backwash of rumor

[Let the bears devour our enemies]. We have no obligation
To open // ourselves // for those who do us harm.

last stanza of “[SOMEWHERE IN LOS ANGELES] THIS POEM IS NEEDED” by Christopher Soto

SHOW UP, Oakland, November 2017

Recede,
a motion
waves
refract.

When speculation
is commercialized
what power is ceded
by paying attention?

On distracted authority,
faith becomes the plan.
Repress judgment.
Feel your immediacy.

__________
title borrowed from Funny Weather: Art in an Emergency by Olivia Laing

apophenia

“Sensuality. Our basis of being concrete about the world. It is lustful relationship to things that exist.” — Mark Rothko, from Mark Rothko From the Inside Out

Fruit postcard, Paul Huf, 1983

Not quite epiphany
more
   false positive
associations of pink
or orange to flesh
as displacement
or tender resignations
   an unqueering
a gamble.

Such inconvenience filters the odds
into other’s perceptions, luck, or madness.
When our fists equal the size of our hearts
there’s recognition in that sovereign drama.
Beginnings blindspot endings.
All rhetorical approximations
become redundant.
Transitions, as in not yet.

Our histories are programmed errors
    marked like rings inside trees
plastic as the immediate future.
Mystery strikes then bends
absorbing the unrecognizable
when opposites compliment
more than divide
  potentially godwinked
impossibly divine.

optics of grief

In ways both unique and entirely common, being alive during this pandemic is re-iterating me.
— TC Tolbert, Also, I’ve Slept in the Backyard for the Last Five Weeks

I’ve been here before.
I am sure of it.
A year-day that has
no beginning, no middle
and no benevolent end.
Some argue this absence
must be lived, that it
is more of a felt sense,
similar to elaborate escape
routes dreamed nightly
and soft as bodies
left untouched.
You’ve been here before.
You are sure of it.

mute all

By bending, the grass develops a surface. — William Stafford

Mandana Boulevard, (Oakland, California), 30 April 2020

How I show up today, here, and the muted space in between is a search for synergy.

I heard language through the lens of parables, manipulation, and transience. Growing up epistolary warnings were all around me, and the strongest broadcast signals were dedicated to reactionary talk radio or static aesthetics. The voices that carried are a study of displaced metaphors. Averse to specifics, maybe this is the best I can do.

I moved the tangerines into their own space, letting the lemons spread out.

time bound

How quickly can one dispense with the old bargains between defense and desire, adapting to a regime whose rules provide no felt comfort?

— Lauren Berlant, “Cruel Optimism”

Helena Almeida, Sente me (1979), screenshots from Film von Sylvain Bergère

Inside this temporal state,
habitualization is the climax.
To date, public misery
is not officially worthy
of monuments or accurate measurements.
Finely stratified, your and my collective
future—active emptiness—is its own
embodied aleatory performance.
But what are we supposed to be
doing with this time?
Such insinuating can feel negative,
counterproductive as misdirected desires.
Overstimulated, I beg for revision
rather than tempt resolution.
These present hours unknowing.

fear needs attention to exist

This is a special way of being afraid — first line of third stanza in “Aubade” by Philip Levine

PLEASE DESTROY (detail), from the daily writings of William Stafford (William Stafford Archives, Estate of William Stafford)

do you feel fear ineffably?
personal, not public — self as an other

the social distance in between
hoax and binaries and stimulus

do you feel subtleties?
curated indoor skies — measuring light

efface negation
imperfect present

do you feel like you are repeating yourself?
ritual or repetition — your reputation

flotsam

“For the alert body, the useless interval becomes a plenum.”
— Francis Richard, Gordon Matta-Clark: Physical Poetics 

10 June 2016, San Francisco HOW DOES MY POVERTY RELATE TO YOUR PROSPERITY?

I obsessively check the feeds and the timelines like a salt lick. Distracted bait draws the largest crowds. People are bored. The death toll rises. Profiteers are euphoric for high demand drawn from historic lows. I look up the word “disinter” [verb: dig up (something that has been buried, especially a corpse)], then notice the grass in the park is ankle deep. Clouds break blue. Home becomes hysteria—a boundary state—shape shifting into the space in between, wrecked. In these unique times, it is best to rehearse worries to scale. Memory and risk are their own parabolic textures. Voided feelings now so very retro.

in situ

There was a sun once
It lit the whole damn sky
It kept everything
Everything alive

Jawbreaker — Shield Your Eyes

3 November 2017, Berlin

what gods are inside you?

have you asked them for help?
will they respond in time?

5 June 2018, Portland, OR

The different names for the soul, among nearly all peoples, are just so many breath variations, and onomatopoeic expressions of breathing.” — Charles Nodier (1828)

14 September 2019, Oakland, CA

my idle hands are:
structures of experience
polymorphic intentions
dimensions of interstitial time
devils playthings
listening

reverie

“The number of people here [New York City] who think they are alone, sing alone, and eat and talk alone in the streets in mind-boggling. And yet they don’t add up. Quite the reverse. The subtract from each other and their resemblance to one another is uncertain.

… It is the saddest sight in the world. Sadder than destitution, sadder than the beggar is the man who eats alone in public.” — Jean Baudrillard, America (trans. Chris Turner, 1991)

16 April 2019, San Francisco

Nearly a year ago, I carried America by Jean Baudrillard around the Bay Area and all the way down to the most American of places, Los Angeles.

18 April 2019, Oakland

I wanted to capture Baudrillard’s idea that eating alone was the saddest sight in the world.

26 April 2019, Los Angeles

And of course nothing and everything can change in a year.

Contemporary America is at an epic and fevered hyperpitch with an advancing crisis of reality. What is refracted is what will be. Our ascetic online lives more fake than ever. Asepsis is an arousing and obsessive state in this quarantine simulacrum. Hygiene a cult. The habitual repetition of survival, an amplified fascination of being alive, its own seduction.

But one day soon—in the scheme of weeks or as quick as when you notice your neighborhood trees blaring their blooms—restaurants will open for sit-down meals and I will prove Baudrillard wrong.

prepare for your future

Listen—this is a faint station
left alive in the vast universe.
I was left here to tell you a message
designed for your instruction or comfort,
but now that my world is gone I crave
expression pure as all the space
around me: I want to tell what is. …

— William Stafford, TUNED IN LATE ONE NIGHT, first stanza

DON’T BE GREEDY, March 2020, Oakland

We were told to get extra, but not hoard.
All professional sports, including NASCAR,
and mass entertainment cancelled.
Church and work shifts to virtual platforms.

Even the Pro Football Hall of Fame
shuts down for “at least two weeks.”
The bronze busts no longer speak
in stiff-lipped whispers.

Witness begins to require recalibration.

An Italian doctor corrected the British talk show host –
bomb metaphors are inadequate for this pandemic.
A bomb implies “one moment in time and space.”
The doctor begged viewers to grasp spacetime physics
as Florida’s spring break beaches swell.

I scrolled and
  scrolled
    and
      scrolled
          for good news

(time passed)

Freeway traffic flows in east/west lanes
like ants on a crumb score.
I’m waking up later each day,
blending home and work
into a double-stitched seam.

It is the first day of spring.
I beg you to prepare for the future you want.

Yet nothing has really happened
                yet.

Place has even more significance
than we can consciously hold
now cracking open at its weakest points –
where we are isolated and approximate distance.

News moves relative to a wide margin of incompetence
and displays itself as curved lines.

I bless the bus drivers keeping their ghost routes.
New leaves spread wider each passing day.
I am hyperaware of my phantom wants:
a balcony and family. A dopamine loop fueled
by anticipation. The future now a fermata.

nature morte

When you eat the forbidden,
sooner or later your teeth
scrape against stone, bitter,
and you will spit it out.

last lines of PEACH GIRL by Lee Ann Roripaugh

photographer: noell oszvald

walking through high waisted
grass sprouted hills
our faces slack with hustle
we laughed like stuffed animal heads
over stories about how snow has energy
shedding syllables as we hurried along

this resistance against recursive nature
(we walk upright for a reason)
not remembering how much our bodies work for us
only sensing how much we fight against it
knowing drama and karma can feel differently
bent backwards until fragile as blue

we maintain stillness
despite insincere throats
affecting the slant of our inner lives
these threads connecting codes
native realizations that community
now definitely includes you

dangling participles

Los Angeles, 2018

I.

What am I listening for?

The rhythm of an endless human-centered conversation.

Why?

To feel the space between our next collective breath.

II.

The sky split in half with the trail of an early flight.
Orange morning light, a long exhale, and the sound
of pencil on paper filling a page. I appreciate
clouds temporary status and apply that truth
to my own temporary life.

III.

I want to find a way to open
from the inside,
safely and slowly,
with pleasure and wonder.

IV.

Put your weapons down.

The sky is the same as yesterday: blue and uninterrupted.

honest debt

Money cancels criticism. —  Alissa Quart, SINKING IT ALL INTO

Mark Wagner, Petty Cash

I thought, maybe,
I might know myself better by now.

I’ve gotten as far as:
I have a shy crown
with deep roots and
I peel oranges,
with my left hand
separating the segments,
for my future self.

I’m not ashamed to be
loud by omission.

ok, don’t panic

“I pray in words. I pray in poems. I want to learn to pray through breathing, through dreams and sleeplessness, through love and renunciation.” — Anna Kamienska, from “In That Great River: A Notebook” (tr. Clare Cavanagh)

artist: Josh Courlas

There is anger, again.
It is a fear of waste.
Misfortune. Unfairness.
There is nothing left
to do but wake up,
make coffee, write.

Hummingbirds flirt.
Salt, a mineral.
Soft truths with edges.

It is also true we lived in temporary houses.
No one was home so we self-supervised.
Neglect and despair kept us full.
Competition thrived. Like ocean waves,
we conformed to the landscape
beneath a rough water’s surface.

I remember when the city air smelled like summer,
longing and loss. Trees were shaped
by ocean breezes, bald on the west side.
Country twang bled past Mission bar doors opened early.
That moment, its energy, left an imprint.

Liminal space
shifting recklessly
like the breath
just beneath this prayer.

tender violence

Yet listen well. Not to my words,
but to the tumult that rages in
your body when you listen to yourself.

—René Daumal

Berlin, September 2014

If it is true we are floating through space
& each of us contain the stardust of a million galaxies
then the sun glittering receptive is our asylum.
Exuberant in this signification,
we propel beyond daydream nations.
Expressive attraction becomes its own tender gravity.
Change is accelerating
is feedback looping.

What do you believe in: violence or power?

It is our right as poets to be suggestive
to value a secure spirit & apply logic of affect.
We know why the grace of a curve invites.

revelations

“I wish the idea of time would drain out of my cells and leave me quiet even on this shore.”
—Agnes Martin, Writings

artist: Shu Takahashi

We had so much nothing,
it was taken for granted.
Believing nothing would always be there
absence became comfort.

Not unlike early morning prayers
spirals of grand scale idolizing
the ego erases into ecstasy
feral as our collective waking dreams.

This gap — promised conjecture —
as yet unproven and deep as the ocean
is sensory. A modern perception.
Time expresses both light and shadow.

Take this faithful repeated effort
to disrupt, relate, or to create.
Apocalypses, ancient reveals,
have nothing left to give us.

Release remaining regrets, a familiar form.
After all, we are in process
shaping the near future like it’s a bad thing.
Maybe there’s nothing but good in this.

rhyme scheme

“What is secret never has total objectivity.” — Gaston Bachelard, The Poetics of Space

screenshot from the documentary “The Sixth Side of the Pentagon” (1968)

Am I repeating lies? The Australian wildfires were started by humans and we live in a democracy or you can say no, which is a choice. I read an audacious headline and followed clicks and threads shiny as trolling lures. In the thick of seduction, I confess I may have shared images without acknowledging an artist because I wanted the frame of reference to reverb. I’ve posted songs that had no accompanying album, which means its context also wandered unattended. I have repeatedly liked things I never read, and never will. I’m exclusive, in a trapped kind of way. Eulogies for the cancelled are stored in clouds stacked miles deep. An echo wags the dog. Empty space occupies sound. We are pixelated into our own repetitive concepts of an othered likeness. Are you repeating lies? Please remind me tomorrow that non-knowing is stasis, sacred affect, and a series is a pattern is a sentence.

change the subject

“She peels an orange, separates it in perfect halves, and gives one of them to me. If I could wear it like a friendship bracelet, I would. Instead I swallow it section by section and tell myself it means even more this way. To chew and to swallow in silence with her. To taste the same thing in the same moment.”  — Nina Lacour, We Are Okay

Ori Gersht, Falling Bird, Untitled No. 1, 2008

My dreams were unpleasant so I changed the subject.
Crooked clouds, galloping waves, open sky, rapid heart beats,
30-mph curves, a quiet moon. I feel invited to be in witness
differently. Superstitions abound this time of year.
Ebb, the movement of the tide out to sea, is a noun.
It is also a verb, to recede. A delicate pull to want
complexity in concrete form and a desire to contract,
its own learned impulse. This withdrawing is not quite grief
but something deeper—like prairie grass roots growing
fourteen feet into rich Northern Plains soil or inversely
the stretch of centuries found in straight-as-arrows Coastal Redwoods.
I want nothing but that kind of time to observe the unfolding
of our revised lives. How far will I let this instinctive incantation
take me and what existence can we carve out in the shadows of endless wars?
Maybe the answer is where our holy and mundane days adjust into
a darkness soft as our breath subsiding and just as gracefully rising.

abdicating

“Walking on the land or digging in the fine soil I am intensely aware that time quivers slightly, changes occurring in imperceptible and minute ways, accumulating so subtly that they seem not to exist. Yet the tiny shifts in everything – cell replication, the rain of dust motes, lengthening hair, wind-pushed rocks – press inexorably on and on.” – Annie Proulx, Bird Cloud

Whooli Chen, Morning Song

I’ve learned enough to be dangerous. I’ve failed enough to feel successful.

Lessons learned, in the order they showed up:

  1. Expectations are different than boundaries.
  2. Shame is a form of self-abuse.
  3. Distinguish the difference between meaningful work and paid work.
  4. The stories I tell myself matter the most.
  5. Maintaining a conscious awareness of abundance is the work of being open to inspiration — being fascinated feels good. Acceptance is eternal work.
  6. Establishing new routines takes time.
  7. Trust in self is a sacred commitment.
  8. Patience is its own desire and trust in myself is sacred energy. Learning stimulates: both focus and curiosity are required.
  9. Creating poetics inquiries deepened my capacity for patient discovery.
  10. Breathe through the urge to have answers.
  11. Staying present and having curious inquiry is the process of accelerating joy.
  12. It matters how you show up.

2020 is one of those future-forward years, like 1999 and 2000. Every year has its own biography of echoes. The list above are some of my loudest.

overthinking

“Be wicked, be brave, be drunk, be dissolute, be despotic, be an anarchist, be a religious fanatic, be a suffragette, be anything you like, but for pity’s sake be it to the top of your bent – live fully, live passionately, live disastrously [if necessary].”

— Violet Keppel, in a letter to Vita Sackville-West (1918)

Richard Long, A Line Made by Walking, 1967

Monday’s sky rolled out baby blues and soft power pinks with creamy lilac contrails. Yesterday’s news was the same as today: promotional micro-divisions, myopic hyperbole, and regrets familiar as hard-coded hegemonic language.

Cloud banks wander wistfully south where it is summer.

For almost fifteen years, I’ve willingly come to this empty, open place. This returning is one of my most illicit love affairs. Responsible only to self and the swells of intuition, I may decide to write passively because that shadowed edge has the most depth or I show up with a cathartic vendetta that has begged for its own release. This virtual space a catalog of conversions, an alchemy of early-morning meditations transmuted into an ever evolving contemporary poetics. Here, time is measured as equal parts fumbling through curated distances and urgent absolution. This is a sacred practice that I’ve revised, distilled, and kept wild.

The redwoods are watching, thinking, and breathing just like me — and you.

Even now this landscape is assembling. Neither melancholic beast nor hyperconsciousness of a benevolent god’s perversions could keep me away from this erotic ritual of pleasure making. It is glorious how I have taken, and keep taking, what is useful to me. The violence of past sins have not failed me. It is precisely this ancient chorus that has finally connected curious inquiry to my formerly disembodied soul.

Let us start here, again, reimagined.

yielding

Barbara Kruger “Don’t Make Me Angry”, 1999

volume won the day

what was said
had to be abandoned

because more was coming

this universe was not built
to accommodate more than one sun

Betty Danon, I am, 1978

call me when
the Afghanistan war
is over

Black Lines 1, 1916, Georgia O’Keeffe

 

fog obscures the depth behind it

 

Richard Barnes, Murmur, 23 December 2006

from my side of this wall
I am only a body
& the sky is a milky blue

I quietly compose performative debts
unchecked — they form treacherous habits
when written they  s t r  e t c h  smooth

I’ve ritualized these (now) ceremonial feelings
& marinated in their bone-heavy broth
as panicked days continue to pace themselves

salvaging

“but i am running into a new year and i beg what i love and i leave to forgive me”
— Lucille Clifton, from I am Running Into a New Year

“your dream is my nightmare,” (trans. google) Berlin 25 Oct 2019

Always, an airplane in the sky. Our big, beautiful world is dying. We string colored lights in windows. This time of year requires letting go of what cannot be undone. The freeway flows forward, always. Birds sing in tune with worn out brakes of city buses. Today I will laugh. Where does the grotesque fall away and where is the real? Knees. Ribs. Pelvis. Hips a spacial reference to another’s manipulation. My body woke me in the middle of the night. I wasn’t sure if it was fair to tell you this truth. I disassociate enough to protect my sensibilities and made myself small to accommodate your vision of a world that owed you. I kept my mouth shut for fear of casting a shadow on your carefully carved out spotlight. I need new vocabulary to describe this headstrong ritual. Joy and excitement is replicable but they won’t be to scale. Yesterday I watched a woman kiss pigeons. Gently and respectfully, she kissed the bravest on their greedy beaks. In a sea of bread crumbs and feathers, she shared her love with those who surrounded her. Come back into it. My body won’t relax. I pick up the slack. Evening’s receiving light follows me home.

slow blink to xmas

Always to shine,
to shine everywhere,
to the very depth of the last days…

-Vladimir Vladimirovich Mayakovsky

Arnaldo Pomodoro, Untitled, 1984-85.

celestially speaking, we all belong to a restrictive social class
cumulative in our longings, we render dependency as emergencies
[how romantic to feel each other’s interdependent commitments]
we take our love-starved coordinates and plot collective orbits
moving at the textured pace of gravity’s grace, time fragments
do not worry, this scattering happens every year. remember?
what will you pick up and carry into tomorrow? the new year?

pursuing the question

Answers are just echoes, they say. But
a question travels before it comes back,
and that counts.

— stanza from “The Research Team in the Mountains” by William Stafford

When I met Dev Aujla in April 2010, he asked me a simple question about a sandwich. Connections with such lasting integrity enabled the answers in the interview below to unfold so seamlessly. Dev enabled this excavation. I wouldn’t have wanted to plumb its depths with anyone else.

This interview occurred through email August-September 2018.

Berlin, 28 October 2017

When did you first discover Audre Lorde?
I was in my early 20s. I discovered Audre Lorde through her Black feminist theory, not poetry. Her vision of feminism, shaped by her lived experiences, was accessible and provocative. I was drawn to her unapologetic and direct writing about race, sexuality, and difference. Audre’s biomythography, Zami: A New Spelling of My Name, broke open my repressed queer heart.

Tell me about your own poetic practice and how it led you to the poetics inquiry that you pursued in Berlin?
I’m self-taught and forever a student. Over the last seven years, I’ve had an intentional poetics practice. I owe my technical knowledge of amazing contemporary poets and craft, and the confidence to claim a love of poetry to my partner Edward. The other major influence has been William Stafford’s You Must Revise Your Life. My poetics practice is a state of evolution and curious learning.

The poetics inquiry of Audre Lorde’s time in Berlin was catalyzed by being unemployed. My thoughts were my own and open to possibility. I had a different sense of time and connection to productivity, which allowed myself to trust and really practice Stafford’s artistic process. I believed my devotion to writing and learning would get me to Berlin, somehow. Those beliefs were refined and actualized because of the generosity of others – family, friends, and supportive community. I wanted and needed this poetics inquiry, my first, to be a collaborative process.

Audre Lorde’s concept of the ‘poet’s way’ weaves together emotion, self-discovery, and the act of resistance. How did your understanding of her life and this concept deepen upon spending so much time with her correspondence?
I read the personal letters between Audre and Dagmar Schultz when I was back home. The letters added texture and tenderness to the over 60 hours of audio recordings I listened to while at the archive. It was a privilege to witness how they shared their struggles of daily life and their love for each other. The letters spanned eight years of their relationship. Everything I knew about Audre was that she lived her life holistically, critically, and with integrity. When I learned she defined a radical practice of honesty and vulnerability as the ‘poet’s way,’ I felt a new sense of validation. A ‘poet’s way’ is an elegant strategy for creating and sustaining social change.

I love the idea that poetry as you define it is a creative structure where desire meets experience that shows effort. Talk to me about specific moments where desire met experience for you? What does that intersection enable?
That definition came from an attempt to describe what a “good” poem is: “A temporary place of collaborative movement where desire meets an experience that shows effort.” I wrote that before Berlin. It was a statement learned from Stafford and included all the thinking that had gone into planning the Audre Lorde poetics inquiry. The trip to Berlin was the most intense and immediate test of that kind of experience! I also feel that effort every Sunday when I post on cacheculture.

I feel joy at those intersections.

Berlin, 31 October 2017

Today more than ever it feels like there is a sense of urgency in bridging ideological divides. How can the tools and ideas that you uncovered during your Berlin trip help people wrestle with conversations with the other?
Audre’s belief that identity is not competitive (an intimate and personal reflection when I think about being an identical twin) is a strategy of resistance in our consumer-centric culture and extractive capitalist economy. Identity is abundant, a creative expression, and a practice of self-preservation. A solution is sharing power and living a life of critical examination. I recommend reading Audre’s brilliant collection of essays, Sister Outsider, to get some of her best writing and vision around this work.

I like this quote from Audre at a poetry reading in Amsterdam (15 July 1984):
“The first step around difference: the parts within us learn to sit down together so that each of us can come to our work, as we define it, whole within ourselves – and then by extension reach out so we can do the work that we must share. That is a very long process. It must begin inside if it is to go out…”

What did the day-to-day feel like while you were in Berlin, spending time in the archives? What was your daily rhythm like while you were there?
It was incredibly important to treat my time at the archive like a job. It was work! I got up early and walked half a mile to the S-Bahn. Before I’d transfer to the next train, I had a strong cup of coffee and a croissant for breakfast. Then it was a short neighborhood bus ride to the archive. The computer was already turned on and set up to access the Audre Lorde files when I arrived around 9am. I listened to digitized analog audio recordings of Audre teach poetry in 1984 Berlin. I transcribed her lectures into two notebooks. The same kind I use in my daily writing practice. I needed an element of the inquiry process to be writing by hand – familiar. I didn’t know what I was going to discover since the archive guide was only in German. That physical movement helped me stay present (and it kept me awake, especially those first days of adjusting to the time difference). I took an hour lunch at the student cafeteria. Those were the only times I felt acutely alone and really far from home. I’d listen and transcribe more recordings until the archive closed around 4pm and 2pm on Fridays. Occasionally, I’d walk back to the train from the archive. The autumn air smelled sweet with rotting leaves.

I’d usually spend the last hours of daylight walking through Neukölln taking pictures of street stickers, graffiti, and whatever else caught my eye.

I did this routine for twelve days, each day the archive was open. The only days I wasn’t at the archive were weekends and two public holidays to celebrate Reformation Day.

Tell me about the relationship between the street art fragments and material you were engaging with in the archives?
I’ve been taking photos of street art for a long time but more consciously since I moved to the Bay Area. The first time I visited Berlin in 2014 I started taking photos of street art fragments of what had been and what was current. My friend Andrea’s reflections of her first time in Berlin influenced my awareness that most of Berlin’s architecture was an attempt to replicate what it was pre-WWII bombing. I was fascinated by what was replica and what was “real.” Time was nine hours ahead of what I was used to, and Audre Lorde was in 1984 – five years before anyone knew the Berlin Wall would fall. I wanted to try and capture that contextual experience of my time in Berlin.

You had a privileged view into the relationship between Dagmar Schultz and Audre Lorde both reading much of their correspondence and meeting Dagmar herself. Tell me about your relationship with Dagmar.
I love this question! It made everything more real. I was unprepared for how it grounded this experience. I was so honored (and so nervous!) to meet Dagmar. Her documentary, Audre Lorde – The Berlin Years 1984-1992, was the reason this poetics inquiry and the archive even exists. There’s probably a German word for the particular feeling I have when I think about Dagmar’s generosity in taking the time to meet with me when I was in Berlin.

I have even more respect for Dagmar after reading the correspondence and then meeting her a few months later when she screened the documentary in San Francisco. When I watched the film for the second time, I was hyperconscious of how inspired I had been from seeing it years prior — and realizing Dagmar was at the first screening I saw in Oakland. It felt divine. Sacred in purpose.

What do relationships like that enable in a time like today? Where do they exist today?
I think it reflects a desire for openness and enables our need for non-competitive mutual experiences. These kinds of relationships can feel rare, but they exist in all of our daily lives. It exists in relationships where we make long-term and deep commitments of time and energy to others and in those magical fleeting moments of human interaction. It also exists in reading writing that makes you feel (versus writing that informs or sells you something).

Berlin, 28 October 2017

What is that you wanted to come away with from your poetic inquiry and trip to the archives?
I wanted to experience what intellectual pursuit felt like for its own sake. I wanted no pre-determined outcome other than bravely learning more about Audre Lorde, poetry, and Berlin.

Audre Lorde’s way of living seemed to be so connected to the poetry, writing, and workshops she created. That tight weave between practice and theory seems so rare and powerful. Tell me about how that connection came across or was evident in the workshops and writing you spent time with?
I made that connection when I learned Audre was in Berlin for the first time. She admits she is practicing her racial and gender justice theories in real time: “I felt it was something I needed for my own honesty [visiting Berlin]. … I think of so much of what American civilization takes from Western Europe is a phrase I use frequently, and I thought at some point I cannot continue to use that phrase without knowing first-hand what I’m talking about.” [source]

The other moment was when I listened to her reading poems from The Marvelous Arithmetics of Distance: Poems, 1987-1992. I read these poems on a sunny September day in San Francisco as preparation for this poetics inquiry. The recording was dated less than two months before she passed away. Weaving practice and theory – praxis – is a habit of integrity. Audre lived a life of authentic integrity.

In your collection [for the Sorted Library], the Poetic Forensics of Power you have chosen poetry that transports one towards the feeling of revolution. I was struck by the sense of immediacy in all of the writing. There is a lack of flowery language. They seem to do what they need to do and make you feel.
I like your description of immediacy. That’s my favorite kind of poetry: breathless and to the point. I wanted a collection of poems that were political but not didactic. Audre believed poetry was a weapon, or “tools of surviving.” It’s an active stance.

Is poetry the common ground or is it our differing reactions to the same poem that provide that starting off place for dialogue?
It’s both. I’m hesitant to claim one situation over the other since most of my engagement with poetry is alone and in conversation with a poem.

How do these poets speak to what Audre Lorde described as Poet as Outsider?
Audre said, “As we think of the poet as visionary, in every circumstance there will be those people who have begun to see beyond what has been defined as the place from where they must write from.” [source]

Audre believed poets are reflectors of the future. Outsider poets are poets who can envision what does not yet exist – what must change – while reflecting the contemporary history, politics, and social cultures of their time. The poets in that collection hold the future, the current, and the past seamlessly.

I want to talk more about the idea of sharing power and the power implicit in the positions that we talk from that we never see or notice unless we are the subject. How can we make these more visible? How was this dealt with in the workshops?
Making power visible is embracing the truth that power is complex and an adaptive process. It requires us to get really good at being active listeners. These kinds of conversations often make us nervous or uncomfortable, feelings we associate as negative, yet it’s within in those moments that we can practice sharing power. It’s about making subtle and profound choices of engagement. We do it every day, even when we’re not conscious of it.

Audre gracefully facilitated these kinds of conversations in her classes by requiring radical honesty, establishing a safe place to critically examine one’s own feelings, and staying grounded in personal experience. She was clear about her intentions for the class and the expectations she had of the students. She admitted she had only enough energy to bridge the cultural and racial differences, not gender, and requested the male students not return to the Black Women Poetry session. It was incredibly brave and necessary for her purpose and limited time in Berlin. She would not allow white guilt to be used as an unconscious defense or distancing mechanism when the students were challenged with feeling uncomfortable. She diffused it by confronting it. She showed how power is a learned behavior. There was no shaming (the idea you’re inherently a “bad” person). If the student felt ashamed, it was on them to understand why. It was their work to do.

Berlin, 3 September 2014

Agnate Falk has a poem called otherness that came to mind when you were writing about the scarcity that we feel with identify. The threat that my identify can’t exist without taking away from yours.

OTHERNESS by Agneta Falk

It’s not because I don’t love you
that I can’t see your face,
It’s just that I can’t face your face
without eliminating mine.

When you look at me, I turn away
so I don’t quite notice your eyes.
If only I could look at you
without your looking back at me,
I could begin to see you, discover
the curve of your lips, resembling
mine; that on the slope of your
cheek runs a river as deep and dark
as one I grew up near, as shallow
and dry.

And maybe, if you dared
look back at me and saw your tears
filling my eyes, we could begin
to replace that never-ending
fear with love.

How can poetry help us see each other across difference?
This is a beautiful poem! Audre spoke a lot about how we can’t dismiss the poet’s experience, which is the “illumination of the poem.” Poetry is an opportunity to acknowledge feelings of intimacy in yourself and with another person (the poet) who you may never meet. It’s a moment to see both self and poet reflected and honor those differences.

If you become a committed reader and listener of poetry, you have a creative practice around understanding difference. I think it’s important to say that differences are never static. We always, every one of us, are in a constant state of change. Engaging with poetry is one method of staying flexible and open to multiple possibilities.

Poetry as empathy. Chance to feel what it means to be in someone else’s position. To understand the experience of the subjugated and actually understand the power implicit in my own voice that I may have never seen otherwise.

“You will never find the bridge until first you recognize what is different. Plumb that difference. Examine it. And examine the feelings that go with that. You will find in those feelings that there are very much feelings you have also. You may have them out of different experiences but you have the feelings. If you try to have an easy connection of similarity it’s not going to work.” [Audre Lorde]

Tell me about the differences you experienced and recognized in traveling to Germany today that you alluded to describing the practicalities of your poetic inquiry? What was informative in that difference?
I learned to practice being humble and feeling confident in decisions I had to make with limited information. I didn’t know the language, written or in conversation. I was forced to admit over and over to myself that I did not know the culture despite my childhood nostalgia for German culture. Because I came with an intention of having no pre-determined outcomes, it was an interesting experience to take in so much information with confidence. I was open to possibility. It worked at the archive exploration and when I wandered unknown streets.

Berlin, 28 October 2017

I like the idea that it isn’t in finding common ground that we find true bond or connection or bridge but rather it is in plumbing the depths of difference and understanding our corresponding feelings to that. It is such a different way of building relationships than we are taught today. Find common ground, ask questions, build a relationship. Did Audre Lorde facilitate people through these types of interactions during the workshops? How did this idea show up with her students coming from different backgrounds?
I love this question so much. What makes this observation so beautiful is that it assumes it is ongoing. There’s an expectation and honesty that it’s going to take some work. Not all relationships should be or can be forever, of course.

My favorite moments from the audio recordings are when Audre is facilitating conversations of difference! She shares German is not her first language, which she admits makes her vulnerable around discussions of interpretation. In tandem, she took considerable time to politically educate her students about the American welfare system and disenfranchised Americans – Black, lesbian, poor, women, Asian, Indigenous – all through conversations woven through a curated collection of poems.

Tell me about your experience of holding a question, or pursuing the question so thoroughly through travel, visiting source materials, turning to poetry and creating a collection? Why is this type of thinking and inquiry needed today?
Almost a year later, I’m still learning and integrating everything I saw, heard, and felt from this experience. It was an incredible immersion. I went to an edge of what I had internalized around risk, woven from my own identities and experiences, and was conscious of that dismantling. The value of this work was made even more clear when I heard others reflect their own learning and emerging ideas from this inquiry.

Having a critical examination of our daily experiences, especially those shaped through normalizing culture, is always needed. It can feel like that’s more the case today, but every generation has faced or denied their differences – and made choices about what tomorrow could look like. Audre’s essay, Poetry is Not a Luxury, outlines why it’s important that we feel as deeply as we analyze: “It is a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action.”

aesthetic aberrations

Opposites are abstract concepts belonging to the realm of thought, and as such they are relative. By the very act of focusing our attention on any one concept we create its opposite. … Since all opposites are interdependent, their conflict can never result in the total victory of one side, but will always be a manifestation of the interplay between the two sides. — The Tao of Physics

Berlin, 3 November 2017

her dreams were filled with spooked horses and rabid wolves
allegories of courage or danger or obsession
shallow interpretations, her repressed energies a spark
threads of eternal poems with narrow slanted voices
waking, she stuck pins in her eyes to filter in more light

morning shadows

Do me a favor this morning. Draw the curtain and come
  back to bed.
Forget the coffee. We’ll pretend
we’re in a foreign country, and in love.

Raymond Carver, last stanza of “The Road”

Helen Lundeberg, Islands, 1986. Acrylic on canvas, 127 x 127 cm.

There’s an urgency when you wake up in darkness. Instinct tells you to trust that light is coming. The sky opened a hazy lilac. Morning shadows sharpen. I’ve misinterpreted the danger inherent in matter cannot be created nor destroyed. Navigating productions, stilted formations misunderstood as lyrical responses, becomes a performance. Often, soothing a distraction.

I learned early that soft touches were to be saved for moving someone to confession, then towards salvation. For all those end-of-days Sunday warnings, I am not prepared. This is a special kind of denial, an abject version of faith.

“We should have known” has signaled subtle shaming. Didn’t you hear all those rumors?

The moon is new. At the moment, there is no wind. My body remembers this fear. My sense of distance expands in the pink layered light.

I’ve kept this on the tip of my tongue, at the rim of my mouth, inside my lungs sweet like a curated secret. I tried to write around the noise but this is the silence that found me.

red flag warning

Who will touch me in the middle of this war. — Zaina Alsous, from “On Longing,” A Theory of Birds: Poems

Luis Camnitzer, vacuum formed polystyrene, 1968

in the darkness, I whisper
red sky at night
sailor’s delight

this ancient prayer breaks
its positive predictive power
when the sun rose red, again
highly sensitive weather machines
translate falling ash as snow and rain
smoke spreads heavy in the amber colored night
in the darkness, I whisper
red sky at night
sailor’s delight

lean into the punch

“They are not allowed to distract the attraction.” The Tao of Physics

I AM SIGNAL AND NOISE

 

your hands wrote notes on the arch of my back
a syntax of bruised blues
confusing the map with the territory
you left elegant traces of comparative expressions
a relatively exalted possession
to sublimate time unspoken as gilded pleasure
a glitch forsaken, tender undulation

seven years and a day

artist: Yuko Shimizu

Police found nothing but pairs of empty shoes inside abandoned cars stopped on the freeway that carved edge lines between city and suburb. Stereos were still playing upbeat songs or blaring ads for insurance, spicy chicken sandwiches, eradicating skin rashes, and a cloud that promised to secure memories. Coffee left warm in secure cup holders.

I have my own, obvious, working hypothesis for the dispossessed.

I can feel you wanting more. More analysis, more details, more quantifiable truth. I recognize that desire. If left unchecked, it is a serial and extractive response.

Instead of getting stuck in that kind of particular production, what spiritual inclinations were you born with? Will your future prove the past?

The ending is coming. How wild is your hope?

________

title is reference to seven years and a day is often the period of trial in fairy tales (Denise Levertov, The Poet in the World, page 13)

graceful friction

But where I come from withdrawal is easy to forgive. — William Stafford

Rupprecht Geiger, Zu Licht und Schatten (trans. To Light and Shadow), acrylic on plastic foil, 40 x 35 cm, 1972

She said she loved me
she loved me
loved me
it became an anthem
a melodic hook
stacked like clouds
fists tucked
ready for a fight
bent over     or
how horizons form
don’t believe me
study the moon
and sun’s partnership
a story of graceful friction
literally magnificent light
now wild from abandon

end of the 3rd quarter | 2019

“If wishes were horses, beggars would ride.“ —Saskatchewan farmer saying

Masao Komura, ‘OPTICAL EFFECT OF INEQUALITY’, computer graphic based on an algorithm using and displaying the greater-than sign, 1968

a quietness calls
stars still groggy
from shining all night
our tongues found light
in caves of darkness
bound by touch
we hold tight
such ritual informs
produces   distills
grand obscene thoughts
bent knees
rabid digits
intake   release
revelations replicate
unseen feedback a risk
strung across suffering
that has no reflection

enter

Out One, 1971, Jacques Rivette

“Variety, multiplicity, eroticism are difficult to control.” — Barbara Christian, The Race for Theory, 1988

the world has been ending
since humans monetized time
selling stories elegant as tree rings
interrupted only to loop

together, attention affects gravity
softly gathered in quiet
found in the folds of endurance
atoned — we focus on the migrating season

elegant in its infinite chase
an autumn sun rose ripe
peachy explosions
light bloomed dandelion bright

take my hand, let’s walk
to the edge of town
I promise our sky opens
if you listen to its longest shadows

proper exit

Alicia Eggert, This Present Moment, 2019, 96″ x 157″ x 59″, steel, neon, custom controller

Our days contain the same hours despite abbreviated light.
Fevered images imprinted on soft flesh remind
this planet orbits a beloved and nuclear star.
Sorcery or science, that’s not for me to declare.

I record the sky every morning to create fragments of an unseeable whole.

Daily witness a veritable surge measured against distance as response.
I stop when I remember your happiness is not my responsibility.
That’s the small print of being in relationship to you.

We’ve burned through time by excavating the past.
I warned you verb tenses are subjective when coupled
with mutable concepts of time. Didn’t you hear that echo?
In suspension, I ate my tongue and swallowed our blood.

I know how much you appreciate a dramatic and proper exit.

formed at the edges of quicksand

The hills are thick with creamy fog these late-August mornings, then fade into brilliant blue. My dreams have been performed in airports and church vans. I rode a mechanical bull pleading to get to where I thought I wanted to go.

Takahiko Hayashi, Stories-spilled out of histories, mixed media on paper.

a different summer morning
you joked that Red Delicious
was put there by a witch

4 May 2014, Oakland, CA

I’m disciplined to distraction
the peek of a thigh
roses at the edge of on-ramps
yielding to pressure

a wish

Berenice Abbott, Behavior of Waves, 1960, Cambridge, Massachusetts

In the same way orange trees are dormant in winter,
I saw a way to be — abstract as light, silence, form.
I am only a singular present self carved in this body.
I found time by counting the clock’s soft tick-tock
In tempo with the whoosh of a kneeling city bus & claw clicks.
I made a wish the Sequoias below live longer than me.

request to transmute

“Resolve to carry on the quest of your own reality.” — Sathya Sai Baba, 7 April 1968, from Sathya Sai Baba Speaks. Vol. VI.

sunset on Mars 15 April 2015

a call then obligatory response
we rationalized into excuses
a burial and flourish

NL headed west, 31 January 2019

peel to the flesh of an orange
I didn’t find what I was looking for
whatever that what was supposed to be
the sky is fog; the fog is sky
Venus still hums her vibrations

danger & excitement can feel the same

Richard Moult – In the Heart of the Wood and What I Found There

“What is it that keeps up from drowning in moments that rise and cover the heart?”
Anne Carson, Plainwater

under the current circumstances
you must understand

in my dreams
you robbed me

the plot was a repeat
a rerun

did you see that emergency flare?
it was bright
red

inevitable

our skies hold light
white
then expand
into blues

debate shatters into silence

we meant to say ineffable

details spread diluted
revenge collects into thriving tragedy

what hope hunts has no reflection
survival now the most obvious commodity

danger and excitement can feel the same
our bodies keep trying to tell us this news

live as in
right
now —

we grope backwards

enquiry for a future that does not yet exist

All responsible witnessing engages a poetic experience of language. — Jacques Derrida, Sovereignties in Question

Dusting off the Male Gaze, Yuku Shimizu

It was the way you phrased the question
like scripture or that tone reserved for family
a sharpness of being open ended, interpretive.

You wanted to know about future memories
cached in bucolic 2020 time capsules.
When would we be notified of the opening ceremonies?

How would the reveal of selective imaginations cast
replicas of value and what will remain
in desire’s form? Why do we save time this way?

You wanted to know just how, exactly, would revelry
produce nostalgia. I answered in kind.
Why do men’s hands have a gravity to them?

red line

Endpoint, paper collage, Annalynn Hammond

Dinner was the same: ground beef — a portion
of a six hundred dollar monthly salary — tomato sauce,
and elbow macaroni. That winter night, when he reached
for another helping, she noticed a thin red line
flowing from his thumb to his armpit. The blood infection inching
forward in proportion to the pounds of noodles, canned sauce,
and slaughtered cattle that filled our child-sized stomachs.
Weeks before, he cut his thumb skinning a dead lamb.
Orphans are draped with the skins of the dead to deceive
mothers in lambing season. A forced rebirth through the smell
of the familiar. When they left for the emergency room,
we watched the trace of their brake lights in the empty darkness.
As orphan bonded to new mother, we ate alone in committed silence.

in excelsis

“She was territory and words occupied her.” — Jeanette Winterson

photographer: Gary Ross Pastrana

Contrived as a self-portrait
& captured in landscape mode,
diamonds rest at her throat.

Lips split wide enough to connect
in rapture of majestic glare.
Caged, he filled negative space.

To steal a line:
the crowd’s a rapacious beast

Starlings sang from burnt trees —
songs misinterpreted as warnings.
Ecstasy migrates inward.

Cities bend to western light
when a sun rises full & tender.
In ascension, fireworks sound blue.

—————
line from Silkworm. “Tarnished Angel,” Firewater (1996)

forbidden feelings

tell me that you’re famous for me – Bull in the Heather by Sonic Youth

WE’RE THIS / AND WE’RE THAT. / AREN’T WE? – Ed Ruscha

here   they wash sidewalks
while old women with no teeth
sleep on concrete mouths open
as buses curl around blocks
like snakes seeking refuge

on warm screen display
all this proximity
generates raw tension
& opportunities to be dangerous
exhale embargoed

here   preachers still preach
drag & drop promises
with conviction-driven voices
she is distracted with salvation
in witness & in abandon

she holds a burning cigarette
between her shaking fingers
& places a call to god
there is no answer
    the voicemail full

moving diagonally in a blur

Lill Tschudi (Swiss, 1911-2004), Venetian Lines I, 1950. Linocut, 26 x 28 cm. Number 16:50

god is absent these manic days
and still, we try to be our best selves
(even my plants have grown inches)

find your lazy gaze focused
there is forgiveness in being temporary
(pink light burns morning fog)

abstract detachment feels like coping
dreamy summer days tumble us smooth
(bone white clouds break open)

private investigator

When I added the dimension of time to the landscape of the world, I saw how freedom grew the beauties and horrors from the same live branch. — Annie Dillard, Pilgrim at Tinker Creek

Blind swimmers (Effect of a touch), 1934, Max Ernst

Planets square, conjunct, and align according to ancient calculations. A replicable physics of perpetual routine and abstract distance. The wise have correlated collective visceral feelings to this constant celestial movement and, of course, gravity’s determinate pull. There is grace in this kind of emotional profiteering, an abundance that forces us to confront unknown questions inside a mapped-out-for-you future.

I’m days away from another year around the sun. Three hundred sixty-five unbroken days of editing mistakes and expanding my realm of intuition.

These accumulating memories are a landscape bound to cycle back around to vanishing points. Gathered as collages and smelling like warm marigolds, all those shades of consciousness tend to the task of a well-paced axiom eventually becoming their own runaway speculative fictions. Nostalgia clutches just as much as it cascades.

The sky is always moving. I intend to continue investigating the figurative dancing light from that motion. Etching inventions into my own shameless shadow.

still life

Rivane Neuenschwander. The Silence of the Sirens. 2013.

The sky is mute.
My palms soft.

The future broke.
Your hands found me wanting.

Shared recognition creates intimacy
when the public body is an impulse.

Wild as blessings, and just as sacred,
I come wide, spread open.

Living a literal life
is an obedient life.

My feed is deepfake informative
so I reduce truth to metaphor.

Wandering ribs is a radical referent.
We’ve been promised what does not exist.

Birds bob and sway
above the frothy noise.

landscape analysis

you’re getting too caught up in things that don’t matter (artist: unknown)

dreams of meat
fractured rendering
time wasted
a scarce luxury

this kind of clarity
born from salvation
a knowing how petty
being a victim can be

in classic tactile evasion
you beg for cruelty before comfort
caught in a familiar discordant loop
arrested in rustic sanctuary

passive as a twinned body
swallowing your present tense
to breast the wave
then shred your fears of impotence

these kinds of clearings
a place where light abandons control
are at the edges of regeneration
the poetics of follow through

blue noise

artist: unknown

Maybe if I loved her enough, my mother would heal. – Chana Wilson, Riding Fury Home

My mom officially disappeared from our family when I was thirteen. To be fair, she did not know she’d be leaving her four daughters that day either. When she left the house, she had packed nothing but her purse. Dispossessed, my memories are inscribed into a tight buzzing chest, rushed breathing, and anxious as self-doubt. These memories are my limbic system, the circuits of my mood board. I learned decades later my father took her purse as the only door out of the mental institution shut in her face.

The memories I have exist because I was there but that is as far as my truth can extend, the rest are now privatized myths. To be honest, my mom had been disappearing long before that fateful day. The silence in between seeing her was seasonless and evokes the dreamy concept of eternity for me.

It is true some winters the prairie grass reached taller than the snow drifts. To be obnoxious, you can read snow drifts as a noun or a verb. In that way, my teenage years were a righteous alchemy of oblivion and riot. I remember watching my mom’s need to earn her perfection and how she absorbed all his taking. I deducted a respect for witness and learned early that quiet violence swells. Infinite in its exhaustion, my realities are at best uncertain, which means I have the capacity to refine and revise.

I learned the art and practice of possibility from my mom. To be obvious, I owe my mom my life even if she wasn’t there for most of it. I had to let go of any contempt for her absence years ago because, like me, she also holds dreams of an expansive horizon inside her.

reputable entry

We want what a god wants: to own it, all. — Beth Bachmann, from “Oasis”

artist: unknown

Muses come and go. Some take root. Some show all their promise up front. With almost no context, I understood what he meant by “reputable entry.” 

Dropping into a new line can feel like that.

We are bodies of evidence, revised. Show me, again, how to leave and return tender inside all this fragmentation. Generate reality out of hoarded information. Find traction at the edges and distill purpose in application as integration.

… :this page is confronting
you. Come on out. Be ready
inside your voice. People have read
too many names. Now, addressing
what was here before, remind them:
in the hollow after you have spoken
a whole world is trying to be right.

They’ll see, those people, how chaotic
a place this is, without us to hold off a reckoning.
Once this poem is over, all the unmanaged
begins to flood in. …

— excerpt from an edited copy of “You’ll See” by William Stafford

x + y =

AN ARMY OF LOVERS SHALL NOT FAIL – title on cover of The Lesbian Tide, Apr. 1973

Road to the Ranch, 1964, Georgia O’Keeffe

this feeling of war is different from other war feelings I’ve had.
it is a conscious scan of knowing where the exits are located.
it is a wanting of quiet and stillness
inside all this (up)loaded aggression.
it is a particular kind of collaborated knowing.

bodies bend closer in fantasies without violence.
a genre of collected mundane details:
dishes in the sink
airport air thick with fancy perfume
the memory of water.

I study nothing, obviously.
I like that space
in between.
crowded spaces. public spaces.
being ignored in isolation.

strictly speaking, we think we know
what is happening
because we study history.
if we believe we are more manipulated today,
do we fulfill our own prophesies?

block the exits

You better just enjoy the luxury of sympathy / If that’s a luxury you have — Built to Spill

A Matter of Life and Death (Michael Powell & Emeric Pressburger, 1946)

there is writing on the wall
but I don’t yet know what language of seizure —
of belief, suspension finds a soft corner

confidence is its own risk and reward
these longer days hinge on construction of narratives
a clever distraction from observing the narrator

listening is an appearance of doing nothing

when you are poor you learn how to end things
which is better than getting carried away
or in too deep, you must reserve your trust

even trees get tired of being predictable
show me extraordinary in this real-life panic scenario
then, intimately connect the sky to water like an exquisite corpse

anger and fear make us feel full

the ad said I needed magnesium harvested from the ocean
I want that kind of specificity right now
to notice more than anonymous eroticism

and recognizing yourself in that loop
in memorandum of understanding
a future tense — the feel of fist in mouth