the outpouring word more sound than word yet, both―Oh!
i don’t want to leave you you said, then left me
without alone along the edge. It was
the end of the season & the sound inspired beginning
beginnings over & over began without symbols or centers―Oh! darkness fell in my throat and felt delightful memories & squeals & what was soft copper beaten and hardened banged on boxes of your things gestures in what we
lived loved lost
shared together; each rhythm sucked in never held the sound
i exhaled & intoned but oh never vanished & then the fear―oh! my god! you left me (forever)
i confront your absence everywhere & over & over my loss grows larger and larger (but never in a larger word)
in the distance in the discourse broken like a vessel lost at sea―Oh!
i is loathsome
in a word a sound a thing
unloveable & left to sing a blue and spotted in between put off, put on―Oh!
the sound for you grows thin in i the you the way you wanted without and
not within dotted blue the oh begin
again an i & i in you my spotted flesh
my earth and loss not living her in me unheard
hears the call in naked cry to me to trust it still
...in a dream he sat discussing the nature of the real...ahhh, brilliant work! but, what do I do about my loveliest daughter...
Here in the southwest there is this... pattern
it's called the step-pattern suppose you take it in steps...nom-mon where antimony steps en route anti nomos = antimony
The first step: annihilation get naked; greatness feels into every thing zer- Oh's as close as it can get to the real mystery god in the pubic zone
to take on the god you have to enter death so descend like Inanna (meat on a hook[er]) stripper take it off take it all off
her language hung limp like ours now in the air, the very air where it vanished...let's say, like ours now, in Duchamps... and like a porn camera lens zeroes in: we zer-0h hard core but, before stepping down step first a step back (step two)
the steps conjugate negation (1-1) in negative forms supernatural object abjection gets rid of the solid core no body has what it takes it (the objective psyche) zer- 0h's i.e. targets the value a value within lostness
mmmmm! Gone South! [*]
see? it takes the two to tangle (as in maid + maid = mades to mis[s] con-strue) kekropids (like sparrows) get sold in pairs & cons for far-things
(meat on the table)
...will it take away abjection (1-1); does it supply the repetition ???
sex zer- oh's is as as is and there the absence where's her scarcity as stockings
how the horror of an emptiness draws us in 0h! how the dark sex draws us
do not try to see into it try to see as it sees; step 3: tertium non datur
see like a bird that is no bird where no zoom-in lens will matter cause the faux con cannot here the fauconer (& keeping hope requires this suspense)
for the greatness is not achieved in the fullness of time the greatness has nothing to do with time the greatness (suspending even hope) is presence underfire; presence not here but, coming and in its being lives be-ing as is in the eros
leaving the gap positive
& so as is is as a word with vapored wing shot from the slow zer 0h in the myth the language (of sex) is being and it hangs in the air of the animal
the mystery hangs in the coming language poetry hangs in the air, Step 4
& yes to leave the matter ...................Hanging
[*]The poem is inspired by the wonderful essay of Craig Adcock, "'Faucon' or 'Perroquet'? A Note on Duchamp's Morceaux choisis d'après Courbet". Duchamps' bird is a pigeon but it turns out to be a pigeon that is no pigeon for he calls it a falcon. To complicate the plot even more, his 'falcon' is no falcon either. (He's punning.) The falcon, faucon in French, is a faux con. It looks like a pigeon but not quite. To paint his 'pigeon' Duchamps moves between two paintings by Gustave Coubert one of which is "Woman In White Stockings", 1861. Needless to say, they wear scarcely more than stockings! Looking and not looking; looking and perceiving; looking and the manipulations of the viewer's gaze are not a direct encounter with the woman, herself (wearing the white stockings.)Duchamps' faucon 'parrots' something, something that involves the viewer's inability. The viewer is a dupe, a 'pigeon', one who can be made to misconstrue a faux con, according to Adcock's point of view of Duchamp's presentation.
Yew chalks a boundary between death and immortal life; its symbol is I -Book of Balymote, 1391
Imagine once upon a yew that she still lives and spins anew in maidenhair to mend the blue wide avé nous once spun throughout and through the whorl that thundered through the white hands where the pale maid sits turning just a girl. And when she wheels and spins and moans into the shad, into the ‘oh’ ness of the crone behind the spray and veiled, she weights a thread, thus come
how once she more than realized the tuffet moppet spot she sat upon beds wet in mid and trough a knotting taut to realize the ‘is’ because she was and is and calls her metis wove in h’s like a shroud, a cloud
she watched as kings reigned the weave within the spot where she is not and wore instead a knot -a maiden shadow thrown to orchestrate king-order in a vast disaster-us-affair, home-grown
poetic sublimation connects the image to its pain. Raw. Wet. Red; girlhood in first flower what is primary (flowing & deflowering) is a certain loss in a certain flowering which is irreversible (meaning certain swallowing) because all natural processes are irreversible and why time flows one way and things fall apart
but not why Zeus in his cunning & in his zeal swallows the mother of the real; swallows her subjectivities and then agrees, Persephone, too must be taken. Eating or sleeping what is primary in the maternal subjectivities through the flower upon which the god erects himself in the name of the father is
did she bleed?
the energy of an isolation will increase in time & in time, come to matter even more says the second law of thermodynamics blood to ink in the use; each phrase made to order, turning toward the order to mete to measure the moonlight in it
Dis (order) ing carries the deep use of the figures in speech as if they are real, as if it is we who control them, although we only reduce them to specific figures of speech to draw out the abstraction. Raw. Wet. Wed but
she never gave birth in our world; instead she gave insight into our suffering in conspectu mortis (said Jung) and
she had a mother (who must be laughing) right where she passes –especially where she passes turning toward
Mythopoetics In Culture is a written collection of poems, essays and excerpts from essays by mythopoet, Stephanie Pope published to mythopoetry.com beginning in 2001 to the present. In 2017 mythopoetry.com brings guest blogging to its cultural mythology blog expanding its format to include poems and essays by the cultural mythologists of today.
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LIKE A WOMAN FALLING: SELECTED POEMS (out of print)
Teacher, essayist, poet and cultural mythologer, Stephanie has a BA in education from Walsh University and a master's degree in mythological studies from Pacifica Graduate Institute. She teaches Myth & Poetics In Personal Writing, DreamWork & Musing Life on line through mythopoetry.com. Between 2010-2012 she is editing, producing and publishing Mythopoetry Scholar Ezine vol 1-3.
Stephanie works mythopoetics on line @mythopoetry.com where she explores, traces and reveals dominant mythic images and mythemes in psyche-making at work between cosmos and culture today.
Published in numerous poetry journals including the premier issues of Literary House and A Hudson View International Stephanie's poetry receives Pushcart nominations between 2007-2010. Her first poetry volume, Like A Woman Falling, now out of print, published in 2004. Currently in the works is a book of essays and a second poetry volume, Monsters & Bugs.