperate to fly, a soul that is chained but still proud.

I have watched the mirror for some time now.
I have heard myself screaming at it to change, or stay the same, or just ******* move.
I have seen the cracks start, spread and conjugate with each other as the web of breaking reaches out.
I have tasted the silvered slivers as they explode outward and into me.
I have felt the power of a lie, a single lie, and its ability to shatter so much.

And here, in this new stillness, there is something else,
A stranger that I have glanced across crowded rooms and packed pavillions
Over the heads of all assembled I have seen the cowl
Under the feet of all assembled I have seen the dark soles of worn boots
This stranger is an old enemy and an older friend
Never leaving, only changing form and function
only reminding of presence, never permitting a lack of it.

Death will stand near me in this mirror, her image ebbs and flows as with all reflected light. I will watch her as she takes one step and then another, leaving small, crackling footprints across the surface of my soul.

The hollow wind funneled the voice
of the distant night-train crossings,
awakening  a  familiar  silence
hanging from the vast wilderness sky
A restless heart hearkening the echoes,
imagining  a  runaway  Pullman
flew away off the rails,    airborne
on the winged wind headed north

Winter  pausing  for a moment
in  the  shadows  of  familiarity,
as if parsing the unspoken breathings
in an  echoless  surrendered sigh;
uncertain if tacit words set free
could ever allow a heart broken
        to feel whole again

There  is  no  absolving  voice
that whispers in a solemner tone :
        Death  has  no  mercy  ―  
love remains marooned in the wake ,..
and it feels like the world’s gone mad
letting time be the arbiter of perpetuity

The fading dream of a motherless child;
a wish to be held maternally
fell to the ground with a thud,
        breaking the silence,
dissipating formless as the shape of water

Muted cold lips so full of questions
morphing into fugitive sighs
come the unsettled night;
when shadows disappear like frail memories
that  passed  too  soon  to  grasp,
thickly palpable as the warm breath
a winter bird alone on frosty branch

There’s no fear in braving the darkness
in the  winter wilderness of life borne alone
There’s no way of knowing what you’ll find
down that long empty road back home
Life just flashes by silently before your eyes
        through the windshield
    of countless miles and miles

And there’s nothing you can do about it ―
It’s like hearing the moment of truth in a lie
when all I was looking for
was  how I got here in this now,.. yesterday

only finding a hopeless poet
scribbling  slightly stained pages,
spilling  a  bitter  sweet  dream ...


        harlon rivers ... February 2018


///////////////////////////////////////////////////////////////////////

.                       .                          .
    .             .          .               .
       .    .    .     .     .     .     .    .    .

     i     stare  at  a  docile  ocean
  
           waveless   sun   accosted
           dark and shadow edged
           tinned with men's brave
           history of misconception     i

                                   'Dragonne'.    
           'Colossuus'.    
                                   'Cetaecean'.
          
                           

           - Leviathan  ?



                       As sure as hope setting sail  -
                       Past shoal, past shallow,               
                       So each chase begins.
                       Lines parsing out,  
                       Expectations coyly
                       Embroidered,
                       Entwin-ned.


                       -  Leviathan  ?



                        Pray please this narrative be drawn :  
                        Truth for sake of safe harbour;
                        Stillness without caution;
                        Softly ripening dawn;
                        Jupiter and Venus descendant,
                        Celestial promise anon ?
                                               

                        -  Leviathan .




                Violence
         the casual violence of life
             the worst kind
    not casual really   but whats violence anyway
      few knew why    why ask why    the few
     once  the  dice  flipped  get
       its         a flying             a mind            a dunzo game
             gravity responds  we hope              hope together sake
                             to    gether

we   short the freaks   short em all   them freakin freaks      freaks
           i want you I want yours
             i want to take  you over
                  take control  take over
                        29' k         kontrol        all night                                                        day
­                             long             time                                                                end  time

                  everthing happens forfurfor                                      fit                         ­ ur
              once and done     nature                                           forfeiture
                     reason                  or ur other        or ur another                         or ur a altogether reason
                                                          ­                    or simple GP          drunkworld
                                          ­                                                            reason                               nurture


                        surprise my ripest faither                                                          ­                     less
                             5 rise  10 run                                                   huh
                   up the                   down and dumb
            dumb  ber                   right left        left                                                            right thum ber

                             number one                                                 number
                                                          ­                                      numb   ber
                                   one                       ­                                     ones
          
            ­    
                               another                                                                      
                                come
              ­                  under                           
                                 the
                               ­   ~                                                                ­          
                                  .
                            ­  
                     



All Rights Reserved.
James R. Morse, NYC  2013.

A Woman's Reflection on Her Reflection (Valence and Value)

one poem, written by two authors


~~~

Ever the analyst,
A mirror functions as surface to
Parse the fleeting constant
Of youth's beauty.

From genetic gift
Of symmetry and bone,
To technological tampering,
Until the equation is solved,
As experience and character
Models and maps the result.

The answer, a reflection,
Of individual valence and value

(written by S.D., a woman)

~~~

(written by N.L., a man)

unbidden and unannounced, a
"not fully formed poem,
but a simple reflection"
inbound missile arrives inbox,
armed with silent power,
the lethality of the
Holy Unexpected

the man reflects
on her mirror-on-the-wall's
fulsome reply,
parsing the words of a
woman's reflection,
while gazing on her own

every human's momentary glass notation,
but an instance of summation,
a human poem, whose editing,
unceasing

a comma here,
a period inserted,
an eye shadowed, an eyebrow tweezed,
a eye dark circle line added,
to tree-mark time's authorship

all  these
but a person's
excerpted extraction,
notarized,
then auto-erased and revised,
as out of date,  
instantaneously compromised

but,

it is upon  the conceptual,
valence and value,
more that the man reflects perpetual,
less on transitory morphing changes of
exterior mortality

while overlooking her
glassine realization from behind,
he concludes:

every reflection,
no matter how oft the snapshot,
the unfleeting constancy
of the combining of the

princes of principles,
valence and value

that he witnesses,
in the calming pool
of her eyes,
(those borrowed windows into her soul's well,)
so well reflect
her unchanging greater finery,

her character

this reflection,
metamorphosis transformed.
into a planetary permanency poem,
high placed in his the firmament
of their conjoined sky