>On Linen

>The primary concern is tone, the shallow vanity
Of art’s trenches, (The financially successful artist can go on forever:
“Wall, whisper, meat, a murdered mother
Many moths trapped in dual headlights
A single loose tooth, ‘How ugly!'”

Watt’s white linen piled in context, a
One-deeper layer of nudity (unresponsive
Basement). Returning to tone: I am tempted
To say, “Perfect!” standing deeply in the mouth’s shadow.

These people seek, have sought no easy escape, being never
Dance nor dancer, flame nor dusty flur, but a slowly fading
Memory of a dream in which the footprint is blown
 flat
  by a cool
   night’s
     breath

Her thigh immediately, a
Shapely garnet castle led up to
Quartz and feldspar tumbling.

>untitled 12102009 2:28 p.m.

>for Sarah & John Currin’s ‘The Pink Tree’ 

You
& Yr sister apposite the choral and
how can the artist describe Yr nude
Smile but those — who’s pink automatic

( You )
& spindly hand will reach &
prick this GALArific rainbow & precise arrangement
unclothed-coy, supporting her pivot

You
& historiographic radiance, shies
supplying future circles, licks of lights
the black sky rising, Yr comparative breasts

You
Washed with pale, easy brush strokes
adoration of the hands, possessive silken
& skimming — four fingertips at Yr hip.