now, I will try to abandon time and space
in this form of truancy.
what is this abandonment trying to measure?
the abeyance of presence.
what is the measured variable trying
to dissect? the impossibility of absence.
a poem aspires to be something concrete. a poem
is what is real and imagined in the same context.
I try to invoke Abad -- what is imagined is most
real. this shall be its leitmotif.
now, i imagine the horizon as a point
of origin, or a template to some familiar projection,
or a tagebuch summarized into a fine line
of allegories and denouement.
what this line tries to prove is that
an enjambment is a mimesis.
acknowledge the sublimity of a
creation. notice that the sequence that will
be promised is diegesis of absence as form
but not a poem as in a poem that enshrines
lucidity -- but the lack of it.
there is only the photograph of horizon
as hypothesis of perpetuality. this now
is a subject, a speculative undertaking rearing a
poem -- writing as preparatory for absence,
finishing a line as pursuit of thesis, gravity of
its heft as tabulation of emphasis, or
verbosity, which may be telling of meaning or chronology.
a poem that is not a poem,
But poem as a form of absence
that aspires to be a poem.
what is transpiring now is that i am assuming
an utterance: utterance as being here,
and perhaps voice as sound of becoming but not finality
of presence, and sound as disappearance
post-peak. its point-source silence and formation
of thought, and then a poem is written as
evidence of disappearance in deep and close
contest with a vision coming from another
audience as an objective supposition or
reaction that may propel an exchange
but only when silence is entertained does
silence happen, and so this may be dismissed
as a monologue among dialogues insofar as
only to pinpoint this arrogant feat:
i may be speaking glossolalia, or in tongues,
and that i seek no reprieve nor vestige,
all the more response -- intone of voice
stilling itself in the tense setting
of being gazed upon, glazed with coherence
of senses from one identity to another say,
you hear me speak as in speaking
as baring sound.
but now that i have spoken, i have already undone
the quiet to stir volumes and amplitudes
to attest sound-fade as vital component of absence,
whereas this poem produces ample sound
if you pay close attention to yourself reading
in the lull form of reading (your
breathing will have intensified here,
your reasoning will have made so much
noise here) as i continue to whittle
away in form of verse, verse not as poem,
verseliteration not as occupancy of space,
but all in all, a body of work
that is a visage of movement - or a trace of absence, physics of space and kinesis of departure.
a delineation of a thing that was once
thriving in threshold accompanied
by its tendency to wane: sound may be an
analogue of unheard, as sound is impervious
to quietude but quietude conscious of sound
and its potential,
that quiet coheres to its inclination to consummation,
this completeness so emphatic,
this allegory as
absence the somatic, axiomatic,
indefatigable machinery of a presage,
or continuity -- this poem that is not a poem,
but an excess of sound, a body that
deserves end, a punctuation.
verity of this argument in basest form.
this body of work as absence
and its completeness, volition
of its enigma: is this the end
of sound or your silence summoned?
to drag it back, its recalcitrant body,
is form of revision, then possession
of an absence, a recollection that will have granted
seamless entry and translation
which passes on from its origin to
a new clause -- to end it here, now and pass
over as readable only in the background that is
an embellishment of absence amongst
things in exclusive continuity, to have this produced
in space as empirical of absence,
and to punctuate this, a mystification,
or say, acceptable fabrication,
to read and extricate as acceptance of an absence
as form: this poem that is not a poem but
only a physicality delimited -- to speculate
as disbelief, and to have done such simply
demystification of its transition.
A deconstruction as evidence.