Tuesday, October 28, 2008


There's a place few go
in our studio
where between the shows
outside limelight
beyond spotlight
in dim Indian lanterns Atlantian glow
between carlights
under moonlight
the deals we'll wheel out are Faustian
hidden from ticketholders
leadin' some holy rollers
to baths with soap that scrubs off scope yet left dollars
gathered with hoots and hollers
by children, men, and elders
choose the cause of their living all yours.

An English teacher of mine, Mr.Arnold, would tell readers of poetry to deliver it w/the punctuation it was written in. He'd also stop at each line on the second read through to dissect it for meaning, sound, rythm, meaning, language devices and poetic form. Keep your breath when reading my poems. My mental voice doesn't need to breathe and can talk much faster. Part of the pleasure and merit I instill in a poem is that the emphasis of syllables+speed of reading changes how sounds blend together and complement each other. If you imagine every frequency not as a wave but a spectrum band, like a bar code but colored like your computers defragmentation report, then changes in pronunciation, inflection, tempo, spacing between sounds, and similarity of sounds would alter the final readout of those lines. Where was there overlap=one sound matching another? What words became less distinct, overtaken by a pattern of reemerging syllable? I don't have a single way of reading set in mind as the ideal. Playing w/the tempo of my reading gives multiple pleasant results and this experience is what I want for imaginary future readers.

Read by another language it's glossalia

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