Rather glass that’s taught by patient labor


What is poetry? Is it a mosaic 
Of coloured stones which curiously are wrought 
Into a pattern? Rather glass that’s taught 
By patient labor any hue to take 
And glowing with a sumptuous splendor, make 
Beauty a thing of awe;
where sunbeams caught, 
Transmuted fall in sheafs of rainbows fraught 
With storied meaning for religion’s sake. 

Fragment, Amy Lowell


We two, how long we were fool’d,
Now transmuted, we swiftly escape as Nature escapes,
We are Nature, long have we been absent, but now we return,
We become plants, trunks, foliage, roots, bark,
We are bedded in the ground, we are rocks,
We are oaks, we grow in the openings side by side,
We browse, we are two among the wild herds spontaneous as any,
We are two fishes swimming in the sea together,
We are what locust blossoms are, we drop scent around lanes mornings and evenings,
We are also the coarse smut of beasts, vegetables, minerals,
We are two predatory hawks, we soar above and look down,
We are two resplendent suns, we it is who balance ourselves orbic and stellar, we are as two comets,
We prowl fang’d and four-footed in the woods, we spring on prey,
We are two clouds forenoons and afternoons driving overhead,
We are seas mingling, we are two of those cheerful waves rolling over each other and interwetting each other,
We are what the atmosphere is, transparent, receptive, pervious, impervious,
We are snow, rain, cold, darkness, we are each product and influence of the globe,
We have circled and circled till we have arrived home again, we two,
We have voided all but freedom and all but our own joy.

We Two, How Long We Were Fool’d, Walt Whitman

Let’s follow the itinerant


I chart the psyche,
observing how I
force myself to speak
to you, imagining that
together we might
transform a life.

Why this need
to document change,
to reverse a mood,
to carry forward the time
when magnolias bloom?

Let’s follow the itinerant we
up and over the jonquil’s back,
treading on its spilled bullion.

April, Sally Van Doren

AG2026_1211969a or a continuity


Solvent transfer, graphite, colored pencil, ink, gouache, acrylic, and enamel paint on paper. 18 x 12 inches. 2026. Donated to Locust Projects’ Art Auction.


Melvin Edwards’s obituary. (Frieze)

“His travels to Ghana, Nigeria, Togo and Benin informed his understanding of sculpture as a form of cultural continuity, leading him to create public works that fused African traditions with contemporary abstraction?. “

032026


(The essay on modesty) (in application for) (bodily autonomy)

          (She lost that case) (on (wide is the gate))  (rhetorically memorable)

                        (Arbiter rise)

(Attracted to) (the most minor) (advantages) (adopting gendered props)

          (Assaying willingness)                       (I notice a certain scarlet letter)

(Dream of a house) (it can’t be mine) (vast roominess)

                        (Dream of a beach) (but it’s a beach with a                 problem)

          (In the smug of your (natural woman))               (I have had (a stain) (a conceit))

                                    (Despite appearances (allegedly))

          (A medical person) (declares the injury a                                     non-emergency)

(The essay on modesty), Krystal Languell


From the shores of oval oceans


Constance Debré was in conversation about her work with writer and critic Alice Blackhurst. (LRB, 2024)


Also, her website.


A flock of dreams
browse on Necropolis

From the shores
of oval oceans
in the oxidized Orient

Onyx-eyed Odalisques
and ornithologists
observe
the flight
of Eros obsolete

And “Immortality”
mildews …
in the museums of the moon

Lunar Baedeker, Mina Loy