Wikipedia Poem, No. 504
“The world is everything that is the case. / Now stop your blubbering and wash your face.” Donald Hall
money not these real people in it
creative write a place for yourself
in this place
pampered parents upon it
then invite us!
to your parents’ workshop
make wicked work that
greenly endures for decades then
us to you—dear reader
in place of your stimulation
the dearly subject matters
but rarely endures its simulation
for decades creative writing classes
were nebulous promotional beings more for
real people in ghoulish gondolas
old-catholic boy-girl wasp-winger girled-jew
networking makes poetry thin
not really notoriety i loathe the pulmonary poem
these are toothy
times phony money
teachers set in lye
to create exercises upon—
in place of poetry
landscapes forward with
dante and tanto
lurching better livid
writhing bible chemists
poetwores no abandone sù bebe
court the endless harpy faith
encourage each forkshot kin
When I’m in Texas or Iowa I’m aware of the railroads and superhighways, and here [in New Jersey] there’s the city and the George Washington Bridge filled with its perpetual stream, the planes coming overhead, the cars moving along, the tremendous energy of the place, and its concentration of people. Nothing is still here. It’s very dynamic. I think a lot of poets are allergic to movement, and they like to turn their backs on it and create still lifes. They try to locate some sort of quasi-pastoral motif as a background for the poem, some jury-rigged construct of suburban garden as sylvan glade.
Urban life and movement present real technical difficulties and challenge poetic conventions. Urban life is dense and fast and requires flexible structures that can incorporate speed and information. It’s tough to come up with a coherent, interesting structure. Most simply avoid the problem or take refuge in some rote “avant-garde” gesture like fridge-magnet indeterminism, i.e. spilling the language all over the floor and stomping on it like a three-year-old child.
August Kleinzahler, The Art of Poetry No. 93, The Paris Review, Fall 2007
“It leaves today
the other’s future the grateful interred with our
chief terrorists aggress,”
aircrafter years. It directed
tween the come explain a military nuclear
with a very
should is busines,
Iran's no undeclared
are countdown the aisle
a much more ask
him a quest,
Iran. It leaves today
the other's future the grateful interred with our
chief terrorists aggress,
that death, howevery to a newest
current nuclear weaponsible)
of anti-Israel has neighbors document.
just always why
-- relieve trusted.
Thank your concession.
“That the battle but lose mountry, over infortunity.”
wreat these neight
-- the in the all threates of
someone the regime,
than to war.
That the battle but lose mountry, over infortunity.
Just nuclear Hormuz, that break-out a
concession to provided vitals, Baghdad,
Damas to walk away
and a while it will always a
and the futured on is
Secret the 190,000 centrifuges, include
broke to inspectors.
If all that Israel,
it's who do just
be know-how dangerous appen.
We can't exactly
The brain function!
each line flirting dangerously close to each above
suburban new jersey tan
sandy sandals skin cement
The patterns repeating!
another handsome man
illuminates his jaw
foreground becomes background
the first assistant cameraman earns his sleep
and Fellini’s big toe is bleeding again
On the third re-write:
the cruel bees have sucked
all the life from these poor flowers.”
The camera pans, eye follows
think cribward, lens exposing film
light through the apartment’s curtain
sounds at city dawn, as an also-ran theatre
absolute silence; safer here between
her blinking lash against yr ear.
“Ricordati che è un film comico”