AG2023_1055345a or apology for this human world

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Cozy Apologia by Rita Dove

For Fred

I could pick anything and think of you—

This lamp, the wind-still rain, the glossy blue

My pen exudes, drying matte, upon the page.

I could choose any hero, any cause or age

And, sure as shooting arrows to the heart,

Astride a dappled mare, legs braced as far apart

As standing in silver stirrups will allow—

There you’ll be, with furrowed brow

And chain mail glinting, to set me free:

One eye smiling, the other firm upon the enemy.

This post-postmodern age is all business: compact disks

And faxes, a do-it-now-and-take-no-risks

Event. Today a hurricane is nudging up the coast,

Oddly male: Big Bad Floyd, who brings a host

Of daydreams: awkward reminiscences

Of teenage crushes on worthless boys

Whose only talent was to kiss you senseless.

They all had sissy names—Marcel, Percy, Dewey;

Were thin as licorice and as chewy,

Sweet with a dark and hollow center. Floyd’s

Cussing up a storm. You’re bunkered in your

Aerie, I’m perched in mine

(Twin desks, computers, hardwood floors):

We’re content, but fall short of the Divine.

Still, it’s embarrassing, this happiness—

Who’s satisfied simply with what’s good for us,

When has the ordinary ever been news?

And yet, because nothing else will do

To keep me from melancholy (call it blues),

I fill this stolen time with you.


Neither rosy nor prim; prefers the chorus to the heap of disturbance

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Untitled (Neither rosy nor prim; prefers the chorus to the heap of disturbance) 


Locust Projects BINGO BASH!, June 9, 2023.


EVENING PRIMROSE
Poetically speaking, growing up is mediocrity.
– NED ROREM

Neither rosy nor prim,
not cousin to the cowslip
nor the extravagant fuchsia,
I doubt anyone has ever
picked one for show,
though the woods must be fringed
with their lemony effusions.

Sun blathers its baronial
endorsement, but they refuse
to join the ranks. Summer
brings them in armfuls,
yet, when the day is large,
you won’t see them fluttering
the length of the road.

They’ll wait until the world’s
tucked in and the sky’s
one ceaseless shimmer – then
lift their saturated eyelids
and blaze, blaze
all night long
for no one.

Rita Dove (via UVA)

AG2023_1044727a or maneuvers to expose an enchanted one

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Untitled (FG–maneuvers to expose an enchanted one) i


A section of Félix González-Torres‘s essay on Roni Horn’s The Gold Field, 1980-1982.


1990, L.A. The Gold Field. How can I deal with the Gold Field? I don’t quite know. But the Gold Field was there. Ross and I entered the Museum of Contemporary Art, and without knowing the work of Roni Horn we were blown away by the heroic, gentle and horizontal presence of this gift. There it was, in a white room, all by itself, it didn’t need company, it didn’t need anything. Sitting on the floor, ever so lightly. A new landscape, a possible horizon, a place of rest and absolute beauty. Waiting for the right viewer willing and needing to be moved to a place of the imagination. This piece is nothing more than a thin layer of gold. It is everything a good poem by Wallace Stevens is; precise, with no extra baggage, nothing extra. A poem that feels secure and dares to unravel itself, to become naked, to be enjoyed in a tactile manner, but beyond that, in an intellectual way too. Ross and I were lifted. That gesture was all we needed to rest, to think about the possibility of change. This showed the innate ability of an artist proposing to make this place a better place. How truly revolutionary.
This work was needed. This was an undiscovered ocean for us. It was impossible, yet it was real, we saw this landscape. Like no other landscape. We felt it. We traveled together to countless sunsets. But where did this object come from? Who produced this piece that risked itself by being so fragile, just laying on the floor, no base, no plexiglass box on top of it. How come we didn’t know about her work before, how come we missed so much? Roni’s work has never been the darling of the establishment. Of course not. Some people dismiss Roni’s work as pure formalism, as if such purity were possible after years of knowing that the act of looking at an object, any object, is transfigured by gender, race, socio-economic class, and sexual orientation. We cannot blame them for the emptiness in which they live, for they cannot see the almost perfect emotions and solutions her objects and writings give us. A place to dream, to regain energy, to dare. Ross and I always talked about this work, how much it affected us. After that any sunset became “The Gold Field.” Roni had named something that had always been there. Now we saw it through her eyes, her imagination.

Roni Horn, Gold Field, 1980-82. 99.99% pure gold foil, annealed, 0.0008 x 49 x 60 inches.


Félix González-Torres, “1990: L.A., “The Gold Field” first appeared in the catalogue Roni Horn. Earths Grow Thick (Columbus: Wexner Center for the Arts, 1996). The text is reprinted with the kind permission of Roni Horn, the Wexner Centre for the Arts, and The Félix González-Torres Foundation.

With discreet significance

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Love is too young to know what conscience is;
Yet who knows not conscience is born of love?
Then, gentle cheater, urge not my amiss,
Lest guilty of my faults thy sweet self prove:
For, thou betraying me, I do betray
My nobler part to my gross body’s treason;
My soul doth tell my body that he may
Triumph in love; flesh stays no farther reason;
But, rising at thy name, doth point out thee
As his triumphant prize. Proud of this pride,
He is contented thy poor drudge to be,
To stand in thy affairs, fall by thy side.
    No want of conscience hold it that I call
    Her ‘love’ for whose dear love I rise and fall.

Love is too young to know what conscience is; (Sonnet 151), William Shakespeare

Some say thy fault is youth, some wantonness;
Some say thy grace is youth and gentle sport;
Both grace and faults are loved of more and less;
Thou makest faults graces that to thee resort.
As on the finger of a throned queen
The basest jewel will be well esteem’d,
So are those errors that in thee are seen
To truths translated and for true things deem’d.
How many lambs night the stern wolf betray,
If like a lamb he could his looks translate!
How many gazers mightst thou lead away,
If thou wouldst use the strength of all thy state!
    But do not so; I love thee in such sort
    As, thou being mine, mine is thy good report.

Some say thy fault is youth, some wantonness; (Sonnet 96), William Shakespeare

The spring has many sounds:
Roller skates grind the pavement to noisy dust.
Birds chop the still air into small melodies.
The wind forgets to be the weather for a time
And whispers old advice for summer.
The sea stretches itself
And gently creaks and cracks its bones….

The spring has many silences:
Buds are mysteriously unbound
With a discreet significance
,
And buds say nothing.

There are things that even the wind will not betray.
Earth puts her finger to her lips
And muffles there her quiet, quick activity….

Do not wonder at me
That I am hushed
This April night beside you.

The spring has many silences.

The Spring Has Many Silences, Laura Riding Jackson

As usual, Death sweetly slips her arm in mine—
& we take a deep breath from the eucalyptus breeze.
We both worked honestly at our jobs: all day Death
destroyed traffic with wailing ambulances while I killed
hours & lines on eight-&-a-half by eleven inch pages.
We’re fast friends by now, Death much older of course,
but there’s no hierarchy between us
: we’re both taking
a break from it all, glad to watch waves collapse on rocks
& pelicans dive-bomb fish. I try to be sensitive to Death’s
guilt: that whole pandemic disaster she can no longer
control. She’ll soon betray me too—like she will you. 
I know.
But today the gulls are silver angels etching
great cursive blessings in a perfect sky—so Death & I
make believe we believe that, & amble on.

Late Afternoon Stroll on the Cliffs, Laure-Anne Bosselaar


Legna Rodríguez Iglesias on betrayal and a bit on movies.

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Alejandro Chacoff, in New York Review, on Clarice Lispector and Brazilian crônica and fiction.

“… crônicas do feed on a certain amount of friction—strange incidents, uncomfortable interactions with strangers, conversations with cab drivers (Lispector has a couple of very good pieces on this topic). […] The crônica demands a certain capacity for boredom, for being open to fleeting, small scenes of the quotidian.”

In New Yorker, a Lispector lost interview. An article (2015).