PERFECTING
THE WISDOM
—strange the strangeness of light—a
strangeness there in the light—
among the narrows halfwild
what musk monad
hail there
there flutes all down wireman O man
with full fists
stretched there
that stretched man there full of
teeth the filled man
bleating
for the dick he’s full of there there in his poor O
the lifeshine
there
all calico on the
shared side
of
flesh lack what
geist spoor
banking there
a whole man blooms a whole man
in milk woe
a whole man blooms—smears unguent
around varnished lack
all
agape “soldered with air—”
gluttonman limbful-light
swerve vanish
minnow-wise in
dandling broodslant murk
man light map-
pings of lack the
marrow life hailing there among the
wild halfnarrow
—a lightness
there in the strange—light the lightness of the strange— A
LATTICE “In the morning they were still
singing, and I was still walking.” —Mike
Good day,
let alone breath—this this measured on a pane or in a frame, or a measure—a
thought same,
the same as hung above the lines on day—so the day’s thought the day of or in a
thought— a
thought’s thought of the molt of the day years of thought—if a year’s thought a
year then a fathom’s thought
a fathom—but a thought neither both or—anyway this morning’s ergodic day—or this
this’s morning’s day or in the day of yesternight arose yester’s
next, blue night—now morning’s
day’s day but again not either but nor nought—still
this—left—this net of let-alones— of
same states it’s-time’s netted
no-net, a rain-net—alone—its thought of nets of the
nets of days
and rains alone—lets—a verse-ish-ness a thought of
nets—a month or a year or a breath toiling
rain—ponchos skippets debts—debts debts debts of course debts—debts of day, dayslong debts of
breath— river
of debts fruitless river, river of bells, beads, gauze river o river of coins toiling
sapphire, ashen-elbowed river, o river of merit which cannot step twice in
yourself, step once, step not at all—of which tether, which water—sun-colored
glass dustless sentential
deep water of which grammar, baring which river grammar—what grammar—of what baring
if nothing hid, what waters, what river and, then, now, what river in or by
what water—o
what river of which water waters what gates—what gates in which pearls and
toads, days leaping
fathoms, of what state, what gate in which something, some, some o four-gated
bard river o
going of jeweled mirrors, serac river, what something, which nothing, or none,
none at all— not
unremembered, below was invisible, all-involved, at the highest of the high drawn
and bowed and emptied—the tidal voices blooming in themselves, apart, private,
furtive— lit
in ornate radium—black array, frog-fat cherries, deep transparent watermelons experienced
of trees dense, dark trees, fluvial, mastering—and the silty viola— pungent
from faraway—jewel sewn to the heart of the blue day—stronger than memory o
Blue Neck all the boles of the dark affluent in trees—on high marrows, the
drawn mountain meandering
meanings—and below sealed—and opaque I
cannot experience his voice— — for Catherine
Gammon from THE AGE OF WATERS
The piece below can be read by multiple voices. The leading voice starts
anywhere in the piece and can travel up or down the lines. When the first voice
reaches its third line or thereabouts, the second voice enters anywhere and
reads. Other voices enter and leave alike.
—and let alone a month let a year alone—the day tonight still the day of the
morning’s