“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

Landscape

 

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

themselves

 

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

 

follows

 

 

 

 

 

 

 

 

 

Escapism in Five (or so) Parts

 

 

1.

 

Titles fall at the ends

of Calends, few days gone onward

instead of a que

 

This being maybe a bad

influence on your sub

terranean

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’

 

 

2.

 

Lines gestalt and​​ stop

 

fingers then palms accuse each

other of writing in dying

 

languid

 

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

 

 

3.

 

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

 

 

4.

 

The philosopher got out of​​ their page again

 

With extreme prejudice force has been​​ 

authorized for the good of

 

 

5.

 

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.