the unknowable transforming point 161/ 165

433 little poems
fictive autobiographical gazing
through the piano looking glass

It’s a jiver

In the compartment transalpine night train
nosebleeds and rhythms
and dusky transitions just stop
different trains in the passing beats
17 beats in a bar
double loops quartet
2 violins cello and viola
and shift
a shift shore
my string quartet is in a state of incomprehensibility unedited landfill
I have to get the key
key to this disaster
I happen to like it’s formulaic autism
formulaic some one once said about said
formula music
for music foreseen
it’s a jiver though
it ficfucs along
without two care’s in hell about it’s destination

Rushing off

This onde
this mary queen of scots
and her head
and her little shoe
and the music they wrote
troubled troubadoringly
piano look back
at the last of the past recalled shifts
in every amaranth direction
the day
the day
and the tilt of cloud charges by as we speak
what’s not to like
of the card games we never played
in the common room smoke filled
instead rushing off to wherever seemed like a better place to be

Off end

After looking into what’s the point in that
I want a connection with
something else
hits me in the face
bright light
finding traces of a look
an inwardly seeking scurry
off end
off site
sleeping in the light
where’s the nearest touch base

Carry on

Aunt waves at the bus
when she goes past
smiling face a point of reference
past victorian architecture
lean over
and respond on the way
to the source of the way back from hell and back
carry on
don’t mind me

The migraine switch

I fumbled for the migraine switch off button
it only happens when I don’t expect
first the crazy lights then the tongue tie
the I have to run and get out of here
and the way home in distress
count down from ten
count down to the bottom of the keyboard 10ths
that resound
and slowly build a few chords lindy part
evenly arpeggiated for now and then
if the sense of advent gains
caution to the wind
perhaps soft little fingering
over the top of low medium high figurations
as low as six four like brahms and rachmaninov
should cradle the serenity
disguised as we all know
it songs
and you can also decide
to stand up and pluck strings inside
but you have to mark the dampers with letters
at least makes it a bit easier
but mostly you can’t tamper
keyboards and owners
a breed of defensiveness rears
if you touch anything except the keys
well of sounds

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s