by strannikov
the timepiece of Zeno of Elea
impatience could well overtake your day:
might sneak up beside you just to crawl
on multi-tasking hands so full of deeds.
what if you can't respond to it in time?
what if moments arrive so crowded full
with choice you could not squeak one lone response?
moments in hours invisible to time:
observing no sequence of sight or sound,
what is it that tells us events occurred?
chronometers lie to us all the time:
lone moments are never counted by clocks.
odyssey from nowhere
I'm better off lost without the pretense
of knowing whether I've ever arrived:
“Outis of Utopia” my found name!
I'll inscribe it soon as the tide goes out.
my mighty name I carve into this beach!
examine the skill of these serifed fonts!
they chisel black dread into snoring souls!
(you can tell from the jolts and shrugs of sleep.)
we'll torch those sleeping eyes awake today—
we'll wake the day with burning sacrifice!
you've much to do to park those bones asleep,
one resident per hell the limit here.
cultivating demons' tastes
may demons delight in eating me dead!
my carcass for them to gnaw and chew:
my carrion—me, carrion—a treat!
red devils will learn my care for their tastes
the moment they taste a lip or some tongue:
“tasty! garlic—with laziness infused!”
they might want to make a relish of me:
I suggest they add a dose of cayenne
—it must be great when spread on leavened toast!
who knows what flavors soon might flow
from mastications of our souls?
the martyrdoms of Maximus
when Maximus had his tongue plucked out
Earth wondered at obedient tools:
Byzantine pliers and pincers in hands
instructed to extract not faith or love
designed with skill to kill an old man's tongue.
when Maximus had his hand cut off
his stump cauterized or ligatured tight
too late to lock his writings in his arm
centuries of grace kept up their flow
the dark inks of his blood made sure of that:
to the penitent mind God's radiant grace
the sun that obscures all stars where it shines.
the Telchines' treasure, the Dactyls' dream
on this side of those sliding sands:
my timbers all ashiver quake
my gast is fully flabbered.
if poets could fix you who'd want their cure?
repair your tongue to taste spiced blood?
ears slammed from sleep into waiting dirt?
your nails never clear of smeared gobs of grit
your nose inhaling watered earth dry dust
in sequence past your eyes squeezed tight slip sights—
each excavated generation dug—
“—but where's the skill in knowing where to look?
horizons I've not walked for many years—”
considerate of horizons you are:
what is the spectrum of word-will-deed?
re-forge your tongue and horseshoes for your jaws
chisel channels new betwixt your ears . . .
with ancients and immortals take a stroll
down crests of ridges up adjacent troughs
climb descend steep slopes attaining views
forsaking views another ridge astride:
perspectives change in moments counting steps
in hours of climb hours more of descent—
this earth's locales allow but this world's views
regardless of our every vain intent.
our globe now squirms in reddened grit and dust—
our dreams of Telchines' spoken skills forgot
stay buried remote and filthy forgot:
let bones relax when you don't retreat
when attacking the remote alone.
once lodes and veins play out dig more
to find the mouth of that mountain mine . . .
Telchine treasures lurk in buried shafts
Dactyls dream their songs deep from their depths . . .
6
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Or: shreds of the archaic and the atavistic.
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The diction, syntax, and form work in harmony and are effective in all the pieces. Creates a vivid, mesmerizing world.
"too late to lock his writings in his arm
centuries of grace kept up their flow
the dark inks of his blood made sure of that:
to the penitent mind God's radiant grace
the sun that obscures all stars where it shines."
&
"Dactyls dream their songs deep from their depths . . ."
Good pieces. *
Throughout, the tone, driven by your word-choices, your spacing and pacing, drive these pieces forward. I really enjoyed these *
Well, these notes from Nightmareville did ruin my appetite, Eduard, for food, that it--a good thing in my case this late in the day, but certainly gave me some food for thought to nourish the wriggling word wrangler in me.
Fellini's Satyricon is, in many ways, an underrated film. The style, not subject matter, reminds me more of Antonioni or Godard than of Fellini. To my mind and eye, his film's style has more in common with Godard's Le Mépris or Antonioni's L'Avventura than with Fellini's own 8 1/2 or Amarcord.
"cultivating demons' tastes"
my favorite of this batch.
"may demons delight in eating me dead!"
"garlic—with laziness infused!"
*
Edward, your writing is always evocative. I read and re-read. So many interesting lines that dig deep.
Ed, you are an expansive and damn addictive archeological dig of the human psyche...
Sam: grazie, grazie, grazie!
I had to leave out three other pieces that would have overloaded the assembly of this set. The thematic scheme post-dated the separate compositions.
Thank you much.
Foster: grazie grazie grazie! to you, too, with other thanks.
I was obliged to even things out a little so they'd work as a set, but I think their consonance already linked them.
Glad to hear they work, more thanks!
Matvei: bolshoi spasibo, moi drug! Enjoy your supper or at least a small dessert or whatever, in any event. (I do not divulge here what I dine on this evening.)
I've seen Fellini's depictions in Satyricon more completely than I've read the Petronian episodes themselves, so I might share credit for provoking dyspepsia with Federico.
Bill and KB: on behalf of a poor ISP, my apologies for not thanking you here for your comments and favs prior to today (Thu, 23 Jul)--I just got internet service restored! --so:
Bill: (belated) thank you, thank you, and thank you. Glad to hear that it works.
Kitty: (belated) thank you, thank you, and thank you, too. These five pieces seem to work as a set, so with your comment I'm glad to leave them together as a set. Bolshoi spasibo!
Amantine: bolshoi spasibo! to you, too, in multiple doses. A project I call "genealogy of imagination" has been pestering me for the last couple of years, these pieces came out over the course of the process.