Screen Dump 873

You're in the middle of a turkey sub . . .

Everyone seems to be in the middle

of a turkey sub . . .

The surf is up up and away . . .

It's on its way out . . .

A fact-checker checks place-holders . . .

The mellifluousness of the breaking waves

soundtracks the moments of summer people

buried in potboilers on the beach . . .

They too will soon be on their way out . . .

Shifting down triggers enticement . . .

Many will profit . . .

What hasn't been done . . . and done again

as your life is done on Commercial Street

with how-to's and what-not's . . .

Only time will tell beyond the planters

that spring up at your every step

with the scathing humor

of an unremarkable go-between . . .

Are you sure you want to go between? . . .

Shouldn't you rethink the curvy curves

awed by odysseyites in anorexic kitchens? . . .

Lying in bed without the gift of sleep

makes for a double-header

with remnants of archival footage

to be found in discovery

among trembling windows with offcolor shutters . . .

Antonio Palmerini

Screen Dump 872

Your life skirts the edge of a backstory

looking out from within

with information overload ready to pounce . . .

How quaint, yes, this throwback

to earlier, safer times . . . cushioned

with Craigslist posts and ethical underpins . . .

Sitting on your hands will be zoomed

but think of the day's other options . . .

When will it stream on Netflix? . . .

When will it arrive? . . .

When will it close? . . .

You’re about to shift into overdrive

which is nothing compared to the day's triggers

awaiting mispronunciation in the condiment aisle

coupon-slingers milling about . . .

I saw you there in all your paginations

colorful and wonderful and anticipatory . . .

as if your flight had been rerouted

in the last quarter of the playoffs . . .

Antonio Palmerini

Lake Myosotis

Screen Dump 871

You wonder the entanglement of a cafe

in a city you don't know

the quiet desperation of regulars

sidetracked by modal elements

as if confusion is a friend . . .

Your work, yes? . . . What is it all about? . . .

Words arranging themselves

rearranging themselves

making public your proxy . . . like you're all of it

before and after . . . getting lost

in your head . . . and this is good . . .

quickening the strained look . . . 

the byplay on the path to elsewhere . . .

Antonio Palmerini

Screen Dump 870

The closeness . . . misinterpreted . . .

misunderstood . . .

enraptured . . . by angularities . . .

by semblance . . . by excitement . . .

Proportionality as part of it, yes? . . .

the retreat to the periphery

of your entanglement? . . .

The invisibility inevitable . . .

Nothing spectacular

save for the acknowledgement of distance . . .

The moment-to-moment nomenclature of glances

with the silence of a rewrite . . .

Antonio Palmerini

Screen Dump 869

Rehearsing the penultimate

with a strange tongue

for those garden languagers

that can make it here there anywhere . . .

The alternatives crumble

to no-one's surprise . . .

understanding someone's gameplan

includes time-outs

for wrinkled foreheads . . .

Conjuring the dimmest memories

may work for a bit

but the inevitability of intimacy

as hoped for

will doubtless remain locked in memory . . .

False positives, yes? . . .

borrowing lines from the afterlife . . .

as if there is one

pissing and moaning

about yet another attack

on obscurantism . . .

the handcar leaving the station

notes and revisions

that would have made a difference

taking to the air

packing the house

with unknowns and toys for the endgame . . .

Antonio Palmerini

Screen Dump 868

You're copying pages from the book

you found creased in the sand

but nothing else . . . the emptiness

straddles the drama . . . with you

in over your head . . . a good thing

notes to yourself to close read . . .

the deconstruction . . . an element

to be hoisted onto the mast

with language for the solo voyage . . .

You hammered Moby Dick along

with your other prestidigitations . . .

a Siren entrancing odysseyites in full . . .

Antonio Palmerini

Screen Dump 867

Moving through characters

voicing their words

not unlike climbing into Instagram

playing the parts

form and function

forgetting the toxicity

of the overblown

with its confinement . . .

Out and about

with this year's seedlings

before the storm at least

before the avalanche at least . . .

Why the nonchalance? . . .

Running the changes as a distraction

fascinated by the fingering

the once and future

something or other . . .

Little matter what . . .

The crowded nursery with cart wielders

eyes and such

speed reading the tabs

imagine close reading . . .

What a trip! . . .

But what about next year? . . .

The ongoing transformation

is the trip you’ve wanted to take . . .

The trip you've been waiting for . . .

Paolo Roversi

Screen Dump 866

You plant an alphabet in your sleep

and wake to appropriation

as if the characters had been hacked

while counting guests . . .

The math checks out

but the logic to your dismay is playing dead . . .

Far too many have suffered comeuppance

with AI-generated scripts . . .

Don't worry, when the call is made

you'll have a good excuse . . .

The synchronicity is one way to go

but to insist on simple stories

shreds the complexity of language . . .

Misunderstanding's around the corner

and with everything everywhere

if you can imagine that . . .

A cold plunge into translation

would be worth it in bargaining chips

but why? . . . Why the amplitude

of pages in the book on your nightstand? . . .

I thought you were beyond that . . .

Antonio Palmerini

Screen Dump 865

The lions you've been wondering about

are crossing the River Styx

on a raft with Huck and Jim . . .

Is your man white . . . or black? . . .

Simon and Garfunkle have walked off the set

looking for America

in a time of innocence . . .

Kathy boards a Greyhound 

in Pittburgh

after Jack Gilbert's

Pittsburgh and happiness high up

each time almost remembering something

maybe important that got lost . . .

But where is Kathy now? . . .

Is Kathy still reading her magazine on the bus

in Simon and Garfunkle's America? . . .

And is she with Mrs. Robinson? . . .

And where is Joe DiMaggio? . . .

Inquiring minds want to know . . .

The dealer clears her hands

for the eye in the sky . . .

The streets are blocked off for a 5K

heading into Memorial Day

a miniscule inconvenience by comparison

surely not Bruce Cockburn's lions

on SNL circa 1980

coming through the rye

with Salinger's appropriation

of Robert Burns . . . but what the heck

it fits . . . doesn't it? . . . Holden, yes! . . .

indeed, it was a time of confidences . . .

Bruce Cockburn (SNL May 10, 1980)

Screen Dump 864

Out of earshot, yes? . . .

Meanwhile the collective belch of the day

bridges gaps in memory

deconstructed at all hours

or odd hours . . . whatever works . . .

The difference is in the fabric

the tongue-and-groove conversations

among grocery shoppers

tagged for manager specials by AI . . .

The days unfold the same . . .

quite close to the arithmetic

of a calliope . . .

Nothing can be done

but no matter . . .

the comings and goings

covering distance with more distance

protective of what the ears cannot hear . . .

Pull up the night train

with cartilage still pliable

and willing to take a stab

at identifying the flickering scent

emanating from elsewhere . . .

It's the frugalitarianism crapping out . . .

Paolo Roversi

Screen Dump 863

This will have to do for now . . .
There should be enough
especially the second movement
with its surprising reprieve . . .
There will be coffee of course
and days squandered

before confusion enters the room

and bolts the door . . .
Again this year the soil will be turned
hours set in motion against the dwindling light
yielding memories like meaty tidbits
picked at by gnarly-clawed
Rhode Island Reds, plotting elopement . . .

Screen Dump 862

There's the anvil again

and the rythmic strikes of the hammer

on the red-hot steel

re-shaping the drill point

while the road crew chills with smokes

next to their idling rig . . .

And the Rhode Island Reds

their strange, soft, drawly clucking

filling the air

milling about outside the coop

scratching for worms

with gnarled, yellow claws . . .

the clotheslines . . .

attached to the telephone pole

squeak in harmony

with a push mower

and with the bell in the cherry trees

shooing away Robins . . .

You're trying to connect the dots

hungry for meaning

now with age more interested in narrative

as the bell lap sounds

in the roll and stretch of a dream . . .

the same dream . . .

the same black and white dream . . .

fearing so many things

a terrible kind of proof

so as not to be crushed

by the stupid or the vacant or the void . . .

There's this scene in Bela Tarr's The Turin Horse

with a young woman sitting next to a stove

with its pot of boiling potatoes

looking out the window at the dust storm

imagining other worlds . . .

The Turin Horse (2011)

Screen Dump 861

The argument collapsed and you were left

sifting through the shape of water . . .

The can of spray paint

used to highlight the separate steps

was found and dusted . . .

with odysseyites analyzing the has-been . . .

A beautiful mind was awakened

to walk among and comment on

the plantings . . . a horticultural escapade

for those in the know . . .

Counting worked wonders

and in no time the path to the argument

was uncovered and made presentable

which seemed to have been part of the plan

from the get-go . . .

Paolo Roversi

Screen Dump 860

You're asking about the doors

and why they're opening and closing

and why Kafka's path - beginning middle end -

had to have been put down simultanously

as corroborated by footage

that didn't exist . . .

So a walk in the garden among the peerless

the moment you realize

the connections that the writer/director

had diligently worked out

in the late hours of their mind . . .

It's not so much the expansion

of thoughts as it is the extension . . .

the detritus of the day-to-day

with meanderers choosing happiness . . .

aloud no less so that others might appreciate

their impulsivity and the seedlings

scattering in time to the second movement

of the drama unfolding in your backstory

despite the missing pages . . .

Where to go next? . . .

But there's time . . . yes, there's time . . .

Paolo Roversi

At the Transfer Station

Rain sheets the windows of the black Dodge.

There’s a young guy in the passenger seat

and he’s giving you the thumbs up.

His grandfather is unloading the Dodge.

You're getting soaked, wrestling trash bags

out of your SUV, but you stop, put down the bags,

and give him the thumbs up.

From my Proust's New Eyes

Albertine Simonet is Marcel’s mistress . . .

Marcel is the narrator of Marcel Proust’s

seven-volume À la recherche du temps perdu . . .

In Search of Lost Time . . .

Marcel is Proust . . .

Marcel is obsessed with Albertine . . .

He wishes to possess her . . . to own her . . .

Albertine appears in three of the seven volumes . . .

Her name occurs 2,363 times . . . on 807 pages . . .

Albertine is first seen pushing her bicycle

on a beach . . . skirts billowing . . .

Marcel will return again and again to this image . . . 

Albertine is asleep in 19 percent of the novel . . .

Asleep, she becomes a plant . . .

her hair like crinkly black violets . . .

Proust uses plants as metaphors

for female sexual desire . . .

In The Albertine Workout the poet Anne Carson

notes that plants expose their genitalia . . .

Marcel observes that sometimes in her sleep

Albertine throws off her kimono and lies naked . . .

Hence, Proust’s fascination with sleep . . .

Fade to black . . .

Screen Dump 859

But more often it has to do with

insecurity or the desire to impress . . .

So they copied the painting

signed their name

and sold the painting . . .

Is this a problem? . . .

Hybridization opens a door . . .

The confluence of theory

and autobiography . . .

a no-brainer as you walk off

to look for America . . .

Would you care to elaborate

on the unique building blocks

of your interiority

all magically held together

with Elmer's Glue? . . .

But these trifles

will suck the living daylights

out of your fabrication

leaving you picking nits . . .

rearranging the colors on your palette

with ultramarine blue

in the twelve o'clock position . . .

Read the draft

as if it's the first time

to see if you've veered too far

off the yellow brick road . . .

If you want to remake a point

just go for it so to speak

in the moment

regardless that all hell

will break loose . . .

The normativity of stringing words

is choreographic . . . the listener

playing catch-up and enjoying it . . .

You were here . . . We were here . . .

just a moment ago . . . and now we're gone . . .

vaporized . . . poof! . . .

Anka Zhuravleva

Screen Dump 858

A voice warns not to sweat imprecision . . .

It's easy to drop names

gaslighting the insecure

into interpreting grocery lists

for identity thieves

posing as Alice . . . in Wonderland

sacking drivebys

doubletalking wordplay

cluttering walkups . . .

Just think makeshift or landlubber

and you'll be fine and dandy . . .

Numbering your thoughts

will doubtless serve the same purpose

until the Uber arrives

to take you to the neighborhood

medical pop-up for a quick look . . .

And what’s with the local chapter

of hand wringers? . . .

They seem exasperated . . . but why? . . .

Imagine everyone elsewhere . . .

What then? . . .

Overdubbing the verbal miasma

will open the floodgates

to a double header

where you'll be able to enjoy

the warning track

without hitting the wall . . .

Calling out for pizza

has again jammed the works

of this run-around-in-circles

kind of day . . .

Addenda have lost

their sense of purpose . . .

You are sliding off the edge

of the looking glass

while documenting rapid physical changes

transformative changes . . .

curiouser and curiouser . . .

Screen Dump 857

You're freighted with imaginary concerns

highlighting text for tomorrow's comealong . . .

Someone called in a lockdown . . .

Confrontational aesthetics is today’s special 

with teams of horses circling the wagons . . .

The stop-and-go is standing down . . .

You are stop-actioned by the congestion

at the roundabout and throw the dice

out the window . . . A voucher for a turnaround

has been duly noted . . . Now tell me again

what led you to this . . .

Antonio Palmerini

Screen Dump 856

You're calibrating a Bloch sphere

highlighting symbols in an aspiration space . . .

Cartoon characters are on deck

disturbing the peace

hammering the latest modifictions

you signed off on . . .

So it's good I guess that you've called in

for a personal day

the outer crust, the parched surface . . .

Nothing can be said

about the rhyming dictionary

that elbowed its way in

with detached conversations . . .

Someone just threw in the towel . . .

A long period of adjustment is about to launch . . .

Variable cloudiness is pouring in

with locals awaiting direction

like kites slipping along ramps of air . . .

an open-air theater

the fourth wall under construction . . .

Antonio Palmerini

Screen Dump 855

You are released with a nametag

and operating instructions . . .

The Best of . . . leaks cantankerousness . . .

The opening was abysmal

with a smattering

of almost but not quite . . .

Reliving the future, yes?

with outtakes stuffing the iCloud

counting on Number Theory

to turn the tide of indifference . . .

What's the ETA? . . .

You had better plan for a rewrite

in cuneiform loaded with appositives . . .

Antonio Palmerini

Screen Dump 854

Isn't it about time to finetune

the lawn tractor for a trip

to the seven wonders

of the neighborhood? . . .

The days when Oreos sandwich in . . .

The peeling paint on this two-story

hides a medieval mural with cryptograms

awaiting decoding . . .

You're enjoying a beefsteak tomato

from the neighbor's garden

thinking cello lessons

with the retired music teacher

down the block . . . back home

after a stroke . . . Your autofiction

pops up in a snow globe

on a piano in a doilied parlor

where a tabby kneads a dream

between bouts of stripping wax

at the elementary school

while visitors to the cemetery

across the road

place pebbles on the headstones

of little-known castrati . . .

The full catastrophe is on standby . . .

Antonio Palmerini

Gone

You have faced the final storm,

and now float, high above the seas,

guiding fellow sailors,

your last words, Goodbye, my love.
The days have begun to lighten;
the nights are open windows.
I turn the soil for a vegetable garden:
tomatoes, cucumbers, peppers, eggplant.
Rhode Island Reds appear
scratching for worms

with gnarled, yellow claws.
My grandfather, a blacksmith,

is here, too, from the dead,
a stubby Philip Morris

dangling from his lower lip.
He speaks to me, in Polish, about happiness.

Catherine Connolly (July 7, 1969 - April 5, 2012)

Screen Dump 853

You revisit memories

knowing that soon some will be overwritten

permanently deleted . . .

Several refuse to come out . . .

Others waffle . . .

A long ball into the right field bleachers

the runners advancing

too late now to rethink the gameplan . . .

You too had to be dragged in here

by the scruff of the neck

pockets turned out, shoes and socks removed,

trying to buy time, incoherent . . .

and then, of course,

the room you pretend doesn't exist . . .

Sorry, but the title has been reworked . . .

The scene rewritten . . .

Someone had to do it, yes? . . .

Antonio Palmerini

Screen Dump 852

Voiceovers of dress rehearsals

with you in the wings

running lines for passersby . . .

the moment fanning out

to memories of desire . . .

And so it returns . . .

the insistence of wind

in the guise of the lost . . .

players cast about for alternatives

losing themselves in the paroxyms of reason

grief segmenting the past

making it more interesting

than it possibly could have been . . .

Antonio Palmerini

Screen Dump 851

Why this urge for clarity? . . .

for lucidity? . . .

A Range Rover bloated with conceit

edges onto a logging road . . .

Shapeshifting bemusement

as you drop a bucket into the stream

and piece together the polyphony . . .

Begin at the beginning? . . .

You have traveled the island

collecting peculiarities

picking the actual over the real . . .

spending your allotment

thumbing up-close and personals . . .

The moments float by on a continuum . . .

Ducks in a row, yes? . . .

This self-preservation mode is a how-to

bordering elsewhere

like everything . . . in need of revision . . .

giving of yourself with no turning back . . .

Antonio Palmerini

Screen Dump 850

You inhabit fragmentation

the ins and outs

ups and downs

going through the motions

taking notes

revising scripts . . .

Everything obscured . . . obliterated . . .

layered over, as Hockney would say . . .

Matthew Brady, moving the Civil War dead

instead of the cameras . . . making it more . . . 

You talk about likes . . .

and the drama:

Call me Ishmael and all that

through however many chapters

until the Rachel appears, and finds you clinging

to drowned Queequeg's coffin . . .

A theater of lockdown drills

students huddling in the corners of rooms

doors shut

shouting sirens gunshots drones whistles engines . . .

A Day in the Life . . .

I read the news today oh boy . . .

But what of the reliability of retrospection? . . .

The eyewitnesses' embellishments . . .

unintentional yet instrumental . . .

How you enter the frame and alter it . . .

Enter the room and the conversations change . . .

You're not surprised, are you? . . .

The Doobie Brothers' Takin' It to the Streets

and you on lunch break from the bureaucracy

with a reference librarian

and they're doing a sound check

and people are beginning to segue

into the weekend . . .

he said . . . she said . . . muddied . . .

Wait . . . let's run through that again . . .

Warmify it this time, please . . .

Manipulate the image . . .

Move the dead . . .

Later, comparing notes

for the retrospective report due Monday morning . . .

In search of . . .

recording days

with a small 70's style reel-to-reel tape recorder

the loud silences

the ambient buybacks

the magic of a perfect day

convinced that there is such a thing

that it's not a fiction . . .

that there is in fact a perfect day 

not unlike the perfect day

in the film directed by Wim Wenders

about Hirayama, a janitor

who finds beauty in the world

cleaning public toilets in Tokyo . . .

Antonio Palmerini

Screen Dump 849

Semantic drift leaves you stuck mid-thought

on the slippery slope of your backstory

with corners folded . . .

In the last scene you redact emptiness

on the deck of a steamship

ferrying steampunkers

to an island of breakdown lanes

echoing the cacophony for multiple voices

when midnight matters little . . .

Particulates contaminate the River Styx

with the pushback taking on a life of its own . . .

Soon a moment of silence . . . Have you AI'd? . . .

Screen Dump 848

You're filming the in-between moments

with a hand-held camera . . .

You're pretty sure they mean something . . .

The power grid of your memory

is not a black hole

nothing like that at all

with crumbling facade along an overgrown path

sprouting shoutouts of Data Breach

expecting somersaults at inopportune times

begging for an unpacking of subject matter

thrown out in the last downsize . . .

It's the in-between moments, again, yes? . . .

the in-between moments

that have to be filled

with something, anything? . . .

How about the box of loose ends? . . .

The latest opening was cringeworthy

made more so by the late start . . .

You were perfect for the backlot scene

before you went underground with hobblers

following a trolley loaded with ho-hums

reimagining how it might have played out

if happenstance hadn't happened along

with innuendoes roaring over you

like an unscripted mudslide . . .

Antonio Palmerini

Outtakes

(reposted from Friday, June 15, 2012)

I am not now that which I have been.
          - Lord Byron

You befriend a Chinese Puzzle Box,
walk through scenes of over-rehearsal and exasperation.
The (mis)direction is good for both of you.

This time without the backdrop.
You begin to lose interest, yes?
Nonetheless, proceed as if smearing paint on canvas.

Forget the image. There is none.
Wing it.
Let yourself be enveloped by the drama

of the moment, the spontaneity
of the lens, the elements of time captured.
Bemoan the loss.

Again, this time with tension.
The method is beside the point
resurfacing as binaries

which down the road will have their say
striking a chord with many.
(Pretend an audience.)

See how far you can take it.
The surprise will be costumed in the next chapter
however oppositional.

Antonio Palmerini

Screen Dump 847

The edge of a conversation

a word here a word there

trying to piece together the fragments

trying to follow . . .

Then in the courtyard

somnambulists exchange dreams

but again you're out of the loop

so you retreat to the next chapter

of an instruction manual

filled with asemic writing

but the way in is the way out

adding to the mixtape

with tattlers exposing Easter eggs

for ventriloquists

in the throes of a talkout . . .

It's the same old same old infinite loops

from the first act breaking stride

sending the dappled engagement

off on its own golden goose chase . . .

Antonio Palmerini

Screen Dump 846

Has reading between the lines helped? . . .

What about the blank page? . . .

Is it the intimate interiority

of a different life floating in

at all hours . . . covered with snow

that keeps you young, yes? . . .

keeps you moving across

the mind's moors . . . visiting

metaphysical what-ifs, haystacks,

brick-and-mortar clock towers

the inevitability of the postponed

as you try to fit into place

the last piece of the puzzle . . .

The dropdown menu of possible endings . . .

The wherewithal coming into view . . .

Antonio Palmerini

Screen Dump 845

Can anyone die without even a little bit of poetry?

          - Mark Strand

A sudden anticipation . . . this routine of words

portending immortality . . . however fantasized . . .

A dialectic with obscurity and belatedness

participating in various dreamscapes . . .

weather mounting . . . offshore . . . rain moving in . . .

Apollo clutches Daphne . . .

You clutch a mug of morning coffee

and you get it, yes? . . . this parallel dimension

where you appear . . . unannounced

in dress rehearsals for your present waking life . . .

Antonio Palmerini

Screen Dump 844

The rustic earworms of your fantasies

storyboard Paradise Found

as you review choices made

in your past shuddered life . . .

eroticisms whispering Etch A Sketch images

infusing your DNA with new ways

into your days . . . without which

but that would be what? . . .

impastos unshackled? . . .

the clock continuing . . .

this unnecessary cupping of hands, yes

awaiting a sign . . . on this snowy night

traveling through the secret air

down the steep, down the stops, down the deepenings

until asleep . . . dreaming . . . mirrors, faces, all . . .

Kelly Boesch

Screen Dump 843

The answer in question awaits

costumed and ready . . .

There's little sense

in mapping the route

or in reconstructing the argument . . .

The cat has escaped the bag

with dissertations

waiting in the wing

to move in and have at it . . .

Just look at it differently . . .

Kierkegaard's rotation method, yes? . . .

You have passed the Driver's Test

and are finally roadworthy . . .

Advisors are at your beck and call . . .

Soon you will be off and out . . .

No need to be squeamish . . .

Kelly Boesch

Screen Dump 842

An unkindness of ravens stalks you

with forked-tongue misdirection

pulling labels, stalling the machine . . .

You fear for your inertness,

intimidated and defensive . . .

the question, How Should A Person Be?

drops with forged watercolors . . .

And now word salad is being served

as placation . . . but the bigger story . . .

yes, the bigger story . . .

Abecedarian assemblages are no exception

with beauty the answer

and not just that . . .

so thoroughly disrupting

the urge to impose,

through a sense of your evolving self

despite the irrepressible narrative . . .

Sheila Heti

Screen Dump 841

A closed timeline curve plasters walls

with canary flyers opening to the fluidity

of dreamscapes . . . Everyone is inked . . .

in solidarity . . . the word out is beyond scary

looping back onto itself . . . painstakingly

slow black-and-white panning

squeezing scripts to fit the moment . . .

the experience . . . a thousand voices . . .

You raise your hand and are dropped . . .

Kelly Boesch

Screen Dump 840

Painting with a muted palette . . .

the foreboding promiscuity head-butting

to tempt happenstance

but how to do it

without intentionality, yes? . . .

Trails groomed by AI . . .

Objects of desire vanishing . . .

There is no joy in Mudville . . .

A Magic 8 Ball rolls in

with Ask again later . . .

Now what? . . .

Are you ready to click Resume? . . .

OK, maybe go with the cosplay? . . .

but what if a much of a which of a wind

{in fact} gives truth to the summer's lie? . . .

Kelly Boesch

Screen Dump 839

Getting the words out, yes? . . .

the joy at the level of the sentence

despite hallucinating chatbots

with you touting your next iteration . . .

long lines followed by short lines

saying the real say

a window into the why . . .

Is it alive? . . .

away from the non-presence

of philosophical yadas . . .

the kinship among the disillusioned

pushing the disembodied space

into something else

energized by nature’s calisthenics . . .

You can do this . . . you know you can do this . . .

Serge Barbeau

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So what's a little queasiness? . . .

This is what you wanted, yes? . . .

this staging of the ethics of representation:

who was there? . . . who wasn't? . . .

the magic . . . what sustains it? . . .

what snuffs it out? . . .

The engaging motleyness

emerging from somewhere deeper

than rationality . . .

trying not to be judgmental . . .

the menacing collage

the porosity of stalled time

the bucket list leaking indecipherables

into your playpen of dreams

the rate of polymer degradation

awaiting your inner film preservationist . . .

Implausible . . .

Would you rather something else? . . .

How then pharmaceuticals

in the throes of ecstasy? . . .

Deep discounts? . . . of course . . .

Repercussions bouncing around

the breezeway at all hours . . .

Throat singers trailing scripts, yes! . . .

And now the day . . . with coupons . . .

Can you wait it out? . . .

Blanche Sewell

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Filling in the blanks . . . especially the urge

to drop your story

doing your Shangri-La with wait staff

unselfconsciously . . . without worry . . .

shredding the shell game . . . under glass

a peaceable array of mock-ups

gradually falling in sync . . .

The outermost dunes of imagination

with character studies for those in waiting rooms . . .

You have returned in your favorite backstory

as an elementary guide

through the valley of bass clefs . . .

The moment-to-moment on the tenth yard line

with eye sockets appended to enjambments

as if ideosyncracies managed to get through secuity

without the usual discomfitures . . .

This is good . . . with you without remorse, yes? . . .

Marcin Szpak

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I suppose that's how it began . . .

odysseyites worrying the crossing

with Facebook friends 

roadmapping next steps to happiness

morning rounds interrupting

the magical mystery tour

promised by the maître d' . . .

But the sign-up sheet? . . .

Forget that, it was a misstep . . .

But you mentioned a vague disquietude,

a vexation totally unexpected? . . .

That too was part of the excitement . . .

Apparently, you didn't get the memo . . .

So many do not want to be bothered

opening Door #3, fearing what,

identity theft? . . .

You mean tweaking? . . .

Not a big deal . . . bringing

something new to the table

should help you navigate the unknown . . .

Marcin Szpak

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Stop making sense.

          - David Bryne, Talking Heads

Is it worth the effort to bring home the bacon

or release the stops and replay the collision

of fancy-pants words for odysseyites-in-training? . . .

Of course, the ramifications, allegations,

the daytrip to the photo-shoot

with clothes-horses astride the aforementioned . . .

An abundance of light . . . or delight, yes? . . .

You were promised a free ride but then what? . . .

The ventriloquist's dummy lost its voice

after speaking in tongues to residents of Utopia . . .

There was no turning back . . . the River Styx

if that's what you're thinking

or are about to think about . . .

Akin to moving into a loft to excavate

grainy black and white footage

from a foot locker earmarked for extraction . . .

before the scene in which briefs are filed

at a unknown law firm is dumped . . .

But that won't explain everything

being light years away from any sense

of street reality . . .

It's simply an idea . . . not unlike any old idea . . .

enamored as you are of the contemporary art scene

brimming with new or outlandish notions

in a culture punishing outsiders . . .

Mattias Bjorklund

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A playlist, yes, that’s it, a playlist . . .

rewound between scenes

and in the distance . . .

Can you believe the intermixes

of ensouled sediments à la Annie Ernaux . . .

memories the stuff of experience

confirming life's fragmentation

and the belief that one belongs

in a graphic novel? . . .

Try that on . . .

Oh, OK, to occlude the looming gloam of death

beyond the parameters of age

as if the sound of a train

steaming along the shore

will arrive with installation instructions

for your next next . . .

This is too far-fetched, isn’t it,

too ill-fitting

the range of options a word salad? . . .

You have to admit though a certain exuberance

so exuberant in fact that it applauds missteps

with A+s . . . nonsense, but yes

you can see it as well as I

and I have to admit I'm enjoying the garble . . .

the magic . . .

Annie Ernaux

In Anticipation of Guillermo del Toro's Frankenstein

          for Mary Shelley

The powerful engine reanimates the commonplace
and transports you to Doug Adams's Galaxy
where you shop for food and tend the fire.
A little red helps wipe out the nightmare.
You thought solutions would drop from the sky
but instead squirrels on drifts ignite messages
from the Restaurant at the End of the Universe.
You recall taking off in secret,
traveling incognito around the countryside,
not unlike Torquato Tasso,
whose alleged schizophrenia rescued him
from a life without love.
Did Percy too stir with an uneasy, half vital motion
when you were out at all hours
with soft brush, dark crayon, and rice paper?
Were the rubbings a hit in the cabin on Lake Geneva?

Bernie Wrightson

Screen Dump 833

It was like that, yes? . . . like the obtuse angle

in a math problem posting the past

with an escape route to explain why

as if Tears for Fears:

Welcome to your life

There's no turning back . . .

imprisoned in a trap of disbelief

choreographing rewrites that clutter

your mind's forgotten transfer station . . .

Why the passport makes no sense

in this pool of adjectives backstroking

the aseptic elegance of angularities

extends into extra innings

making it almost seem worthy

of the nonsense syllables

transcribed onto a faux scroll . . .

This maelstrom of bittersweet streams

is nothing new . . . nothing you did not master

in the stairwell of the apartment building

where you had set up shop so to speak

for your clients

that has since been razed

to line the pockets of wheeler dealers . . .

Your habitual scribbling about one-trick ponies

with empty sockets

suffers a conclave of nostalgia . . .

troubling knowledge of what will happen . . .

the time opportune for boilerplate logic . . .

Antonio Palmerini

Screen Dump 832

Then, in the middle of it, you made a u-turn

collapsing rehearsals into autofiction . . .

labyrinthine waves promising hypnotic delights

from the seven levels at blowout prices . . .

A panhandling cat mutates

into an apothecary

the afternoon petering out . . .

bills interspersed with postcards

including one from Giza

with pop-up pyramids mimicking Albrecht Dürer’s

Draughtsman drawing a recumbent woman . . .

Women as subjects to be drawn . . .

objectification, yes? . . . 

bending the rules of perspective

leading to anamorphisis . . . mirror anamorphisis . . .

positioning a mirror to transform

a flat distorted image

into a three-dimensional picture

that can be viewed from any angle . . .

the alteration an adaptation

this incompatibility unspecified

both amorous and tension-fraught

the nucleus powerplaying the realism . . .

No doubt the power of the costume
the power of indifference

channeling Schopenhauer on his 3 PM constitutional

with his puppy-dog Atma targeting paparazzi . . .

Antonio Palmerini

Screen Dump 831

Misunderstanding all you see . . .

          - The Beatles, Strawberry Fields Forever

Going for broke . . . essential but without

the plunging happenstance . . . colored with outtakes

from The Last Picture Show . . .

Never you mind, honey. Never you mind.

There was a moment

but it doesn't matter much to me . . .

That's the Beatles . . . this too

I am he as you are he, as you are me

and we are all together . . .

then retraction or redaction

the little matters that matter little

setting the bar . . . it must be high or low . . .

On cue? . . . You costumed in praise of folly . . .

Begin again? . . . you mean with Holden's

all that David Copperfield kind of crap? . . .

So yesterday . . . Anyway, so yesterday,

Don't you think the joker laughs at you? . . .

for going out on a limb

tallying The World to Come

with Abigail and Tallie

battling hardship and isolation 

in mid-19th century Schoharie County, New York

where husbands reportedly poisoned their wives

in record numbers

irrevocably drawn to each other

comforting one another in the afterlife

taking the Queer Lion Award

with Norwegian filmmaker and actress

Mona Fastvoid at the helm . . .

but not Back to the Future

storyboarded soundboarded waterboarded

beyond the yellow brick road

with lists aplenty streaming on Netflix

in the guise of The Stranger . . .

or at least sounding out every other line . . .

Mona Fastvoid

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But then the time out with roadies loading inuendos

while you as self-appointed architect

began mapping an esplanade

for extra credit and rumor . . .

It seemed lots of fun . . .

at least that was the impression

with footsteps sounding as backstories unfolded . . .

Antonio Palmerninio