Screen Dump 583

No, not never . . . the end flashing on the screen

collecting empties from the thems that got

surprised when looking through the wrong end of a telescope

everything . . . and everyone . . . small . . . manageable . . .

Of course, that's when the scene ends

and the midnights elbow in with rewrites . . .

You, under cover, I mean, you, under the covers

replay the drama of rain . . . looking through the glass

as extras plod across . . . Across what? . . .

I dunno, across the moors, how's that? . . .

Did you say you got a callback? . . .

You pulled out the stops to your life as remainder

threw open the drapes . . . Proust-like . . . and now? . . .

Look at the trees at the edge of the world . . . 

They're talking to you . . . recounting the time

you wanted to run . . . go back . . . as we all wish . . .

Am I spinning my wheels here? . . .

Is it all bullshit . . . all window dressing for the camera obscura? . . .

Or are you readying yourself once again to get

into the driver's seat . . . despite the cracked pleather

and transform yourself into a journey

back to the blank page with odysseyites clamoring for more? . . .

Spectators flown in to populate the front row

await assurance . . . and who can blame them? . . .

They've walked the walk of sidewalk days

trying to find the door that you told them would welcome

their penmanship . . . their words . . . within which . . .

Aneta Ivanova

Screen Dump 582

The joy of opening your eyes to the previously unseen

moves you to freefall . . . to cast yourself off . . . oarless . . . 

You traffic in fragmentation . . . savoring the elements

that seem to defy comprehension . . . The exciting almost

of the flight of nearness with you on a bicycle

speeding downhill . . . enjoying the random blundering

in concepts too fine for the timid . . . embracing the inevitable

record of failure . . . of not saying what you want to say

not because you shy away but because words fall short  . . .

Beverly Peel & Tyra Banks

Screen Dump 581

Ghosts of gentle lunatics guide your latest revisions

the irregular folds of happenstance weigh in with blurbs

from spiral-bound collections of origami . . .

Your world has become labyrinthine . . .

You retreat into your altered ego, dreaming yourself

an alien inventorying costumes

in a shabby off-the-grid B&B

brimming with knockoffs of Golden Books

a sort of meta-metaphor for time ill-spent . . .

You await your cue to enter the scene

of a wake . . . half-expecting a downpour but the anonymity of rain

surprises you . . . flooding the reshoot and washing away

the drafty monologues of auditionees . . .

Nina Hoss in Returning to Reims (2018)

Screen Dump 580

The revised ambiance unsettles go-betweens . . .

Many remember overhauls with a sparkling clarity

which seemed to ease their entrance . . .

With so many awaiting callbacks

why bother craning your neck to grab hold? . . .

If only I had an app, I would . . . indeed I would . . .

What's with the smock? . . .

Do you anticipate a splattering of the nonsensical?

a reassignment of metaphor? . . .

Now there's a welcoming conundrum . . .

Of course, without more to go on, it seems as if

the hodgepodgers are in ascendance . . .

Nothing much to add, so you may as well head out . . .

Nina Hoss

Screen Dump 579

A casual craziness-troubling genre

informs your carefully choreographed appearances

the bird's-eye view stuffing your pockets

with to-dos . . . Odysseyites found

in translations wander Commercial Street

among the masked . . .

The lunch hour bottlenecks at the food truck

which sports a new paintjob and new menu

redirecting you back

to your elementary school cafeteria

where you usually sat . . . alone

at a crumb-encrusted table . . .

You manage a wrap . . . then slip back

into seclusion . . . into the solace of words

fabricating fake dramas populated by flâneuses

who take explorations of cities

as their calling . . . and are rewarded

their occasional unstable footing forcing the body

to adapt to a new balance . . . a new world . . .

Screen Dump 578

And at dawn, armed with fiery patience, we will enter splendid cities.

          - Arthur Rimbaud, A Season In Hell

You are the perfect subject . . . rehearsing

monologues of introspection . . . flip-flopping

intuitive . . . costumed . . . in an enigmatic "don't ask me how" way

as if inhabiting a meandering fortune cookie

managing chance . . . hoping for the best . . .

Your incomprehensible gestures tag folly

and make for an exquisite shoot . . . little matter that

the limo's tires are flatted fifths

documenting your ebb and flow . . .

No worries that you will not get your due

that you will miss the opening

and be set adrift with an uncharted script

that the unprimed span of canvas

will not give you enough room to breathe

to stretch out, get air, vet your place in the sun

without a mime's sounds of silence . . .

The gates to splendid cities open to you . . .

There have always been . . . and always will be . . . illusions

fertile destabilizations . . . like a disordered collection

of yellowing snapshots from your celebrated future waking life . . .

Irma Haselberger

Screen Dump 577

Like an MRI of your alphabet asking for seconds . . . and thirds . . .

There are options . . . always, options

selecting players randomly using machine language . . .

Your 50-minute hour mutates into a mini-doc 

of 20 faux pas . . . with odysseyites flown in for a re-enactment

that has nothing to do with anything . . .

You have become enamored of place . . . this place . . .

The way it was . . . The way it is . . .

Your distant closeness colors the world . . .

Your periscope however stubborn locks on the loneliness 

of marionettes . . . whose strings are tied to rehearsals

of twelve-tone musical compositions in forsaken music halls . . .

DiFilippo Marionette Theater Company

Screen Dump 576

And their stories of course . . . sometimes two three four deep

too deep? . . . their riddles . . . idiosyncrasies

their egos . . . following the dotted lines . . . boringly

always the same . . . costumes googled . . . gestures formulaic

predictable . . . yet humorous . . . entertaining . . .

So you do whatever you do to step up to the plate

to placate them . . . tease them . . . with movements-a-plenty . . .

Is this getting old? . . . Is it? . . .

Quickly . . . cover it with books, envelopes, yesterday's mail . . .

I can do this . . . yes, I can do this

and get something out of it . . . the gold ring

of the merrier-than-thou-merry-go-round . . . 

A flash of your father at an amusement park lifting you

onto a wooden horse . . . the Trojan Horse of your adolescence

stuffed with horns-a-plenty

when you stepped out of your chubby self

and into the lights and drama of the fashionistas' world . . .

You should have seen me then? . . .

But I did . . . and I was stamped with pleasure which ran up and down

and through me like wolves on a hunt . . .

The slack waves listed . . . deconstructed . . . like nothing else . . .

Irma Haselberger

Screen Dump 575

Not unlike the churning poor . . . the begging-off

too small to bother with

to remove from the back seat

like a short story or piece of flash fiction

as if waddling along the wood's edge

the weariness, yes, the weariness

of driving through rain

to reach the end . . . of the scene . . .

Deadbeats mastering backbeats

waiting for the waiting for . . .

the ramifications thereof . . . the sidewalk

middling midterm midday midtown midsection . . .

I am become Godot . . . engendering happenstance

the nomenclature of pigeonholers on break

when the urge becomes as overpowering

as kayaks through whitewater . . .

Collecting the memes of arias . . .

There is much to be savored

on the screen at a weed-choked drive-in

the struggle with the speaker on the window recalled

the choreography of the tenacious front seat

then the stimming accompanied by

the truth taking stare state of mind

that precedes a breakdown/breakthrough? . . .

Marta Forsberg, Composer

Screen Dump 574

You collect blow-ins from magazines for collages

of skateboarders shredding abandoned screenplays . . .

Curators off-camera interview orphans

in Adirondack chairs . . . connecting the dots

to the nonsensical as if in response to What did you expect? . . .

But it's all there . . . well, sort of . . .

Your fascination with figuration

your writing between the lines

walking the dunes to the lighthouse

during low tide's non-credit course

which you audited as if the brittle microfiche

would point a finger at incompleters

who partied with odysseyites

before disappearing in a late-model non-sequitur . . .

Then it was back to the blue screen

with Miles playing Bill Evans's Blue In Green

making it a loss for words . . .

Besides, this time next year will be the same time this year . . .

You can't not imagine how . . . how the heavens opened

and post-impressionists weighed in

with a muted palette 

while a storm waited at the blue in green light

prepping us for tomorrow's time trial . . .

David Benoliel

Screen Dump 573

After that there was little left to say

especially with the rain . . . which fell

past the place settings . . .

Instead of bailing, you disappeared

into the anomalies of time

but now you're back in the middle of an aria . . .

Quite providential, yes? . . .

There have been days of high drama

with few breaks in the dialogue

which made its way along some coastal route

pinned with tourist traps . . .

The filming continues . . .

especially the avatars of time and place

as if in the heart of darkness someone said

Thanks for the memories . . .

You had asked for the full catastrophe

and were taken aback by the preponderance

of rehearsals . . . all for the better one would hope . . .

David Benoliel

Screen Dump 572

The discrepancy rang in for the mandatory eight

while you . . . and your shopping cart . . . continued to check

for underlines which would have fit in very nicely . . .

It's really too early to say

but I would urge you to go ahead

before the principals leave the stage for the coda . . .

Have you encouraged others? . . .

Has the segue arrived? . . .

It would indeed be a coup if . . . and only then I might add . . .

So . . . the apps did the trick, yes? . . .

Were the blue books collected mid stream? . . .

Someone came forward gushing appreciation

which is always a hat trick

conjecturing this and that as if tomorrow was yesterday . . .

Peter Lindbergh

Screen Dump 571

It's not about getting it all down

again feeding your obsession 

a mirroring of psyches

(whatever that means) . . .

Now is not as good a time as any . . .

Your aim is off . . .

The rain . . . a narrow gauge

through backstories

in back alleys all but spent . . .

Odysseyites stocking up on staples

for wintering the summer

at the shore . . . their notebooks

street smart and ready for

close encounters with figments

of  consciousness

hurled out of second floor windows . . .

Insist on paper and pencil

for up close and personals . . .

Maciej Boryna

Intermission Piano

Your cousins are in the water.

But you're not.

You're playing intermission piano

on this early July morning

that's just beginning to heat up:

the sand just starting to sting

the voices of your cousins

just starting to get louder.

So you're playing intermission piano

on this early July morning

because sometimes the water is just too cold

sometimes your cousins play just a little too rough.

Intermission piano.

It's kinda scary.

Walking the edge without a musical score

going on what Frank O'Hara called nerve

when he talked about being chased

by someone with a knife.

Intermission piano.

On this early July morning.

So it's good that grandma's here

on the beach

in her housedress

with her beach chair.

And it's good that she's invited you

to sit on her lap for a while

watch your cousins in the water

and slowly wade into the day.

Screen Dump 570

Buying time to rethink the restoration . . .

When last was just before

and you laid out specs for go-betweens

knowing the endpoint would fade . . .

Now you can . . .

I had hoped to make it back in time . . .

The dream has too many doors

of different colors

and you keep ringing the bell

channeling odysseyites

populating the wakes of dead friends

who remain connected . . .

I want to transcribe your genes

but you skip beats

leaving several in an empty parking lot . . .

The last time was the last time . . .

although with the so-called rebirth

it seems as if we will be able to . . .

I hope so . . . I really do . . .

The printer's cartridge is empty

and the kiosk on the corner is a hog barn . . .

You have been put on hold . . .

Nicholas Cage in Pig (2021)

Screen Dump 569

You nudge the narrative into the uncharted waters

of a world in which even the least consequential seems precious . . .

Why the homing in on the narrow corridor of sleep? . . .

Have you documented every prompt that makes you smile? . . .

Timing is everything . . .

And what about the coffee shop on the corner

that continues to email you BOGOs

which are fiendishly autodeleted? . . .

You're not sure why . . .

and you're not sure about the address

which keeps changing . . . along with the artisanal blends

seeping into this poem . . .

It's all here . . . in the reworked script . . .

following a plan where a plan seems to fit

or making it up as you go . . . again

capturing overheard music . . . the same tonic and dominant

of loneliness and nostalgia . . .

traipsing through a wetland drenched in blue . . .

the same blue from the Book of Blue . . .

Your foodie friend blabs that reheating and plating carry-outs

feels almost as if you've made it yourself . . .

One can only suppose . . .

And fewer options reduce the tyranny of choice . . .

the shorter leash of the disembodied eye shadowing your search

for the solution to today's Puzzle-Me-This . . .

It's all good, yes? . . .

Irma Haslberger

All the Lots With Wall Power Sold

(reposted from Friday, July 8, 2011)

A rickety tom looks up at the returning geese
from his curl on the porch. Blackbirds pick
at the front lawn. A glider creaks. Etudes flow
from an open window. Two cars get hosed.
The shutter speed quickens, the shelf life
logged with cereal boxes, coffee grounds.
But the pictures fade, leaving us with ticket stubs
and appetites. Witness the laundry
with its plausible conclusion. I remember
when the machines were installed and how
we laughed at the delivery-man-cum-circus-clown
who arrived with twenty other twenty-somethings
in a dinky car straight from the Sullivan show.
And to think it was time to reshuffle the cards.
Driving away with the two of them sitting
on the back deck surrounded by honey bees
buzzing the refrain, But I'm not doing anything!
And the bridge came tumbling down.
Hula Hoops like camshafts under street lights.
We carried salt shakers for pilfered tomatoes.
A cherry bomb exploded near a stand-in's ear.
I caught hell from two old biddies who ran a still
out of their greenhouse. Was it you who organized
the weekly neighborhood quilting bees?
Of course, there were clarinet lessons
and the drop-off disrupting the watching of
Of Mice and Men with Malkovich and Sinise
riding off into the sunset on the waves at Provincetown.
Pizza vendors, waiting to board a Whale Watch,
sitting on the curb, people-watching. Is a chapter
a week do-able at sixty-seven words a minute?
There never seemed to be enough paper
and important messages were always
being whited-out. Fortunately, all the lots
with wall power sold. We found ourselves
in the boss's office with seven sets of twins
rehearsing a Doublemint commercial.
Once gainfully employed as a retractor,
he disappeared and hasn't resurfaced.
The pond got murky. It's been that way for months
despite the carnival atmosphere. Next time
I'll return the typewriter carriage myself.

Gary Sinise and John Malkovich in Of Mice and Men, 1981

Screen Dump 568

[audio]

Since when the marginalization . . . rooftop days

midtown with odysseyites collecting wrong returns

only to be redirected to restart? . . .

Someone riding shotgun on the freeway . . .

You ask How many are trying to engage? . . .

How many are trying to escape? . . .

The next gambit . . . as if paraphrasing

or pulling together backstories . . .

randomly selecting a layover . . . ongoing . . .

in an effort to teach people how to support one another

and to be supported . . .

Armed with what against mass shootings? . . .

Pulling us along from nothing to nothing . . .

Do the young heed the words of the old? . . .

>>> Insert buzzer here <<<

You have a bunch of blank pages . . .

Unafraid to be lost

as if dismantling then reassembling the craft

to voyage out . . . perhaps beyond the script . . .

Irma Haselberger

Screen Dump 567

It's all about the inventiveness of angularity, yes? . . .

I know you agree . . .

You recently joined the ranks of the wide-eyes

bottlenecking drive-thrus at Dunkin'

with blue-penciled drafts

soon to-be-returned to students in the final throes of MFAs . . .

To think about building almost into a poem . . .

The days commiserate . . .

The cityscape welcomes . . .

Surely this will be memorialized in someone's journal . . .

You begin taking dictation in the back seat

with a mellow intransigence

that belies a joyful entanglement . . .

You know what I mean . . .

Again, the enigma of who, indicative of autofiction, confuses . . .

How to represent without sanitizing the story? . . .

As if odysseyites would suddenly agree to therapy

to tease out whose swollen ethics will set them free? . . .

Thumbing through the catalog at the exhibit

you stumble upon text that you are sure holds the key

to kiosks belching their goods . . .

their lines ultimately stretching out (a good thing)

after the monochromatic lifestyle shutdown

imposed upon us by aliens . . .

You have always been one to seek growth

always ready for a new take on tradition . . . knowing full well

that reading a poem will seem like rewriting your life

not unlike playing with materials . . . pushing paint . . .

making habitual gestures to get to the surprise gesture . . .

And this so-called anti-self awareness trend? . . .

The obscurantism unintentional

though some - many? - would disagree . . .

 Happy Birthday Walt . . .

A lonely 36-year-old closeted homosexual from a family of misfits, a printer, an editor, a sometimes teacher who hates teaching, loves opera, oratory, the streets, the rivers, bohemianism, reads widely but indiscriminately, an inveterate scribbler, note-taker, self-promoter, huge ego, reinvents himself in a poem, becomes the poem, concussively confident, gutsy, enthusiastically high on life, a Kosmos, embracing everyone and everything, celebrating everyone and everything, inventing a distinctly new art showcasing a presumptive “I” and an  assumptive “you,” unshackling the line, the rhyme, the rhythm; its utter wildness changing the course of world literature; embodying the ideals, attributes, subjects, and speech of his native land, America; foreshadowing Allen Ginsberg’s century-later pronouncement of spontaneous and fearless first thought best thought: his 1855 first edition of Leaves of Grass is far and away the best of all nine; later versions suffer bloat, hamstrung by self-indulgence and overwork; how he did what he did as mysterious as how Shakespeare did what he did; as rivetingly inexplicable as what his contemporary and fellow literary revolutionary Emily Dickinson did; Leaves flips poetry on its head, turns it upside-down, becomes the Holy Grail before which other poets prostrate themselves. (Click here for copy of Poesy Cafe report)

Screen Dump 566

Have you bitten off more than you can chew? . . .

Not that you would return to the fine print of the Return Policy

or Photoshop the graduation photos . . .

Which reminds me . . . aren't you going to be late

for the cap and gown? . . .

The well-wishers with their well wishes and all that . . .

Talk about a full plate why don't you? . . .

Back at the showroom someone is running numbers . . .

Who authorized that? . . .

I'm not one to consult about grammar's gray areas but I have to ask

about the proposed colorways . . .

The Zero Theorem (2013)

Screen Dump 565

Your red hair speaks to the Pythagorean notions

of immortality and reincarnation . . . transporting

the fork lifter to a world waiting for

a not-so-hidden table-read

as if dog-walkers claimed hair extensions

in a sultry salon overseen by a Rod Serling lookalike . . .

Weighing the pros and cons and then some

the arrangement of bronzes so as not to provoke

remorseful buyers at checkout . . .

The neighborhood is good to go . . .

You encourage misstatements

and continue to worry bandwidth and board games . . .

Natalie Westling

Screen Dump 564

Your pretend pudding has long cooled

but hey there's an abundance of what's needed

and isn't that what it's always been about? . . .

I mean we could summon the imaginings . . .

Use a granny gear, I suppose . . .

Are they in place . . . as you had suggested? . . .

I hope so . . . This time tomorrow will not be enough

for an overhaul as predicated by the slots . . .

You have been admirable on countless occasions

opening doors to happy landscapes

applying house paint with a wide horsehair brush

feathering the breaks to blush them . . .

Yes, I think this will work . . .

Chloë Sevigny

Screen Dump 563

To Whom It May Concern sparks suicidal gestures

as if writing code for mental health players . . .

The scene begins with koi breaking the skin of a pond . . . 

You plug gaps in dreams with dissonance

compose drops with sounds . . . not symbols of sounds . . .

the common denominator I saw him/her

a dead end confusing your understanding of place . . .

the place you want to escape to

with Laurie Spiegel's nine-minute Sediments

recorded in the '70s on an analog synthesizer . . .

It speaks to dystopians and soundtracks

the Cornucopia scene in The Hunger Games . . .

otoacoustic emissions spilling over . . .

How do you propose to mark the memory gaps

that seem to have appeared overnight with pods of how-tos

jostling for attention . . . their talk the color of backstory frescoes

unloading demons of erotic curiosity

chalking a pool cue for nine-ball . . .

The clock is relentless . . . too easy to fail at composition

when OS upgrades abandon Music Mouse

and odysseyites enjoy a sabbatical in the Land of Yee . . .

Laurie Spiegel, Electronic Music Pioneer

Screen Dump 562

The paradigm shifts to a bus trip

to an deserted mall

leaving a ceiling fan on the west bank

of the Schoharie servicing

lapsed coders on alternate Thursdays

when buy-ones are put on hold

with heavy metal

for make-believers flown in

for the playalong . . .

This immersion in fantasy is less a chore . . .

a  silent comealong

drenched in line dance

sucking you into a drone's eye . . .

Maybe it's a dress rehearsal

or the beginning of a  two-step . . .

Were you told this at the outset

or after the chapter's chapter? . . .

I didn't think you'd remember . . .

Celebrate the upgrade . . .

We've yet to see beta versions

fill paradoxically . . .

Eugenio Recuenco

Screen Dump 561

I am I and my circumstance.

          - José Ortega y Gasset

Your insistence on redaction conjures the Frankensteins we create . . .

speeding the bus off the razored lot

as if OCD were a cup of tea . . .

The finer points of incidentalism last seen exiting a 7-Eleven . . .

A nine-year-old . . . LOVE imprinted on her t-shirt . . .

We are the sum, if you will . . .

If I will what? . . .

Anarchy . . . how about that? . . .

OK, go on . . .

How about anarchy as an appropriate negation of indifference? . . .

as an affront to indifference? . . .

Indifference? . . .

Catapultists cite the Order of Operations to justify smiting roadies . . .

Bystanders aim smartphones at one another

and TikTok their way into the Hall of Disdain . . .

Conversations continue . . . while awaiting parole . . .

on streets in rooms . . . if I do not save it, I do not save myself . . .

The Evil of Frankenstein (1964)

In the April 20, 2021 Pine Hills Review:

Screen Dump 504 The World Fills . . .

The world fills with Eleanor Rigbys

buried without funeral . . . without music . . .

with fossilized smiles

while looters . . . making off with paper weights

disguised as MacBook Pros

demand compensation . . .

Barricades seethe with anger . . .

Your favorite things lie smashed curbside . . .

The healing grows incredibly slow

as if cells object to expending energy

on a jalopy en route to the junk heap . . .

Oh, where have you been, my blue-eyed son? . . .

Screen Dump 560

The off-road drive-through

the pomp and circumstantial evidence

all mitigated by the thrum

of seeing it disappear . . .

The protocol for riding the rails

reviewed and submitted

for publication

seeks refuge in footnotes . . .

It was the least you could do . . .

A frozen shoulder barks

and is placed on the stand

sworn in by the vicissitudenous

and released on its own recognizance . . .

You try to imagine more

realizing perhaps too late that there's nothing

like putting off a journey

until some convenient interruption

falls off the edge

and walkways lined by tall spruces

install what-have-yous

in the middle of it all

making progress arduous . . .

Liliana Karadjova

Screen Dump 559

The Last Will and Testimony of A. N. Incidentalist

(clear throat)

That you are driving a car-jacked Zamboni through

a museum is a dream . . . has always been a dream . . .

despite embellishments

entanglements

despite hankerers hankering to be repercussed . . .

The blurb reblurbed on the back cover knows this

and knows that there's a motion to redirect

Court TV bingers into a state of submission . . .

or oblivion . . . I forget which . . .

Your acquittal awaits a mistrial

as unnumbered numbers

undocumented

hobbled by ataxia

are cuffed and tagged by rip-roaring

root canal specialists shadowing jut-jawed

body-cam’d body-armored Captain Midnights . . .

We have become incidental . . . and less . . .

written up, photoshopped, parsed . . .

unable to pick up the missing pieces

without being spec’d by facial recognition software . . .

Holding cells belch out closing arguments . . .

It's enough to turn the stomach of a drone . . .

to return the stomach of a drone to the sender's

unknown address . . . this unreasonable specimen

of force smartphoned . . . suspended

in formaldehyde . . . encased in a hidden panel

in a room off-limits to the public . . .

Did you say it couldn't be done or shouldn't be done? . . .

Maybe just for the heck of it by long-limbed dendrites? . . .

I can now imagine the unimaginable . . .

Jarek Kubicki

Ezra in Exile

(reposted from Friday, February 11, 2011)

His conch collection cameoed in Warhol's Sleep.
He worries the acqua alta and is in demand
as an expert witness on pencil shavings.
Retractions fog his windows.
Cantos clutter the corners.
Mornings, with Olga off to the bakery for violin lessons,
he conducts his words
while tabbies skirt the canals singing his lines.
CPAs rethink their numbers upon hearing his rants.
His blog is blank.
Sundays, he phones his mother
and tells her how much he misses her
potato pancakes and tall tales.
The Coen brothers pester him
for the particulars of his caged life at St. Elizabeth's -
a life spent helping others while pissing them off.
Vendors moor their gondolas outside his palazzo
waiting for him to pass
in cape and broad-brimmed cappello
hawking images, making it new.

Ezra Pound

Screen Dump 558

You disregard the cautionary Don't even go there . . .

blind to the blind alley

after which script in hand you dial in an offhandedness

and exit into daylight . . .

the crucial moment reminiscent

of the timelessness of the dance floor . . .

the choreography effortless

as if from a roomful of rehearsals . . .

This moment-to-moment ritual

that opened doors and eyes

on what was never meant to be

was archived . . . to be pulled out

years later . . . again and again

with a nonchalance . . .

a tribute to the resilience of the script . . .

But several times is several times, yes? . . .

The oddity of the re-entanglement . . .

Where were we? . . . ah, yes . . .

The parties engaged fulfilled detached . . .

the dead end irrelevant

the strangeness . . . fodder for documentarians . . .

Anka Zhuravleva

In April's Chronogram: 

The Dogs in the Trees

The dogs are in the trees again
and they’re barking
waving to their friends
refusing to come down
scratching shedding ordering Chinese
hounding me
to do this
and that.

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The problem is not the linebreaks . . .

The problem is the testimonies that are about to begin . . .

Odysseyites wait for words

from a drone streaming hilltowns

covered with backstories . . .

You return to the library's 800 stacks

and experience a momentary lapse . . . relapse? . . .

Why the break in continuity as if a dead zone? . . .

Redundancy resurfaces with flashbacks

of spring afternoons when you tried 

to let your fingers do the walking with études

on the Bösendorfer

in your piano teacher's front room . . .

There was an allotment of sorts

the otherworldlyness of Keith Jarrett's Köln Concert

the innocence of a walk on a tightrope . . .

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Low-keying the doggerel day with indie riders

made-for-TV floaters

notwithstanding nothing

you chat up the circumstances . . .

Costumes tell stories . . .

You stopgap disengagement

with eyes on the guise

as if by happenstance a reshuffling . . .

words guaranteed to trigger images

or your money back, yes? . . .

Ruth Bell

 

Screen Dump 555

Then I went off to fight some battle

That I'd invented inside my head

          - Sting, Fortress Around Your Heart

You tongue the moon . . . and revisit the porcelain day

when you did nothing . . . could do nothing . . .

but move forward into a maelstrom . . .

the initial fascination stripped

compressing the algorithm

which bumbled along

with Wiz Khalifa's Black and Yellow:

Everything I do I do it big . . .

Indeed . . . the door opening to a windowless room

on the other side of the Williamsburg Bridge

soundtracked by Sonny's tenor . . .

You tried to cut the verb free

but you remained Faustian below the surface . . .

a green glow as if from a disemboweled tanker

which began life in the name of the father

as part of a re-enactment in a hotel room

accoutered with sparkling cityscapes . . .

You counted ripples from swim fins in the East River

but managed to enjoy most of the close encounter

ears stuffed with cotton à la Tarantino

as if under the ruins of a walled city . . .

You spent the afternoon riding the L train

rehearsing your lines in French

to embellish the mystery of the audition . . .

Jan Scholz

 Screen Dump 554

You skip the review class on Skunk Hour

move into a yurt in the Adirondacks

and assail the seasons

with a hulking ribbonless Remington . . .

The days of wine and roses jacknife . . .

Note-taking turns illegitimate

so you make up what you think

the fourth wall wants to say . . .

It's all about The Art of Losing . . .

losing yourself again in a mirror

losing yourself again in a house of mirrors

listening to her voice echo

through the barbaric frat house . . .

the privileged unhinged . . .

The House of Crazy welcomes us . . .

welcomes overcorrection

where menu options are grayed out

but little matter for the unstoppable

who are seldom stopped . . .

The watchers at the gate continue to look the other way

as Jung's collective unconscious vacations

between the lines of this poem . . .

Try not to let it all bother you? . . .

A judge will be the judge of that . . .

given a script and asked to assume the position

of elementary my dear Watson . . .

Jarek Kubicki

 Screen Dump 553

But what of the depressive realism of social scientists

suggesting that depressed people see the world more clearly? . . .

The dunes hustle geometry

vacillating between high and low

overthinking the moment instead of living in it

as if claustrophobically trapped inside yourself . . .

Again, Teshigahara's Woman in the Dunes . . .

You have come to enjoy the space between thinking and doing . . .

The odyssey . . . once exciting now cacophonous . . .

trains and boats and planes

opening to the carefully choreographed . . .

Your notes . . . illegible . . . but you knew that . . .

You blew them off

and Facebooked the afternoon

trying to control the center of the board

lip-syncing Benjamin Clementine's nemesis

after binging The Morning Show . . .

March on

March on

It's complicated . . . or it's too complicated these days . . .

You're bogged down to a near standstill . . .

critics arm wrestling odysseyites

go-betweens taking notes . . . their faces a rictus of joy

continuing to take notes because they have nothing else to do . . .

March on

March on

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The Cabinet of Dr. Caligari opens with a re-do

of the last scene in The Last Picture Show . . .

the story-within-a-story

about your own Paris, Texas in upstate New York

the unreliable narrator spinning Canterbury Tales

from the looms of Mohawk

with a walk among the clouds

after a Saturday afternoon 25-cent

creature double feature in all three theaters

Mohawk . . . Tryon . . . Rialto

a head-on crash course for clubbing

with inside-outs mimicking trailers

from Alt Cin 516's

visual texture and brooding menace assignment

due Monday . . .

The Creature From the Black Lagoon

teases Freud's Civilization and Its Discontents

bemoaning the convenience therein

for backseat drivers into and out of the City

excepting those staying after for extra credit . . .

the morning after coffee

from the corner Dunkin'

comparing notes and how-to's

using the Law of Small Numbers

to randomize call-backs . . .

The fun-filled auditions were indeed fun-filled

yet when the real runway called

you ran away with your Regents Review 2.0

mouthed the words that fell out

and tried to adapt to Ivy Leaguers . . .

the groves of academe morphing into the graves

with a segue to a second tour in Viet Nam

taking a shrapnel while on reconnaissance 

dying 35 years later at 57 without a memory of a parade

because there were none . . .

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Everyone's desperate for a foothold in this huge, wild conversation.

          - Alena Smith, showrunner, Apple TV+'s Dickinson

You enjoy a kind of invisibility as if you had never existed . . .

a stand-in for the person-of-disinterest

an Emily Dickinson shadowing Lady Madonna

legitimizing your essential strangeness by respecting boundaries . . .

Outside your bedroom window agoraphobes

pitch headstone rubbings capturing

what had once maybe slipped through the cracks . . .

A transformational grammar for pilgrims, yes? . . .

Odysseyites shelve quips in the cereal aisle at the supermarket . . .

eyeballing masked auditioners wielding shopping carts

with the naiveté of neighborhood know-it-alls . . .

Recognizable voiceovers nix invitations to the dance . . .

the sun wakes to discarded dance cards written up as nuance

an opening to squeeze through whenever

with your doctored script for next season's miniseries . . .

ideas appropriated from unreliable narrators . . .

Return to the photograph of the wedding party . . .

The rehearsal was an empty place setting . . . more or less . . .

 

Screen Dump 550

Produce carts drive the day . . . in streets painted over

with matte Rothkovian black on grey

and someone somewhere with Ticonderoga #2s

etch-a-sketching their way through a biopic

streaming on Netflix for I'm not sure what

jots notes to be archived and auctioned off . . .

You appear pocketed wearing Palladiums

insisting on retracing the backstory

which held promise for temps forecast in the 50s . . .

Indeed, spring is springing . . .

Renewal advances with drum and bugle

while odysseyites toes spooning mud enter with arms waving

as if fist-bumping butterflies flown in for the shoot . . .

Schiele's Ghost

After he died from the Spanish flu in 1918 at age 28, the ghost of artist Egon Schiele, whose painting "Houses With Colorful Laundry (Suburb II)" sold at Sotheby's London in 2011 for $40 million, moved into my neighbor’s pigeon coop. The pigeons were racing homers. My neighbor would let them out every day to exercise. They would fly in circles above the neighborhood. Schiele would sometimes help. On race days my neighbor and Schiele would transport the pigeons to the starting location, release them, drive back home, and wait for them to return. When a pigeon returned, my neighbor would remove a band from its leg and insert it into a time clock. Finishing times would be recorded and compared to determine the winner. The pigeon coop had a coal stove. Schiele would warm his hands over it. I liked to dribble spit onto the surface and watch it bounce around. This would annoy Schiele. Schiele lived on blueberry pop tarts and Austrian sausages. He spent most of his time drawing female nudes. A book I looked at in the library said that Schiele's art was noted for its intensity and raw sexuality. That was good enough for me. I liked Schiele’s nudes. So did my neighbor. Schiele gave my neighbor one of his drawings in return for rent. My neighbor said that Schiele could stay in the coop for as long as he liked. My neighbor's wife didn't like Schiele. She said he was not welcome in the house. She wasn't happy about him living in the coop but tolerated it because of her husband. She said Schiele's drawings were disgusting. They were the work of the devil. I would visit Schiele most days after school and on weekends. He was usually happy to see me. He would say "Welcome to my studio." He didn't refer to it as a coop or loft. He called it a studio. He would offer me some leftover blueberry pop tarts and Austrian sausage. We would chat for a bit but not for long because it was hard to hear one another over the cooing of the pigeons. Then he would get back to drawing naked women. I would keep one eye on the naked women and the other on the lookout for my mother who didn't like me visiting Schiele. Like my neighbor's wife my mother didn't like Schiele either. She too thought his drawings were disgusting. She said that if I looked at Schiele's naked women drawings I would go blind. That didn't stop me. Schiele loved magic markers. He had tons of them in all colors. He would use them to draw the naked women. He would draw on a drafting table, on top of his small refrigerator, on a shelf, on the floor. He would sometimes climb onto the roof of the coop and draw there. He usually drew from memory but would occasionally bring a woman into the coop. When he did he would say that he had to concentrate, and politely ask me to leave. He once invited three women into the coop. It got really crowded. The pigeons got really excited. They got really loud. My neighbor came out of his house and knocked on the door of the coop. He said something to Schiele. The women left. That was the end of Schiele's life studies. After that he drew only from memory. A few weeks later a circus came to town. Schiele became smitten with the bearded strong woman. He drew her day and night. He was fascinated by her triceps and calves, her facial hair styled in a Van Dyke, and her baritone voice. He loved to watch her "pick things up and put them down." Schiele joined the circus and left town. After my neighbor died, his widow got rid of the pigeons and paid me fifty bucks to knock down the coop.

Egon Schiele

 Screen Dump 549

Serialization began in Anderson and Heap's The Little Review

on the Quaker Weaver's dime . . .

A good day? . . . two sentences . . . woo-hoo! . . .

Within reach . . . or so it seemed . . .

bespoked flatware for HCE . . .

digress to the window shade that nearly did Trismegistus in . . .

Imagining Emily's frigate . . . and then some . . .

Hi from brother's brother in the weight room . . . waiting . . .

translated from the short-short The Night Of . . .

then, on to today's virtual with open to

as images of reps of what might have been flood the gym

leaving odysseyites stranded in the stacks at Barnes & Noble

paging through How To's as if words could rewrite history or his story

deflected because Anna Plura

espied a tête-à-tête among the free weights . . .

Tristram Shandy's Uncle Toby & Widow Wadman

 Screen Dump 548

The rendering captured the rift quite compellingly . . .

No one was being promoted

on the breakers at all hours hoping

for a green light

from the series of quarantine streaming on Amazon Prime . . .

Stop with the punctuation already . . .

Take a moment to paint by numbers . . .

Making progress despite the animosity

in the shredded documents . . .

How did you know? . . .

Was it that apparent from the color-coded Venn diagrams? . . .

What about that time you followed the green footprints

painted on the floor and were forced into a toll booth

strip-searched and released into a short circuit

upsetting the cart comparing apples and oranges . . .

Or those moments in time when foreplay was unnecessary

yet desirable despite being blue-penciled

and stuffed into marble composition tablets . . .

Jarek Kubicki