“Waves Weeds Mountain Aleatory #4504 2021” by William Brown



Sun at Passages





The city mouths off at the seam

The city sheds what it can


Page one is called Off

Page two is In Between Tangiers


and Page Three

Page three a sluice of this


Practitioner of eclecticism light the flood

streets abrupt or designed until


each corner grew outward

Sleep is alleged


The desire to build this hollow

framework into more than a house


Caesurae never sleep

The design came back empathy


He uttered the same last words for a year

before he changed his mind


Discreet paper-thin whorls

or elaborate renaming days, yes


I have made each of these moths​​ 

out of the name Michael​​ 


Settling too close to recognize the text,

the touch Yesterday is not a concept


to be considered

Dear shelf


dear fourth wall

Sun at passages


Dear dear and dear lack of



I’m sitting between four more walls

unable to break free of margins


The untold iteration we continue

in your pattern and applause when indicated


I design the new letters

without reference


to pages that turn



in, into, addenda, shades

of botany where grey was a place on the dog


The voice is talking out of the frame

The irreducible metaphysical unit


(of reference)

this time the cereal is soggy


Morning nearly always a point

of​​ contact


with a body

The house sits alone and I in the house


I extract the house​​ 

The page the door once a color


and coffee colors seep into the gutter

until the spine is malleable, aloof


Dear moth, did you get lost

wondering why no one












Escapism in Five (or so) Parts





Titles fall at the ends

of Calends, few days gone onward

instead of a que


This being maybe a bad

influence on your sub


where half-light of near sleep

turns on the penumbra, turns Thursday

out,​​ identical


identity in nearly all the other shadows

(written as shadows)

even when Theatrical City

blots out the obvious narrative

made with one I close

to a dream called

‘this dream’ or ‘remember this’

or ‘one pen equals one I’





Lines gestalt and​​ stop


fingers then palms accuse each

other of writing in dying




Minutiae outward of a

Glimpse curves, we the serial


clouds converge upon a mystifying apogee


The context is aloud

A trick to recapture the sun


in a manuscript by none other


Flowers in an intermittent garden


begin to trace the arc


of my hands, forgetting


the source, the scour of attar

Planet of Golden Ice


Rock of mellifluousness


So-named to invert telescopes

back into the sire represented


on the surface of a map


an uncial stain





A sudden standstill, moths

in the still frame


prepositions wayward

The biography writes me off​​ 


a list of chapters

Realism makes the claim


the self belongs elsewhere

if the conversation ends


up restricting passages to what we

think of​​ inward


The sentence (this) is sensitive to vertigo

Clumps of​​ dhghem


in October colorings

of an open mouth


forfeiting the next sound

Descendants of papyrus suck at worshiping


the preserves, the corpse

of a very old god





The philosopher got out of​​ their page again


With extreme prejudice force has been​​ 

authorized for the good of





Having built this ‘I’ from sound up


Having built this else


where the framework is taken apart


before the rest could be


Having letters thrown against his self


bones rolling upward despite


seen through slants


in Tangerines


where no order is necessary

Joshua Bird writes on a refurbished IBM Selectric II typewriter. His poems have appeared in Denver Quarterly, Yalobusha ReviewCounterclock Journal and elsewhere. He lives near Tampa, FL. Find him at joshuabirdpoetry.com.

William Brown‘s video work has been shown widely at venues such as the Oberhausen Film Festival, Ann Arbor Film Festival, Echofluxx 16, New Media, Music, and Art Festival, The Corcoran Gallery, School of Art & Design, and the Anthology Film Archives, and he has taught in Emory University’s arts department and Image Film and Video Center, Nexus. His current work investigates the creation of digital pre-paintings for the coming era of robotic painting devices. Using film editing software, he merges thousands of images using an aleatory strategy suggested by John Cage. More info and work can be found on his website, https://william-brown-bzhc.squarespace.com.