Subject Verb Agreement with Butchered Duck

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when for a brief moment it is gone
now the unremarkable house two blocks northeast
burns the average color of candycorn
and by average color you mean something simple
but technical perhaps a bit too specific. no!
you mean to say what you mean to say
this is fundamental you can see the subject out your window
out beyond all that eleven degree uniform noise quiet as snow
the breath past house gift again plain
everything perceivable fences and filtered
light. your accent. can you imagine it mercurial
hunger chopping all those tender Rs into unrecognizable
duck-bits in the dawn hours from a michelin star

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Portrait of a Man in a Red Turban (Self-Portrait)

look first  that's the point
how does algae grow
so deeply photosynthetic
am i asking you or am i
muttering moon mad
either way i see myself

of course  in that master's
eyes surrounded by all
the thin cracks in the pain
the crow's feet tighten
around the rosette wire
at the bottom of the sea

portraitofthetelevision-mix-sm

Wikipedia Poem, No. 142

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“two mice are dead, for my wife. / mice make her legs / go watery, as they do sometimes after her climax.” Denis Johnson

and readers quiet books
      
        context as right pull'er vocabulary a 
         smaller 
         vocabulary: 
big-city 
      newspapers, 
   this 
disenter? iced 
     coffee, should 
         i 
      give 
          up being a dog

context 1201
    fullsizerender the newspaper or 
bush? outrage world slept, this disinterest

context 1142
      03102016
      
          i’m going to shut up?

      context 1349
          lifter puller vocabulary: big-city 
          newspapers of 
confirmationers

context 
    1917
have all 
find

          context 
    1349
      lifter agape why do I

       fast or 
playground 
kids are righter of culture and practitioner journey to 
     point 
the nations with wide circulation a 
small drink 
          more coffee, should 
         i give up

“Hi, Joanna”

Stairway selfie like a god damned teenager. #transmillennial #help

A post shared by joseph m. gerace (@bogotahorrible) on

 

Hi, Joanna. How have you been?
I’m well. You look well — I’m
Happy to hear you use that word.
Good. Good. Well, anyway, I’m

Concerned about your voice.
No, specifically the way you recite.
It’s … troubling. You appear snakelike
And arrested, harmless. That’s not the way.

It’s not. I wouldn’t say “short of breath”
Exactly. Let’s call it, Forked-god. Please,
Calm down. I’m going to ask you
A couple of questions about your sexual history. Is that OK?

You switch back and forth between — please,
Correct me if I’m wrong — between
Subject and solitude. That’s to say:
Radical loneliness and decimation. Correct?

Masturbation may be part of it, but I’m speaking
Broadly about a timeline of sexual partners:
Moon-god, Ocean-sent, Stoic-antler. Relevant?
Of course. Its right here on your chart, Joanna:

“Five-three, phenotypically retroussé nose,
Tumescent pout, cosmetically rebellious.”

So, why this affected staccato when you read?

from Ben Lerner’s “Leaving the Atocha Station”

“Reading poetry, if reading is even the word, was something else entirely. Poetry actively repelled my attention, it was opaque and thingly and refused to absorb me; its articles and conjunctions and prepositions failed to dissolve into a feeling and a speed; you could fall into the spaces between words as you tried to link them up; and yet by refusing to absorb me the poem held out the possibility of a higher form of absorption of which I was unworthy, a profound experience unavailable from within the damaged life, and so the poem became a figure for its outside. It was much easier for me to read a poem in Spanish than Spanish prose because all the unknowing and hesitation and failure involved in the attempt to experience the poem was familiar, it was what invested any poem with a negative power, its failure to move me moved me.”


Buy “Leaving the Atocha Station” from Coffee House Press.