-the garden party-
she cannot say how she does many of the things that she
knows how to do, tying a knot, one example,
recognizing a color as red or for how her mind grips
: self-rhetoric around a new figure deflates into a field
of cognition inbetween landscape and still-life
burning with non-meaning among all the lights
on a see-saw of non-meaning
the element common to all festive occasions: the certainty
of many: she's distracted: for how her mind grips
change her focus, texture to the second image of a psychic hologram
to sensible chrysanthemum composed: the broader garden outrange
flood of inconstant to constant rises. mesmeric sympathy,
an entangled system - soft wind in it - 2 people in
a flat, with, she's with the forces of hand beyond either
moving back and forth
she sees this all info tagged by their eyes
not green without the light
the talkers visualize a fixed future surrounds
branded on them by others
Like "face changed time"
the child's running again,
she won't ponder the ripples
her appearance
sets off in others, those
nicely textual
(her white hair with aging yellow tones
the very forelock/fetlock of evil)
she's young and the whole
takes precedence over the detail
only an area of color, that is, abstract
of course the spiral pattern curled
round the dancer's body she's largely
excluded from hasn't
the past of it
-she fears the flood of inconstant vertigo common
to festive occasions waves on her forehead
movements performed by the wind ascribed no different
meaning as those made by people
physical movements are swimming centaurs
as if frames are parentheses and a mind to each
of actions the yellow wall draws sun
largely down into glasses.
mother brushes her hair from her face waves on her forehead
oddly frowsy or troubled chrysanthemum composed petals slender
then, you see. cracks and it becomes ancient
a black halo
("pert, half seen from the rear, oh
i always enjoy myself")
the child's flighty.
her brain is the spectator
and birth of many situations.
a theater starts thinking of a word to help her
now: (a subsequent single view for one facet)
she's in the ocean now. slapdash (for the one thing,
guests fade, real stimulus stops the imagined)
she has feeling, that a stimulus approaches and recedes
rough and jagged symmetry between
grainy woods on a cliff, the direction of sunlight washing eye direction
the actual twinkle the motion sensation - filled in as well
this updated sense of herself, a hypnotist's device -
the water's extraction of edges
(that thought is a scene, a limit, seeable:
the machinery allows
completion dealing out corners
No action easily won, or starts out
without radiation, change, reflection, or conduct
mapped from another distribution of land
where skimming feet go over foam
some birds blend in some bright in theater
Say she came back slapdash -
but the detail scales (now) from the grove
of column-figures person
hand emerging largely from his cuff his spiking shoe
his flexed foot or his flexed, bent posture
she's learning to see
these postures with aggression with
her hand pressed firm into a china plate
to cool
More satisfied here, her lens, in the simply flat, satisfied
flat lip across - his hand thrown to the back of his head
with a cigarette resting heavy there, counterposed by hand
at hips . Some set-back . The on-looker tends to fall further
back into the fold. The one is visualizing a tattoo while the other
describes a tattoo in words in his head: beach scene
scenery , flats painted by her for our moving. She hasn't the past
of them, the lithographs sprayed with gold dust and
the watcher the dust, sand swirled swirling up. Her
blind spots filled in: simply covered with paint, or wallpaper
in the baroque of ocean (stripes) or the
flames of ocean or flambeaux. Thinking of a phrase
to help her cover.
An image is as a spatial map of property (change,
reflection) mapped from another's. she has their memories,
is that fair (to yoke a whole species of thinking)
Personal cells inside her become clutched to one view
of a character. Her secret satisfaction in discomfiture
re-awakens their
long forgotten memories.
Re-invest essences
in themselves, with particles
it makes them in a ribbon
collapsing in spirals spinning on itself as it moves forward a buzz
in combustible, cognitive dreams: the gold toenails of pleasure - the person,
the person interrupts at the staircase looking over, that quiet moment
discussing family news. --what i kiss , a symbol
of friend.
For red stripes of pleated check,
shadows on the columns
walking stands atop a green field
the figures stacked in talking have locked elbows
and she directs
him towards him knowing he tries to name it
or some are meandering brushy shadows
across the chest of the flat smile
