OF THE FITTEST


OF THE FITTEST

I like the way
you shot this scene

but what
does it mean
what does
it mean?

why this blocking, these
camera angles, this framing?

what does your cinematography
do for, what is it
doing to my poem?

so much you have to
surrender to reach
a wider audience

sacrifice gleefully, even
ecstatically,
for
  your art
to
survive

JOE’S PEOPLE


JOE’S PEOPLE

Joe’s people put it out there:
the man
has the soul
of a poet

once wrote
a poem
or so the world
received it, rapturously,

myself I believe
the wit and wile
lies
  buried thete
somewhere

though hardly
a poem
   in my book

more a concerted attempt
at a daub; Rorschach blot
for the
dead in imagination

AT LONG RANGE

AT LONG RANGE

poem
is
inside out

just
so happens to be

when you
frame it
in a certain way
it’s going
to start to appear
most upside-down

but
   wearing this poem
out of range, at
long distance

hard for you
to see the target let
alone loose
a shot at all

and spooky Wolfgang
Pauli being
in the audience
actually, in the
very front row
plumb in the centre

not going to help
your echo location
in size
shape or
form

what with all those
quantum entanglements
and collapsed
wave-fronts

every
moment of delivery
makes me think then
dream of
    standing before you
in an alternate universe

where without the
uncertainty of your
mode of
    analysis, manner
of reception

there is no point
to this game at all
I

JUICE

JUICE

It must have changelinged me
all that juice
goodfellow Puck did spray
around so
most liberally
throughout the play

that I fell qute captuted,
sucked into the forest action,
Titania above me
and I, beautifully ass-
headed so
bottomed beneath

and speaking those words
ss if nee again, constantly,
forever thus
embowered

that magic so vigorous
as I crashed through
every barrier

softly dissolved
this last, ultimate wall.