Friday, 4 May 2012

Urban Sequence...

One of those days we look
more hungrily than usual 
at the bark of a tree
and the smell of gasoline 
is a good smell
And we are not worried
about saving money
we live an infinite
moment
when we discover that we are
inevitably
going to die
We go to the cinema 
planning to stroke
the thighs of a girlfriend
but it so happens 
that what she and I see on the screen
makes us both cry

The first lights are turned on
Bank of London Chicles Clark
National City Bank
behind the curtain
the man and the woman look at each other
and put on their last pieces of clothing
There’s a look of ending in everything
when the first lights are turned on
The urchin suddenly bursts
through the door of the bus 
hounded like a thief
he makes a quick show
gathers a few coins 
and after hiding his booty 
in his jacket
he escapes like a battered dog
when the day’s lava
covers us
something of his nasal voice remains
and a fragment of his song
The train advances tiredly
like a tortoise
breathing smoke and coal
the train will be scrap
everything will be dust and scrap
Do not tell me that living is a bad thing
even though something 
deep down is wrong.    
Not everyone knows
what happens during the day
to be alive is to have a date
in front of a checked tablecloth
or to say we’re going to the corner 
to buy peanuts
It is good to sit in the shade 
in the summer
to listen to the hammering of the panel beaters
who work in the barracks
far away. 
To live is all right
for there is nothing more beautiful 
than a worker mixing cement
a crane in the afternoon
or a young whore
washing her mouth
and dreaming about her town
lost in the blue 
and balmy valleys
Or the old man going slowly
down the street
stopping often
and carrying a string 
of red-golden fish
and the afternoon
swollen with whistles and birds
and a memory
redolent of tobacco and wood

(Mario Rivero)

Sunday, 29 April 2012

Not far from the road...

Discover the moment, it’s empty, it’s not far
from the edge of the road, there’s nothing behind


the hedge around it so reject its rhyme, break clean
off the docile journey, take over vacancy, occupy


fill in the prospect with stone, man-make light, digest
what ate oneself out of, have nerve for decay


evict eating, have forgetting, re-
call no way out, be arrived, weigh nothing


but the lead one mimics, while
folding one’s wings open shut while –



(Gerrit Kouwenaar)

Thursday, 19 April 2012

Self-Portraits in Spotless Contemporary Surfaces...

the city turns me into my own objective correlative
the surfaces force me into reflection
deafen me, I only watch, I stare at myself:
I’m functional on toasters, microwave ovens
kettles of stainless steel
I’m framed by the portholes of washing machines
sometimes even in the secretive gleaming of door handles
and the darkness of tv screens that mirror when they’re off
I’m epic in the panoramas of long sliding doors
my face wobbles over the glass of sedans
I sell myself to myself in the windows of shops
always among the narcissi when in front of the florist
I multiply alone through the geometry of the city
I flash schizophrenically in revolving doors, I look at:
low-angle shots of myself on the marble floors of lobbies
the city will echo softly but display
my facets in all the tints of unlyrical grey

(Loftus Marais)

Monday, 16 April 2012

How to Be a Surrealist...

Sleep well. A gland in the command
center releases its yellow hornet
to tell you you're missing the point,
the point being that getting smacked
by a board, gored by umbrellas, tongue-
lashed by cardiologists, bush-wacked
by push-up bras is a learning experience.
Sure, you're about learned up. Weren't
we promised the thieves would be punished ?
Promised jet-packs and fleshy gardenias
and wine to get the dust out of our mouths ?
And endless forgiveness? A floral rot
comes out of the closet, the old teacher's
voice comes out of the ravine, red-wings
in rushes never forget their rusty-hinged
song. Moon-song, dread-song, hardly-a-song
at all song. Let's ignore that call,
let someone else stop Mary from herself
for the 80th time. It's never really dark
anyway, not even inside the skull. Take
my hand, fellow figment. Every spring
we'll meet, definite as swarms of stars,
insects over glazed puddles, your eyes
green even though your driver's license
says otherwise. And yes, mortal knells
in sleepless hours, hollow knocks of empty
boats against a dock but still the mind
is a meadow, the heart an ocean even though
it burns. As long as there's a sky, someone
will be falling from it. After molting,
eat your own shucked skin for strength,
keep changing the subject in hopes
that the subject will change you.

(Dean Young)

Sunday, 15 April 2012

Íntimo Trazo...

Como un exilio
en el lugar del nunca,
alguien desnudo habitará la estrella.
Acostará su sombra cada noche.
Cada noche en vigilia
indagará a la muerte
mientras dioses lejanos
trazan líneas de nuevo intraducibles.
Como este íntimo exilio,
aquí o allá
pulsaremos temerosos la hierba
y andará por la sangre
la tristeza
como una patria inencontrable.

(Amparo Osorio)

Thursday, 12 April 2012

True...

To judge if a line is true,
banish the error of parallax.
Bring your eye as close as you can
to the line itself and follow it.

A master tiler taught me this.

People wish to walk where he has kneeled
and smoothed the surface.
They follow a line to its end
and smile at its sweet geometry,
how he has sutured the angles of the room.
He transports his tools by bicycle –
a bucket, a long plastic tube he fills with water
to find a level mark, a cushion on which to kneel,
a fine cotton cloth to wipe from the tiles the dust
that colours his lashes at the end of the day.
He rides home over ground that rises
and falls as it never does under his hands.
He knows how porcelain, terracotta and marble hold
the eye. He knows the effect of the weight
of a foot on ceramic. Terracotta’s warm dust
cups your foot like leather. Porcelain will appear
untouched all its life and for this reason
is also used in the mouth.

To draw a true line on which to lay a tile,
hold a chalked string fixed
at one end of a room and whip
it hard against the cement floor.
With a blue grid, he shakes out
the sheets of unordered space, folds
them into squares and lays them end on end.
Under his knees, a room will become whole and clear.

(author)

Origins...

deep in your cheeks
your specific laughter owns
all things south of the ghosts
we once were. straight ahead
the memory beckons from the future
you and I a tribe of colours
this song that dance
godlike rhythms to birth
footsteps of memory
the very soul aspires to. Songs
of origins songs of constant beginnings
what is this thing called
love

(Keorapetse Kgositsile)