just slowly. planet proofs of earthworms. a remodelling. spirals. green
capacity and gyral function. their simple pageant of access and
reject
with
an apology. come back to
the cloudlight
and the wasteproduct that yleno breathes. holy rose in the cloisters
of a monastery. mess of riches. not an aesthetic protection. holy
rose
that once climbed the walls of ethiopian churches
and pinksilver-petaled their graves. fallen notices. their thereness
for thought. in all its rests. shiver of whether and evolution.
appalled
velocity of dreams. deep roaring
in
the seed an embryo
cooled by the shadow
of
a treesparrow
nineteen leaves
turn more smoothly
than
nocturnal telescopes
things
arranged on a porous recollection. things else
to coloured. the strangerness of strangeness. featherfalling moment
to develop a simultaneously phaneric and cryptic research
almost unlike the representations. and may she refresh
the overhearted with the sparrow's shadow "Femme hantée
par
le passage de l'oiseau libellule présage des mauvaises nouvelles"
retreating from the heavy to a hum. her ringless hands. the to
becoming an and. possibly yleno's metabolism. workwomanly
selection of sequences
her
riddling hands. aged by accumulation
recalled hands dispensing a hypopathic mixture. no binomial no
graft
no illusions. in europe. crossing a past and the immediate present
for a continuous intermittence
the
silence of a room. an alteration
of generations. missing letters she cannot answer. but finds a
use for
line ashes
somewhat lamellar and latent. her day ghosts blow out the light
in knowledge. she fixes departures. dispersing arrivals (a whisper
of stinging flesh. tenderness slipped on lips). more departures
than meetings. across these inner winds. appropriatively
and apologetically with an analogy also. caring to the sea. see
not
the end. but the storms. brewing an axology. they will loose. the
acting edge to kiss and buffer living "Femmes au bord du lac à
la surface irisée par le passage d'un cygne"
three cards later
somewhat liberated
and lustred. imaging. the fragile question
retreating from the heavy. politudes learned by the heart. tenderness
stilled in spilling. a sexual pageant of archaean and recent
imbalances. sourced and multipled but left to a discretion
the introduction of frills. a floating. an outcasting. caressing
a petal
yleno loosens a bare expectation
disordered
dishevelled appearing
to all. sounds of several. the to becoming an and. importand
murking the measures. in transexts. their slowly digest to the
letter
her mistery
nell
or resentiment. assuming
the second place and third. from a conversation weeding in the
pixels
clarity of murdering awareness
nell
or racination. good profile for recalling
just ambiguously. fingers twisting the fringes of finality. to
forego
a
O
they visit feelings together freedom to
approach or reproach
the petals expand and translate the colour
of absence
the
accumulation of time they visit
deplacements together the petals expand
and translate the colours
of absents a tea cup falls to the floor
but does not break
a diversification good
profile for the living pencil their words
digested provisionally mirrors on the walls
of tomorrow reflect
the injured titles "Femme révant de l'évasion"
"Femme hantée par . . ." Title of
painting by Joan Miró, 1938.
"Femmes au bord . . ." Title of painting by Joan Miró,
14 May 1941.
"Femme révant de . . ." Title of painting by Joan
Miró, 1945.
Copyright © Anne Blonstein,
2006.
Anne
Blonstein was born in England and lives in Basel,
Switzerland. She has published two collections: the
blue pearl (Salt Publishing, 2003) and worked
on screen (Poetry Salzburg, 2005).
