Tag Archive: experimental poetry


Zero Gravity Proposition

this poem is a wormhole,
a dimensional shift, an anarchy,
a nonexistent thing asserting itself

there is no inherent orientation in outer space
only an expanding universe, accelerating
a phantom energy driven expanse

illuminating a bestiary of metamorphosis
nebulous, interchangeable creatures
viewed from subsuming positions
encoding a matrix of symbols

laciniate selves emerging
from the mysteries of geminating galaxies
supernovas of nuclear fusion transmutation
———- birthing and destroying ————–
a disorientation at the event horizon

terminating in elegant effigies ingloriously askew
amidst the gracile lines demarcating existence
metaphrastic missives from dark energy
an unraveling poetic exegeses

it is unknowable and unseen
dancing these helical truths
pneumatological enigmas of stochastic intimacy
in an explosion of probability theory

systematic errors of passion
improbable actions inventing equations
expressed by carbon fueled mouths
digressions of regurgitated sense impressions
from a finite point in space

picturesque idioms torn asunder
by the slings and arrows of a native tongue,
lightening that tears at the veil
constructs and deconstructs perplexities
that tremble with human sensibilities

Derrida’s post-structuralism
exposes and undermines the oppositions
hierarchies and paradoxes:
signifier/signified; sensible/intelligible;
writing/speech; passivity/activity

liquid modernity’s tentative position
cloud construction of identity
which imagines a neutral mode
of writing (existing)

veridical paradoxes, congeries of the strange,
margin notes and shadow expressions
cantos in the wilderness without compass points

husk and kernel unite
unsaying every word
in indented continuations
cave paintings and charcoal outlines
of the same lamentation
all artifacts of the passion:

Kierkegaard’s desire to discover something
that thought itself cannot think

ancient pearls embedded in glacial time
these round numinous volumes,
clay surfaces formed of pounded stardust
howling waterfalls of half-life elements unwinding

constructs in the fourth dimension
curved space departing Euclidean geometry
threshold frequency erects the base
a foundry of hollow spaces

where precept and concept unify
an intentional dementia
impenetrable fortress of subjectivity
mastery and transgression merged
into something perpetually
lost in translation

aleatory insights resounding
in a multiplication of caesuras
semantic slippage and resolution
birthed in unimaginable articulations
accretion of allusions weighing upon poetry

morphing electroacoustic transducer
interrupts echolocation, dislocatingting
signifier from its denotata,
disrupting the patterns of semantic relationships
speech acts like a convoluted telekinesis
positing thought invents language

superflat eye disfigures
this universe of enactments as
poetry collapses, excises novelistic tendencies
so poets become geometers of dismemberment
lacerating with erotic precision

spinning an elaborate manifesto:

produce without possession
envision freedom from rationality
educe a contradistinction
gather the cipher and the subtext
and integrate a secret sharing scheme

excel but do not lead your thoughts
breathe, decrypt the psychological schemas
act without premeditated expectation
be the paradox of noise within the silence

assimilate the workings of the universe
puzzle out an esemplastic theorem
unlock strategies of liberation

allow entropy to overpower existence

be an echo in the caverns, stealthily passing,
an imperfect processor with selection bias
questing for an oracle of algorithms,
embody a fading murmur, trace the interstices,
become a ghastly literalness of absence -

all states are possible in the end

NOTES: This was written for my Meeting the Bar: Wild Beasts prompt at dVerse.

Wikipedia Commons

Wikipedia Commons

In memoriam for Dave King

‘I am writing a novel
in which no one speaks . . .
every one of my characters
moves like a shadow . . .
As of now, chapters ten,
and to a lesser extent,
maybe, eleven,
seem quite unpenable.’
written by Dave King, excerpts
from WAR AND PEACEfulness

I. Alasdair MacIntyre and Isaiah Berlin will engage in a civilized debate of moral philosophy and value pluralism in the divinely lit library of the hereafter

while it seems improbable
that the two will ever
arrive at the Answer,
hidden within the firestick,

their agreeable natures
ensure a kind exchange
and mutual respect
(as ours did)

II. Postmodern experimentalism encounters a fine intellect and a dashing wit

not only did he meet the bar
he vaulted it rather spryly

III. Anything can happen

unfortunately, it often does
cancerously and suddenly

IV. Stendal, Joyce, Hypatia, Riker, and Woolf toast his life by writing an eternity of allusions

words are like magic,
scintilla, igniting the soul’s spark
Plato’s divine spark longing
to unite with ever more
transcendent forms of beauty

Hypatia approaches the door
only those who’ve transitioned
may enter, opening a gateway,
releasing the fiery cries of seraphs

(I will meet you in the liminal
threshold between your faith
and my fractured metaphysics)

her radical eye encounters his pneuma
perhaps a whisper of which
will live a little here in the poem
as an act of remembrance

V. The consummate performance artist mourns the poet

you walked alongside us
desiring a dream of arctic skies
and ice floes captured in verse

now silk enrobed traces of your artistry
float by, a music, ever passing
as your gentle voice is lost to the wind

Book with Wings by Anselm Kiefer

Book with Wings by Anselm Kiefer

‘The aim of science is to make difficult things understandable
in a simpler way; the aim of poetry is to state simple things
in an incomprehensible way. The two are incompatible.’*

I exist in the abstract vector (impure) space
between the mortal and the divine
within this night of broken glass
where there are no mutually exclusive states

in a profound paradox encapsulated
by a series of spectral lines
superluminal small heavens (within)
embodying the nature of light

restless remnant of a tattered whole
(oracle) of four dimension spacetime notation
carrying a universal wound of broken stories
in my native tongue, mathematics

imaginary world of leaden transformation
an enchanted map leading me on a path
between genius and madness
antimatter colliding in a book with wings

(space & time)/(momentum & energy)
coexisting potential alchemical matrices
uncertain relations in superposition
oscillating ash of solitude and union

*Paul Dirac

The Book of Symbols
A chorus of stones
(eternal echoes)
the unconsoled

sacred pleasure
after virtue
the sacred and profane love machine
of human bondage

scar tissue
(half-life)
elegy
writing subtext

warped passages
a language older than words
the secret language of symbols

ways of seeing
(after mountains and sea)
heaven and earth
the immense journey

silence & solitude
(erosion)
where there is no name for art
the inheritance of loss

unfolding meaning
(passions of the mind)
possessing the secret of joy
the architecture of happiness

Created for dVerse Poets Pub FFA on spine or sorted-book poetry.

Transmission Lost

Fallen Angel by Jean-Michel Basquiat, 1981

Fallen Angel by Jean-Michel Basquiat, 1981

Music by David Chamberlain, Jr., poetry by Anna Chamberlain, and the lyric ‘all we ever wanted to say was chased erased and then blown away’ is from the Janelle Monae song, Many Moons. Hit play above, this is a spoken word piece.

The Triumph of Death by Pieter Bruegel the Elder

The Triumph of Death by Pieter Bruegel the Elder

I speak now to the audience in your head
not the voice that reads this line
(nor the voice that speaks alongside it)
but instead to the part of you
that observes the voice,
(hush now)
watch the unfolding theater:

here is an excursion of the artist into war
from the safety of the mind’s constructs
(you will not have to take a stance)
so you, the observer,
have assurances
double indemnity

Pina choreographs the performers
writhing masterfully among the corpses
wrap flesh around their toes
to raise on point
(incongruous)

upon a beach invaded
by the long dead
(whale song)
marching to the sacred shrine
(come away)
the listening shores rebound

hand-held spotlight illuminates
an iron triangle against the
politics of a graffiti sky
jagged edges slice the dancers
(to operatic pleas)

she stands alone
undulating arms
(come away)
frenetic, kinetic shapes
haunt in liminal space
(collapsing)
consume your ideas,
bury your children

confront the psychology of obstacles
strewn across a room within a world,
a café, a memory, a drama
(inextricable motion)
painting your psyche,
(behind the fourth wall)

bid the virtues,
bid the graces
(come)
daughters of art

cry your overflowing river of dust
a rite of spring granting muddied feet
to reclaim the earth of this stage

incursions into our perspectives
wormholes to exquisite pain
(as I write to you)
of this excursion
of the artist
into war

we close the door (castaways)
seaweed tossed by the storm
mimicking the dance
emotive intensity whirls
in the roar

violent intent permeates Nature,
from whom we learn not
seeing with closed eyes

you hear my voice, your voice,
the observer draws horrific pictures
for your inner sight
you travel, exploring this interior
view of war

at a remove that fans out
like a house of mirrors
dancers mime

(terror)

(exhaustion)

(bloodlust)

death

Pina Bausch

Pina Bausch 1940-2009

she turns the emperor on his head
as the sun penetrates the forest canopy
I listen for the sounds
wild reparations offered for all the blood

scanning for (in situ) signs of life
a heartbeat pumping in searing words
brazenly on a hot pressed page
wood transmuted, only resurrected with her name

surface so smooth that everything slides
liquid nitrogen cooled tongues
slipping from cottonmouths
stained only by washes
of colorful trauma

mineral night rising, a phosphorescent outcry
burning chemical fire layer by layer
until our skin becomes as
ineffectual as the paper
she wrote the truth upon

hush imbued atmosphere descends,
a pernicious intent
poet tells me, ‘every angel is awful’
not mine, lord,
not mine

I saw her at the dawning
and in the glimmer of his oceanic love
her joy lighting candles
in the holy of holies
that day I stood in the temple
in the land of the sandsky
(where I never could have entered before)

murmuring supplications
with an apotropaic wand
against the inevitable dark

secret cinematic sounds delivered
in the tone of teenage apathy
Video Games plays in the acoustic hollow
of a phoenix’s breastbone
an echoic pleading
one skin to another

I held her in the birthing
and in the slow murder of life
in her incandescent light, her
dénouement, her breath infusing
my own, whispering paeans,
singing sighs

Notes: Every Angel is Awful is a book by the French poet, Martine Broda and Video Games is a song by Lana Del Rey.

Acrylic on paper 2005 Anna Chamberlain, poetry 2013

Acrylic on paper 2005 Anna Chamberlain, poetry 2013

Frank O'Hara 1926-1966 by Grace Hartigan

Frank O’Hara 1926-1966 by Grace Hartigan

Frank O’Hara says to Grace Hartigan
‘I do not always know what I am feeling.’
(but in For Grace, After a Party
it will become about you)

spouting a poetry of indeterminacy
as he builds his identity,
a compulsion of artistry accusing
her of the betrayal of figuration

pure abstraction was required to
invent a self-referential language,
to find the convincing limits of the self
she asserted the definitive line
in his elegy in paint, Frank O’Hara, 1926-1966

now imagine the Abstract Expressionists
on Facebook, drunken missives
of fluid modernity existing within
the persistent lateral surveillance of decorum

gorging on sycophants sexting naked pictures
from the front facing cameras of smartphones
deKooning’s women couched in
an art of internalized misogyny

in this iDubai world of conspicuous
consumption, anything can be a commodity,
masquerade as a pretense or solipsistic dissolution
accompanied by a string orchestration
to score a cinematic self-expression

all devolves into projection and reflection
tactical apologues in the life of the mind
code-talker paradox a side effect
in a cyber-context devoid of meaning
simultaneously blocking and enabling communication
digital age where we cannot make marks
that depress the paper, only unembossed gloss

we’re so far from the sumptuous feasts
debauched scenes and willful obscurities
of Lycophron’s Alexandra, offering instead
staid symposia and motivational speeches
forgetting the orgiastic origins
and slave owning of the intelligentsia

Plato was the first literary dandy
explicating the joys of exploitation
revived by the Queen of Versailles
time share dream pushers building
90,000 square feet of opulence because they can
suing the filmmakers for life story rights

we bleat mutilated themes like Adele anthems
(registering attempts at emoting)
obsessive tracks running on elliptical trainers
to avoid over-hyped terrorist psychosis

virtualization is an act of fallacious connection
Time polls reiterate being rich will make you happy
performance art in the social hierarchy undermining
Rich’s dream of a common language

private and public merged
process and product revealed
so that the art and artist are one
unheeding the warning signs
Pollock’s unveiling killed him because
he knew the falsehood he stood upon
(cigarette butts and ejaculate
embedded in house paint)

how could we not continuously turn
to the melodic tones of dancing limbs?
pregnant looks, throwbacks to lover’s songs
ingestions of longing, You Belong to Me
melds into Make You Feel My Love

both speak intensely of possession,
of an invented and distorted humanity,
at the edge of thought as it becomes volition
or fades into the void, a gnat’s worth of life energy
in the storied American pursuit of happiness

Richard Diebenkorn - Berkeley #57

Richard Diebenkorn – Berkeley #57

incendiary convergence, blood-dark magnolia
caught in a wounded harvesting, profound incursion,
an exile – suicide volition in a fading Arcadia

oscillating secrets, pleasure traversal
dreaming plunge on a transparent, violet night
blue smoke ushers a vestigial solemnity

(the text intervenes -
a mutilation which language
supports and denounces*)

cavernous figurations, internal adorations
aesthetic conceptions underscoring
an invented landscape

elegant silence of seclusion’s verdancy
ephemeral horizon, an evasive, mirrored shore-line

inclination, reflection, formidable curiosity
abstraction of Diebenkorn’s expressive,
succulent brush-strokes

dancing exclamations of luminosity
hieroglyphs of absence enabling
an atmosphere of poetic contingency

glistering disquisitions, light echoes – shadow colors
bewitching lexicons, internal archways of lavish resemblances
banished beauty, castles built on unbounded mists

pale branches atop evasive stones, incommensurate
reaching toward scorched estuaries

impenetrable worlds of hearth ash
remains of an intense art

painted mountains, the apparent vanguards,
figurative defacements of a gestating destiny

* from Anne-Marie Albiach’s The Wasting Away “of Chance”
posted for Charles Miller’s dVerse prompt Meeting the Bar: Form for All and was created following a random method of word selection (including allowing another poet to choose words) from multiple texts and then arranging them poetically. The texts include the complete novels of Jane Austen, Women’s Poetry in France 1965-1995 translated by Michael Bishop, Possession by A.S. Byatt, American Hybrid A Norton Anthology of New Poetry, Gerhard Richter Paintings from Private Collections, and Richard Diebenkorn The Berkeley Years 1953-1966. Please join us at dVerse Poets Pub.

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