Ahead lay Cubism and collages, and H. D. cutting bits of Greekness full force into vers-libre poems; and Gaudier about 1913 cut (did not cast) a brass figure that embodies in its four inches several hundred formal decisions: that two triangles, one fish-tailed, shall have open centers and bevelled edges, that four finger-like rectangularities shall prolong but displace the downward thrust of a straight vertebral gesture, that next to that descent in high relief shall lie a concavity, its far side curved . . . T. E. Hulme used it for a pocket toy to occupy his restless fingers. It is a sacred object, elusively anthropo- and ichthymorphic, with no god but its own vigor.
Something like prophetic strain.
The old eyesore.
a prosody for the nonwretched
correlated gaps
replete with forever-
including gorgeousness about
and having no quarrel with opulence
does with white admixture
this modernity
now
pivot from belonging
required
not in the least
for green
non-red
proverbially
matter-of-factly
or finitely large
left unattended
precise bright distributions
Pound’s dots
the eloquence of the fissure
the colon: of
expulsion not exile
blue like an orange
pointing
not low-hanging
fishtailed mesh
plotless
cut quagmire
modern
abode a stimulant
deep in hindsight pulsed
imprecise, nonexpressive
clear and distinct
exhaling ellipses
exhaling beveled
cut each step
nonidentical as shallow
portends verticality
whose axis at dusk
integers
alternately expulsed
a reading spelt in gaps
is coherent with scheme and script
the grid necessary to all lyric
entailment percussive
segmental, oscillating
melancholic put to affect
a pictorial doctrine
penseroso pondering pentimenti
Hence vain deluding Joys
sound blocks raise noise
from full stops floated inaudible
to oneself
minus atmospheric distance
a farrago smoothed as a fresh page
conjoining harvested luxuriant delay
conjugating structure
stop-and-go
duplicated as when
syntactically speaking
mental Knots
sing of the corrective’s strenuous
punctual periphery
a premature gate
imagine intention
complexity
Bach’s formless infinity
pass plotless handfuls of
Calm bearing densities
painted black
short crux
providing in parallel
surfaces strolling
abducting stay
and not seriously fingering
a convex holler
or a plot hypothetically conjoined
as there is and there is
even a prosody
for the coordinated gaps with respect to
unmarked space locating
form without location closing in
a rushing burst
wrought
alive
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