Photo credit: Neil Alexander
Round Numinous Volumes MP3 (click here to hear poem read)
Satiated pearls ancient upended aluminum cream fastened
to glacial time charting momentary courses thumping hot fuchsia
angles wet sliding grinding mash under hazel skies on atrocities
pouring chai down steppes white irises popping cliff faces sharp
anemones blinding concrete seascapes of kettles steaming oranges
round numinous volumes peddle carrion waters with jellied crevices
transmogrified fossils lie hounding chained gates while mustard powder
gleams on clay surfaces pounded stardust howling water falls linen
canvases to battery charged ants luminescent filigreed dampers climbing
rice fields under cumulous chatter hiding half-life elements unwinding
Chromapoetica 
Fantastic train of thought… reads like an excellent stream of conscious journey. Thank you
wow it was just one right after the other kinda like the picture…you really captured the fluidity of this…
Love the flow you have captured… the transformations elevated well.
A beautiful experiment.. 🙂 // Peter.
Beautiful usage of words…
walk the past
As a nonrepresentational painter I’ve often wanted to see if nonrepresentational poetry is possible. Inspired by experimental poetry I viewed last week which was only mildly intellectually stimulating (the concepts were not phenomenally gripping and the execution of some of the work, which simply sampled other text or in the worst case scenario was written in binary code 1010 00001 100001 1101, etc. left me wanting something more luscious and accessible). In my painting pieces work because they don’t break all the rules at once. Also, while they may not represent things or people they are not meaningless blather either. They are an attempt to communicate through a new language, one with logic, rules, purpose, but unfamiliar and still ripe with exotic possibilities. They are paintings which speak of things that overused concepts or simple relationships obfuscate and therefore require new forms. Beauty still shows up, the ecology of the work provides structure, and meaning paradoxically is still conveyed. In investigating nonrepresentational poetry I found I still wanted to retain elements of beauty, emphasize sounds, structure the relationship of words to one another while confusing a bit the concept of phrases, and give an overall impression of meaning that would be complex enough to experience but not summarize. Thank you all for engaging the work and providing feedback.
Favorite phrases: battery charged ants and cumulous chatter. Wonderful images, those.
“luminescent filigreed dampers” and “clay surfaces pounded stardust howling water falls linen
canvases” these lines make me jealous. I really dig what you are doing here. so frantic, which is an effect I so often attempt but fail at…very very good. this is definitely nice work.
Thank you tremendously for your response to my request for feedback. I am just this week experimenting with this and have become besotted with the possibilities. It’s important to me that the reader gains something and isn’t simply turned away because they think it’s nonsense. Also, I looked at your macro photos and was impressed. Are you currently showing them at a gallery?
no, I just take them and upload them to flickr. Most of my poetry is highly experimental so it is nice to see others working in the same vein.
http://modern-rage.com/2011/07/18/the-flood/
I put that one up today…is it tacky to leave the link here like that? I hope not, anyway…check it out if you want to/get the chance. Thanks, you do good good work.
I have to run but I will absolutely read your work this evening when I get home!
the picture is awesome too.