Aim / Plan
I. To trust or cover, as in to awning and entrance. Experience suggests the person later entering the room—you [...] welcome—understands its colour in another hue. Somewhere mechanic your lower order brain has repurposed vintage devices, your retinal afterimage detaches itself. Observation as what happens when you look away, sign of a fixstitch in the works or a gremlin in the photorespondent machine. Investments in saturation will dividend: invisible fracture, what at the end it manufacts.
Methodology / Required Equipment
II. Torn. Tuned. Picked foxgloves, recycling into a tincture by which the heart's action settles. A globe turning us but seen from within, its traceable curvature, its dyed land-masses, its translucence. Leaving it into the earth itself, without curvature toward horizon. Applause signals you have seen enough, disperse. If at the end, what disaster could you avert, your colour memory a memory, redstriped, whitestriped, and unrolling, staging a site. If at the edge, a traceable faultline—involved.
III. A plausible circuit links serially the disparate events in an outcome. Erasure habits one alternative premised on the on/off before/after model. (Electrostasis versus electric current.) This threshold of without movement yet present in the permittivity of air space. This collapse now here where the charge is a word-curtain behind which images which image remains. Remembrances of the blurred distant, how a tragedy is the adventure from the documentary into the impressionist. Safe, now.
Government Recommendation on Subsequent Repetition
IV. Would've wished a lyric subjectivity, not a science lesson. Would've lessened nothing and injected emotions into canvas. A consensus is towards feelings as a way to awning and entrance, and not experience. The person later entering the room—you—has no obligation to colour.
in any climate transportable
In the calm behind the carnival, it begins.
metonymic for what exactly
We try to formulate a description for those who'll later ask,
and a catch with mirrors
try to find a simile that contains it
as our hands contained its flexible geometry,
multiple-sided the tympanum
or the colour our eyes aligned
with cross and disperse
a suspense in orange,
the wet peat scent burred to our skin days after.
Behind the carnival the transportable climate
at the fraying limit of celebration
the calm tremors and is not calm.
mechanized catch, and disperse,
cross. Set gestures.
There is no name for this,
no linear narrative.
We set the sand in motion
cannot hourglass the revolution
from experience to the telling
sound striking the tympanum
in the set gestures of sense
a fired climate,
Our tales cross and disperse. in any climate
music and light. mechanized
fired earth and a catch with mirrors.
calm reproducible mirrors
try the set gestures
in any climate metonymic geometry, flexible, music
transportable for what exactly
Lytton Smith grew up in Galleywood, England, and now lives in New York City. His book, The All-Purpose Magical Tent, won the Nightboat Poetry Prize, judged by Terrance Hayes, and was published by Nightboat Books in March. A chapbook, Monster Theory, was selected by Kevin Young for a New York Chapbook Fellowship and published by the Poetry Society of America in (2008). He spends part of his time as part of the Blind Tiger Poets, an organization which helps poets publicize their books.