Monday, January 3, 2011

2 poems || Raymond Farr



Gift Wrapped Apart

The Other tried to become
Loft of the inherited “I”
As “I” mistook perspective turned x-ray
An eye-dropper-half of mirrored sense
Looked down like swerve to disregard
The Other dropped faithfully to the cliff face
On Bridge Drosophilae apart
Open immiscible clear space as being
Occurred appeared a trudged up hill
How naked intruded
Like money rolled & stacked
The plains the vast great stretches of road
Driven like that old tale once
About a gone waitress
Sally & Hugo (her ex)
The tell of it like some aspect of smoke in it
In the fist a heart not known to be suspect
Turn and twin of the monumental
The doldrums of “I” gift wrapped at Walgreen’s
On the load-drop
I up took my grace among lifting backs
Lifted faces





X-tra Wide “A”ngle Writes “Lens”

Words explain “A” by duplicating explanations of “A.”
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A poetic field plots an impulse fraught with “A”narchy.
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Gott, und my ally, Salome, limit the space in “A’s” shadow.
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DUNCES WAR! “SUPER-A” CHARTS THE HEAVENS.
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“A’s” jist orients our mouths, ontologically a voice.
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In tha house invigorates “A’s” common poetics, word, y’all.
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On-camera, “A” hosts NBC’s talk show, Scripted Conflict.
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“A’s” flat-worlded art is an art in name only.
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Screams of fungus are a human condition; “A” is a volume.
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A duped writ annotates while “A” is a cone that’s not a cone.
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“post-A” states a door is a precinct; a precinct a gaol.
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“A” writes: Coventry is a monk derived by signification.
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Like “narrative,” “A” errs in dogmas buffooned by subtexts.
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Does the black skin of “A” in the curve of the drive?
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An aspect of “A” copes by processing “the terrible odes.”
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Fibs are slits in “A’s” mask; eyes illumine the edges of use.
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“Maintain the abruptly,” articulates “A”, our commander-in-chief.
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Histoire, according to “A,” interrogates poems in fallen Gaul.
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“A” is the info in the distance of here.

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