I

Before the sea the sound of sea, before the wind a mask of wind placed on the face, before the rain the touch of rain on the cheek. The lee shore of this finger of land is a gathered turbulence of tea-coloured, leaf-curling wave upon wave, wholly irregular, turning, folding, falling. No steady crash and withdrawal hiss, but a chaos of breaking and turning over, no rhyme or reason, and far, far up the beached misted shore. There, do you see? - suddenly appearing in the waves’ turmoil a raft of concrete, metalled, appearing to disappear, the foreshore’s strategic sixty year old litter shifting and decaying slowly under the toss of water and wind.
 
II
 
From the lighthouse steps to the sea fifty yards no more: the path, a brief facing of the wind and spit of rain, then turning the back to it see the complexity of low vegetation holding its own on the shallow earth-invading sand and rolled leaves of marram grass. Sea Buckthorn is the dominant plant, not yet berried with its clustered inedible oil-rich orange fruits. The leaves, slight, barely 5cm long, but in profusion, clustering upward, splaying out and upward on thin branches, hiding the wind in its density, never more than chest high, so the eye looks down, sees the plane of the leaves, long, thin, suddenly tapered, dense, stiff, thorny.
 
III
 
You said, ‘look the door is curved.’ And it was. In the late afternoon light filtering through the oblong window 150’ into the grey sky the panelled wood was honeyed. Covered with a well-varnished frottage of swirled marks, some of the wood itself, some of gathering age and infestation, the single window’s light blazed a small white rectangle on the larger rectangle of the door. The passage outside the door too narrow for the eye to take in the whole door straight on, one has to move past and catch its form obliquely.
 
IV
 
The curve, the long four-mile curve of the finger into the afternoon mist and sea cloud. From the road: only seen the smooth ebbing tide waters retreating from the archipelagos of mud and sand and slight vegetation of rusted grass.  From the road: only heard over the marramed banks the sea’s sound of waves’ confusion and winds’ turmoil. Follow the fade of the curve’s progress in the echo of distance. It paints itself from the brush of the eye, the sea a grey resist. This spreading away is a long breath taken . . . then expelled from the lungs of looking. You can’t quite hold it all in one view so you’ll build the image in sections, assembling and projecting across two adjoining landscape sheets as if the spiral binding isn’t there. The resulting image when digitally joined will describe the negative space of sea of sky, silent and uncluttered by marks. Only the curve of the land will collect the drawn, a vertical stroke here for a lighthouse, a slight smudge for the lifeboat station.
 
V
 
From the road looking south to an invisible North Shore, the mist hiding the true horizon, there is layer upon layer of horizontal bands: of grass, of mud, of nested water around mud, wet sand, layered water, mud-black, water-grey, a dull sky-reflected white of a sheltered sea, and patterning everywhere, dots of birds near and distant. Then, in the very centre, a curlew in profile, its long downward curving bill dipping for worms into the wet sand and mud. Breeding on summer moorland, wading winter estuaries, this somewhat larger than other waders here, so distinctive with its heavy, calm stance.

I’ve forgotten
to be anything but
space—so enraptured
with the black that
the forest was
less than a goose pimple
on earth’s flesh.

I have ignored the
eighth notes
hanging from the pines.

I have forgotten
the snowbirds and whipped
winds.

I have numbed the needles
pocking skin through
my jeans.

I have forgotten green.

I have forgotten green.

I have forgotten green.

now
the light of frozen
flies dims
in your mouth.

now
love washes out
in seasons.

now I eat
sugar-frosted buckthorn.

And I see you
ready to touch
through one
hundred leaves
and foliage.

"The question should not be in what ways writing and utterance trope each other, but how both are involved with number. Without relating the technology of writing to number (as opposed to sound or drawing), it is impossible to discuss it meaningfully as an aspect of versecraft."

          Courage to write and courage to not write. Read
          The great poets and highly accomplished letters
          Of leaders. Yet the war and the book have lives
          Of their own. Vacuum house, analyze mankind.
          His idea of himself. Ideas subsumed
          By better ones unite people into one people.
          I watch from my little bowl of nuts. Watch
          The one red squirrel and the many gray.
          Watch the nuthatch pair, platoon of chickadees.
          Here is what I say: When we can go
          From planet to planet on nothing but air,
          Leaving behind a drop of water,
          No burger bags blowin’ in the sun,
          I’ll love my children, my dogs and be happy.

"What is needed is a way to pry apart the polar, mimetic fiction that undergirds discussions (even sympathetic ones) of writing and versification, and see how we can relate writing to measure. Roy Harris’ investigations into the origin of writing make this connection possible."

          Electronic millennium. A long silence
          Wouldn’t hurt. Not that the national debate
          Should cease, it should proceed, passionate
          And furious. Those who have studied the matter
          And have something to say should write cogent
          Opinion pieces on the totalitarian
          Tendencies of minaret Islamists,
          The terminal contradiction of advancing
          Democracy with the unitary military.
          George Washington would not have approved
          And even Lincoln vacillated between
          The practicalities of preserving union
          And the ideal of freeing slaves. The president
          Carries his burden of matter, the physics
          Of existence cannot change our aloneness
          Or the butterfly’s importance, the very
          Last insects at the screens of August.
          It is life we face and death we meet.

"He argues that the origin of writing did not lie in the drawing of figures, or attempts to imitate speech, but in the recording of number. According to Harris, the oldest ‘writing’ that we have, like that on the 11, 000-year-old Ishango bone, is in ‘lines.’ The surface is scored with rows of short, parallel strokes, which probably served a numerical function. We still use such scoring systems today on occasion."

          OK, different strokes. But reading North’s poems
          And his predecessors’ in which noun and verb
          Are so far separated by modifiers,
          Post-positioned prepositions, diversions
          Into ditches, gardens, heavens, I don’t know
          What to do laugh or put the book down and eat
          Several cookies. In other words, anything goes,
          There truth resides. 1/3 life in suburbs,
          1/3 on the subway, and the last third
          On the mountain. A fourth hallucinating
          In heaven. That’s how it goes. You get what you believe.
          Bones in mud. It’s always possible I suppose
          That for nine months analogous or symmetrical
          With gestation our souls wander call it limbo,
          Doing the limbo and harassing the living
          With unanswerable questions, finally accepting
          Free molecular rent in a cubic meter
          Of interstellar space, a rose hip.
         
"Harris speculates about counting by scoring:"
'What is relevant for our present purposes is the fact that counting is associated in many cultures with primitive forms of recording which have a graphically isomorphic basis... The iconic origin of such recording systems is hardly open to doubt: the notch or stroke corresponds to the human finger...'

          Partridgeberry, mugwort, mats of raspberry,
          Cranberry, bearberry, autumn eleagnus,
          Autumn Nocturne, Autumn Leaves, the changes
          To the tunes and the scientific names.
          When it doesn’t matter what you do
          You’re probably doing something new.
          That’s a woodpecker. That’s a moth. I’m bounded
          By my surroundings, I feel at home.
          Could be Schenectady. Could be Troy.
          One of many small cities in which to while
          Away my anonymity. Be specific.
          Not asphalt but impermeable surface.
          Not trees but mature stems. Quercus rubrus—
          Quality veneer. Into such a garden
          Have a victor and a fool penetrated.

'In short, the rows of strokes are graphically isomorphic with just that subpart of the recorder’s oral language which comprises the corresponding words used for counting. It makes no difference whether we ‘read’ the sign pictorially as standing for so many fingers held up, or scriptorially as standing for a certain numeral.'

          In a crowded world every action results
          In an equal and overwrought reaction.
          Yet, all the energy recycles
          And there is not one thermal unit more or less
          When all is said and won. Even when the tribes
          Were isolated behind mountain ranges
          And rushing rivers, they sought each other out
          For trading and for taking. Humanity
          Is lonely. Humor is the only remedy
          And going to your daily discipline
          The only way past Monday. Join the torrential
          Flow of words, emotion, wit and erudition.
          It is embarrassing to see a good writer
          Work himself into a lather, having
          Something to say. A system of beliefs
          To illustrate, characters dressed accordingly.
          Gardens and wilderness in which to wander.
          A cave with a view. The plumbing problem never
          Resolves. Fax your results. We’ll be working late.

"Along with other evidence, this leads him to argue that the invention of writing–or the division of writing and drawing into separate functions–occurred when the graphic representation of number shifted from the token-iterative system that appears on the Ishango bone, to type-slotting."

          Electricity is occult enough for me.
          Excessive classifying could be fascist!
          Yet how else can one organize people
          Into contexts. By their associations.
          Family, work, habits, each assigned
          A day of the week, moon of the month.
          Poets rhyme, jazz musicians count time.
          There is more than one way to make war. By
          Declaration, by punishing offenses
          Against the law of nations, by granting letters
          Of mark and reprisal, by making rules
          Concerning captures on land and water, by
          Suppressing insurrections and repelling invasions,
          Erecting forts, magazines, arsenals,
          Dock yards and other needful buildings. Today
          I face the blank page between the finished pages.

"Harris gives the following example of what he means:"
'The progression from recording sixty sheep by means of one ‘sheep’ sign followed by sixty strokes to recording the same information by means of one ‘sheep’ sign followed by a second sign indicating ‘sixty’ is a progression which has already crossed the boundary between pictorial and scriptorial signs.'

          When my grandmother considered it favorable
          That I would be a writer, she had in mind
          Clear commentary from which many people
          Would derive meaning. No such luck. My writings
          Are like the flicking tail of that flycatcher,
          And I am the flycatcher, weighing but an ounce.
          My grandfather’s rough-hewn peasant chairs
          Are well known by my sons though they never knew him
          And the chairs were not hewn, just owned by him.
          One is in a corner of the room and two
          Are scrimmaged around a computer screen.
          Computers post-date him and cars post-date
          His father and so on. If the grid collapses,
          The crops fail and the roads close, some will be forced
          Across boundaries among boulders, naming snakes
          And stars according to memory.
          They will be hungry, mortal and strong.

'A token-iterative sign-system is in effect equivalent to a verbal sublanguage which is restricted to messages of the form ‘sheep, sheep, sheep, sheep...’, or ‘sheep, another, another, another...’, whereas an emblem-slotting system is equivalent to a sublanguage which can handle messages of the form ‘sheep, sixty’.Token-iterative lists are, in principle, lists as long as the number of individual items recorded. With a slot list, on the other hand, we get no information simply by counting the number of marks it contains.'
"When this change occurred it opened ‘a gap between the pictorial and scriptorial function of the emblematic sign’, which had been previously inseparable in the counting represented by rows of slashes."

          No book I know tells if blue cohosh
          Caulophyllum thalictroides—a barberry—
          Is edible. Other barberries are
          But that blue berry looks risky to me.
          And May-apple—Podophyllum—other
          Than the fruit itself which is definitely
          Sweet. So I read, not sure of myself.
          There is a patience with which to wait out anger,
          And a patience with which to endure ignorance.
          The job is everything. It is freedom
          And purpose and religion. It is acceptance
          And shelter and sustenance. Last night
          We were watching Tweet’s show: groveling before
          The rich pharisee’s judgements. I said no
          Amount of money could make me grovel
          Before that guy. His toupe’s gayer than his lisp.
          But who am I? You think bullets won’t ****?
          I’m the guy they put before a wall and shoot
          Then eat lunch. But that feeling passed quickly.

"This semiological gap, made writing possible because it meant that signs could be manipulated to ‘slot’, or identify, anything whatsoever. The open-ended quality of the scriptorial sign was a necessary precondition for the development of writing systems."

          Lately I’ve been copying wholesale
          From the great poems, lines and ideas not my own
          Or owned by all? It’s ok, I can be ignored
          Or appreciated in a future city,
          By a future shore. The honest man can
          Only recognize what he loves and point to it.
          That Borges poem called In Praise of Darkness.
          Emerson and snow. A meditation
          That bumps serenely, with acceptance,
          Between things and thoughts. It is said one should
          Know for whom, to whom one is writing.
          These are letters to those who love letter writing.

"As Harris points out, no writing system is accurately phonetic. Even the alphabet only highlights certain phenomena in the speech stream. The reason for this is that alphabetic writing did not begin as a simpler or more accurate way to record speech than other writing systems, but as an easier way to write."

          A possible cancer had taken me
          To the edge of my endurance. Pokeweed,
          Poisonous, became attractive. Red stems
          And juicy black berries. I had packed warm clothes
          And pain killers. Why the warm clothes if this
          Was to be my last walk? To die in comfort
          Without a fly’s buzz. Overlooking a ravine,
          Sea of mountains, dawn. But it proved a false alarm.
          Now Sunday will be a holy day of plant
          Identification. Nothing better
          Than lying in leaf litter, skin drying
          To a taut drum. Ravens stay away!
          Until cougar’s had his fill! Instead
          I showed the boys pokeweed growing among blackberries
          And taught them the differences and uses.

"Through a radical reduction in the number of signs, the alphabet simplified the scriptorial system in and of itself. The evolution of writing therefore may look like this: simple forms of counting preceded the complications of pictorial representation, which in turn led to simplification of the writing system in cultures that adopted the alphabet."

          I was running uphill, parallel to
          The Taconics extending northward into
          Vermont (I find Vermonters in their jalopies
          Annoying but admire them for planning
          To arrest the president for war crimes) when
          I happened upon a flock of cedar waxwings—
          Said to be a gentle and politic bird—
          Sharing—very orderly—dried frozen grapes
          On the vine. (Rose hips, buckthorn, ash, pokeweed.)
          I tried one, too, the two seeds in my mouth
          Keeping me company down the mountain.
          I see no downside whatsoever
          To compensating for global warming,
          Constructing the green energy economy.
          New inventions may facilitate
          Our transportation to other planets.
          Yesterday a young man, Barack Obama,
          Won Iowa. I’m hopeful he will
          Articulate an international vision,
          A world order in which each neighborhood’s
          Good as another. I have no particular
          Love for writers; they’re a dime a dozen.
          But so are chickadees and I love them!

"Discussing the power of inscriptions of number, Harris points out:"
'Counting is in its very essence magical, if any human practice at all is. For numbers are things no one has ever seen or heard or touched. Yet somehow they exist, and their existence can be confirmed in quite everyday terms by all kinds of humdrum procedures which allow mere mortals to agree beyond any shadow of a doubt as to ‘how many’ eggs there are in a basket or ‘how many’ loaves of bread on the table.'

          True, nature would be a stern, unforgiving
          Mistress too, and man is but her right hand
          Acting on her command. How cold! How hot!
          The individual doing what he loves or not.
          Trees and cities. Herons, hawks. What we fail
          To govern in ourselves, nature will.
          We caught the killer and his gorillas,
          Now let’s go home, let the “innocent” choose
          Up sides. A good thing was done but the tyrant
          Should’ve been undone through global governance.
          Writing is divination using rhymes
          And estimations. Words like mammals
          Come near your sleeping head. Last night I emerged
          From the hum of our refrigerator
          Under a hazy, phaseless moon. The peepers
          Were an exact expression of my happiness.

"Or, one might add, for how many stanzas there are in a poem, or lines in a stanza, or stresses, feet, or syllables in a line, or occurrences of particular syntactical or grammatical patterns, and so on. As every serious student of versification has always understood, versification is about counting language."

          5:30-6 write poetry,
          6-7 ****, shave and shower, stretch
          Then get dressed, 7-7:30
          Clean house, 7:30-8 drive to work
          8-6 work (except Monday and Friday
          Work 8-4, basketball 4-6)
          6-7 drive home, shop, help make dinner
          7-8 eat dinner, read paper,
          Watch McNeil-Lehrer News Hour,
          8-9 play trumpet, study plants, type poems
          9-10 watch TV Mon: Murphy, Cybil,
          Tues: Frazier, Grace, Wed: Roseanne, Ellen,
          Thurs: Seinfeld, Friends, Fri: go out to dinner,
          10-11 read, except Tues watch
          NYPD Blue, Fri: Friday Night Lights,
          11 sleep. I could send this to the networks,
          Get a gizmo in my box. I hope my
          Schedule won't be interrupted for war.
          My dentist asked had I seen this morning’s
          Press conference, didn’t it just scare the ****
          Out of you. I said your bill is what scares
          The **** out of me. But here I am, writing
          And the sphere’s still turning. Or should I say
          Burning. As long as you write one poem per day
          You’ve left a little litter in the world.

"The reason to write verse is less to score the voice than to imbue words with the magical quality of counting. That is why meter, or measure, is at the heart of debates over all verse forms, including free verse."

          Vigorous wind, voracious ocean,
          Many merciless hard frosts, hurricanes.
          The bed of a human, its smell and warmth
          36 teeth, 46 chromosomes, 2 feet, a loose dime,
          61 summers, some soot, some sand,
          Thunderstorms. I wake up to a lightning strike
          And my dream incinerates. When they say
          Life is but a dream, that’s what they mean.
          The writer working hard, telling the story
          Of what happened yesterday or yesteryear,
          A man’s born to a country not his choosing,
          Let labor flow like capital, of mere being!
          Pomegranate juice, broccoli, arugula,
          Brussel sprouts, cabbage, cauliflower,
          Collard greens, kale, radishes, turnips,
          Garlic, leeks, scallions, onions, 2 lbs
          Swordfish, tomatoes (8 medium),
          3 cups almonds, carrots, a sweet potato,
          Winter squash, cantaloupe, mangoes, watermelon.
          2 daily writing exercises,
          50 words on any subject: complaint, headache.
          The imagination applies a
          Countervailing pressure to reality.
          Writing badly is the best revenge.

"Number is one of the creative grounds of poetry, and the idea that writing grew out of counting is the missing link in studies of the graphic in versification. It is almost uncanny that lines of verse look exactly like the most primitive ways of counting–parallel scorings that can be numbered."

          What you do to one side of the equation
          You gotta do to the other. Isolate
          The variable. Combine like terms. Metaphors
          And analogs are reduced to least common
          Denominators. Multiply through (parentheses).
          Write a new equation after each operation.
          Inscribe neatly. Check your work. Imagine
          That if you’re wrong, the astronauts burn.
          Change the signs which will avoid going
          The wrong way down the number line. Zero
          Is the middle of your universe.
          There it is, calm, comfortable as an egg
          On a spoon. That is, before possibilities
          Become probabilities. This is just
          Another equation manipulated
          With opposable digits. For at the ends
          Of your guns is the earliest calculator
          A magical machine which converts
          Numbers to words and words to numbers,
          Measures the mists, frequency and wavelength,
          Of the material penumbra.

"Verses are countable in exactly the way that token-iterative digits are countable, from either end of the sequence. Each one indicates only its singularity, not a number. Every poem in lines effaces, or predates, the distinction between writing and drawing in the same way as the lines on the Ishango bone."

ashen wasteland
healed by dew
pulses, trembles
birthed anew
Mother beating
midnight drum
     lily, crocus
     cherry, plum

yearling stumble
hatchling drop
grizzly bumble
salmon flop
coyote howl
jackal bay
gleamy-eyed
they stalk their prey
brutal jaws
on tawny throat
****** tears
in tawny coat
feign o possum
flee o hare
     saffron, saltbush
     tulip, tare


Mother sows,
human reaps,
forward still
the forest creeps
hack and slash
slash and burn
     maple, mayfly
     buckthorn, fern

chipmunk gather
raccoon store
silence on
the barren moor
groundhog slumber
grizzly snore
    knocking on
    the Old Man's door

Each cold wave was starting to slap
me in the face and the grayness of morning
wasn’t lifting as the sun rose.  Goosebumps

had made my legs slim sharks, heavy and rough,
so I swam to shore spitting out icy water.  
I was thinking about coffee,

maybe crawling into my sleeping bag
and listening to loons’ far-off howls
until breakfast, and I reached the splintery dock

when I choked –
tried to struggle backward, without any splash
which might wash her in with me.  

Dock spiders swim.  Did you know?  
They fasten long ropes of silk and dive
for their prey, something big since no horsefly

sustains a spider the size of a mouse.  
This one was monstrous, motionless,
spiky black legs jointed white at her knees,

face-level to my wet bobbing head.  She gripped
an egg sac, papery and white, marble-sized.  
It held hundreds of tiny hers.  It looked heavy.  

I had come to her panting but now the water
or inertia maybe pushed my face close
to that enormous silent mother so I fought harder

to stay away, though if the lake had been still
I might have treaded at a distance, stared hard,
dared her to scuttle and disappear in the cracks

in the plywood-patched dock with its rotting ladder
and a dozen more spiders, probably,
white sacs strapped firmly to their bellies.  

I flopped like I’d hooked a lip, gasping, desperate
for rough open water where depth
would deter any diving hairy creature.  

Somehow I struggled to remoter shoreline
where I slid over boulders’ upholstery of algae,
shivering, legs frog-splayed, stringent and numb.  

I never felt it when I scratched my legs crashing
through buckthorn, the way to the cabin, though I saw
the lines later when I put on soft clothing

in a warm inside corner where spiders are smaller
and at least have the kindness
to keep out of sight.

Buckthorn, as a med we ate
to ease a belly ache,
cascara sacrada, relaxative
peristalsis
pro-vocatuer, speaker to the gut beyond
first taste, you
spew
buckthorn berry purge, my gut

for goodnessake

swallow whole, don't ever
ruminate and appear
not to know
in
sacred
cow stupid-blissity, duhll, un
honed
to an honest cutting edge, behind
a persistent point
piercing,
insisting on forming, con forming me,
the ego in main-mode, re

maining reasonable in face of facts,
leaked:
liars prosper.

Good enough. Now, betting begins.

Will, mine or thine, one is free, the
other is me, a mind in a word world with

vectoring paths into any ever we image,
conversation, forms of words
filled with saliency,
line after line,
salutory aspirations to rise above the fray,
someday,
to see,

-- the lie exposed is the truth.
So simple a five year old knows when she's caught.

Not like a figwort but not an aster, either. Could he be a buttercup
with sepals, no petals, but sepals like petals? Alan is a bluebeech,
an ash if his books sell. Quick shake hands. Zach's bald ok, a
magnolia, cone-like fruits a bridge to his Neanderthal father.
When did Ben become a chestnut lover? It's said women are practical
but there's much variation in their leaves, ovaries. Many are older,
stumps, snags for peckers and porcupines, teachers, feeders, seeders.
What did the wood thrush sing
                                                      teachi­ng its young thrush meanings?

Sometimes a mushroom. Did you know such fungi are mostly protein?
Mushrooms could replace meat, and the dead, the dead's feet, white
as pyrola, could replace the living. Well, we worry. Will we, bad luck,
be extinguished. Denizens of convenience stores think who cares, will
I beat the reaper? Hope sempiternally springs. Things rarely clear
as sun among the sundews. Eating huckleberries from your kayak.
What Paulinaq says is live your life and then your death until nothing's
      left.
Then thou shalt be bereft
                                            of the heavy sackcloth of the soil, soul.

Said to Mrs. Buckthorn: good poets imitate, great poets steal.
I think she's more an apple tree. Or pear. Good to eat,
amenable to loving. Rose or Ericaceae, the differences make the
difference. Emerson and Rylin Malone are dead. The dead
are dumb, the dust won't speak. And this deep, dull and dark
blessing's a horizontal reserve. Moonlit. Mr. Hickory is actually a
      yellow birch,
holy and exfoliating. Busy spilling seed on the surface of the snow.
Teaching essay
                       writing, algebra, earth science, branches of government.

I would be a cypress, cedar, branches calligraphy brushes, divorced
      from desert.
It takes a divorce for one to know one knows no one, not only one's
      wife
but your very sons who will always choose the open flower bud.
Good, as they should. Their bones are your bones, strange bones,
      and a
strange selection of their words. They are Uvularia sessifolia (wild
      oats)
and Polygonatum biflorum (Solomon's seal). They outlast the
      holocaust
or not, they're made of matter. These windows need a good
      cleaning.
Leaf-raking. Dusting for ghosts. Ah, sweet peace, perfect rest, there
      are
no ghosts
           adults are trees, teens are shrubs, and children are herbaceous.

the face of yours the life appended a little sign
is like a cinema you touched on my forehead
a cold soda between the two acts
the lyric voice of the gong ringing hourly
the falling shadows of the buckthorn trees
a sky broken on a day of wind
form my frames of the sparrows left from the summer
the face of yours the life appended a little sign
is the alley of a district where the time is stopped
it is the ant, belonging to there, we meet
while touching the pebbles with our toes
who knows when, where, instantly
we had smelt a rain they dropped inside us
the face of yours the life appended a little sign
is the riverside, when I propped my mouth
the crotch wet I steal, form the times when there are no male
something which is garnet, a volcano
on the booms of which daisy, lily and some lime are piled
like cevdet anday says
“mountings are aside, we are aside”


Koray Feyiz
(Translated from Turkish by Koray Feyiz)

I agreed to read, thinking
September signals change.
And I imagined seeing it change.

September now, hints of winter,
and of fire season if those latter rains tarry.

Last year they got here during Burning Man,
we saw the wannabes all flee the mud, on TV,
we saw the children of our youth,
roll in it with laughing abandon,
real life,
this year, the rain is just as likely,
so we pay attention to the whole idea,
seasons, on the cosmic scale, now after

the fullness of times is on us, nine billion
others in the etherical medium tying us up,
using us as staves binding broken bones,

fundamental bottom thought, structured
stories said to have inspired our dormers,
and our seven gables,
and our back doors,
and our cellars,
each we must wonder at once, ¿?
are we involved in production, or consumption,
supply side or inside out hungry ghostly chances,

bemusing the beguiled with smile lacking cause,
acausal confrontation with frowning judgmental

adverse reactions to sublime subtlety suggesting,

take and eat, in truth, imagine yourself seeing,
first time, the true beauty of the elephant
reaching past low hung fruits to take
a taste from the high branches.

Shining thing from Eber's legendary written
rules, all translating into knowing how we live
and have our being in times you must imagine

looking back, magi, always were apparent
in the mix of biographies preserved to lead us

let us, all with the will to learn, learn if
we think
we may imagine, using mere words, and tech
so new that you may not reckon how far we are

from yesterday.

when I agreed to read,

because I never read
The Brothers Karamazov,
so  I agreed to read, and
I read it, upto the bitten finger,
if you know the story, and a little more,
another chapter or two, awaiting the death
of the elderly sage of Ruskie Orthodoxy,
whose name is fictional, of course,
but he knew he could walk into the woods,
and live free using known grown means
to quell the thirst from mushrooms,
with buckthorn berry wine,
imaginable
in the Cuyamaca boulders and pines.

Here, with me, a display of color harmony,
the ribbonwoods bloom a creamy burst,
and as suddenly, begin to rust, autumnal colors.
Not New England bright, more subtil by far,
desert shades, surrounded in evergreens,
manzanitas and hemlocks and pines and black oaks.

Time, at the level of cosmic clocks, as a thought
passes faster as we expand into our ever after
thought, as we compress to spring after winter,

feeling years as days, morning childhood,
noon survival, evening to cool starry night
of knowing which lies were used to turn me,
on, or around about
which truth alerted me to nonconformity,
be the new thing, the new old form mankind,
be the representative of we, the people in time,

who played the fools who glorify war, for a season,
while we are lacking learning, having never known,
why we never put our minds to final form, grown
courses taken eroding finished soils to feed seas,
paths past nonsense, past purpose proposed
to be supposed by all who follow, thinking

should we agree, geistlich at this distance,
using English with poetic twists allowed by license,
vide licet, showing all with eyes allowed to notice,
viz.
I am native to this planet, I am part of what is changed,
I am a peasant child from the times of industrial efforting,

establishing the profit motive any tree imagines,
blooming, superfluous fruit for any with appetite,
what is right in life is not pain, but persistant will

to wait on next, imagining ever
experienced on earth,
as it must be where prayers are all answered, yes,
most certainly, on earth as in ever, fires included,

functional consumption and transition into next
now,
as you think I imagined magi, and found I did, imagine
that.

We have girls; pink girls adore life; adore it deeply. Their hearts are white hearts fill the air with enjoyment and their smiles are pink smiles color the places with pleasure. The homes; our homes are black without the girls’ smiles and the city; our city is empty without the girls’ laugh We have girls; very dreamy girls; in their eyes, the aspirational tales wear beautiful dresses and on their shoulders the ambitious bags are pink and shiny. . Our girls’ fragrance is coming from the fairies’ land, and their pink veils are coming from the shining flowers.Yes, in Iraq, we have girls; nice girls; their dreams are big and pink, and their wishes are smiling and Rosary. Our schools are proud that magic girls are sitting on their disks, and our gardens are delight that charming girls are playing between their flowers. Our palm trees give all their sweet date for our girls’ hands and our buckthorn trees give all their full seeds to our girls’ labs.

The swirls of heavy scented dew drops,
Danced and played, revering down the glass panes.
Echoing the emeralds, of etched ecstasy,
Flashed in blossoming British gardens.

It was early morning,
The newspaper yet to be delivered,
But late enough that the milk bottles stood, organised,
Shoulder to shoulder in a 2x2 formation of solidarity.

A blood orange tinge burned the sky,
Between the spital dashes of grey clouds,
the blackbird soared and sang,
and oh how it found sanctuary amongst the buckthorn brush