My heart is a stopwatch shuddering and burning to death. It is a one-hundred-year-old nutcracker inspiring me with her scintillations at the Christmas table where the moon unwrinkles. Those of you who are now persecuted, what gods and what madness brand your century with the espionage of unoccupied faces under the blue sword? A crisp garden scene beds where the shadow bled from couplets to vulture in a train blackened by the sex meteors coloring my peace. Smoke knocks on the planets: hammering and woeful rust. Now we smudge out a mosquito, reddening John Barclay’s Pauline commentaries.
Black ice of the moonrise hangs like a cold steel nerve of brass-white charcoal, but there is unrest to the electric sparks of its brilliant golden spill! All of our red chromasomes get older, O nocturne of the anti-war cherry breasts. The dial-tone is the best thing, the green onion slices on a plate like six heart attacks, in the nocturne of the anti-war cherry breasts. Nectar of the Mozart Requiem is a sapid portrait of the artist in block print, the muscles of the sea, and nothing else but a rash nocturne of the anti-war cherry breasts.
My father with hands warm as high octanes at a dead jetport in blue leaves, my father who wisely thought nothing of Bartok’s death, my father who lived in the past whenever I touched his echo, my father of gold still accruing in my memory, my father whose bones were burned one morning, who rusted shut at night and was whistled away into absolute poetry, my father who listened to rock music while carrying moist roots in his hands, my father who fell into the machinery of moody spinning wheels, whose enflamed iron spectacles longed for more nomad emergency moonrises…
I shall infuriate this piece of parchment with a discussion of stars or some other unaltered thought which could be set forth as musician to this universe. Fragile parchment on a night of forgetfulness, reach somewhere into distant architecture, for it is the somber hour of the beast virus, stopped by no cries from our hearts. Watching the thunderstorm of countryside colors covering October Mountain, I agree that the almond moon is a trusted old image etched on the reflections of much older myth. So from rain-glittered thunderstorms I will stain your parchments with a falling darkness to remember.
You who made, after several trips to the shore, these beach mosaics, can tell how I have remembered the sayings which will not tarnish, how I have taken true voices and let them fall through my fingers, remorse of the heart the sleepy ancients admired which they used to create the star patterns overhead. You sought after comets and set your clocks to the Latin of an oldest Christmas. Tell me those sayings. Sing creation falling, touch it upon the harp, for you must remember that body which has lost all, lost all and lost configurations, and lost evening music.
The woods are stinging for glory. Acorns under a starry night. Before midnight, the hickory logs will be used to start another bonfire. The pony pulls on his rope, firmly tied to a post. Somebody has already chopped the firewood. Last night, the brittle ice formed on the pools. Somehow, you turn out some bitter camper’s coffee–you let it boil for awhile in an old iron pot over an open log fire. If you stay in this territory, it will be because this bitter coffee tastes good in your cup after another hour of rain has fallen in it.