...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.
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.