kari edwards

explicit

I wake up asleep, now
coming below
the Mason-Dixon line
stranger than strange
on a subterranean mass transient
calling language
the language line
committing, omitting, submitting
my collective guilt for all sins
or whatever it is called
the bridge not finished
that usual warehouse feel
everything beige
can not tell the difference
from wawa shade grown
holiday spas
or where I go to get my
breakfast burrito like everyone else
classless prepackaged
and not like those
debt hieroglyphs
scrap heap politician
burrowing in production
painting metaphors
for prewar
shallow creeks
with mercury poisoning
abandoned to loading docks
door prize
all well meaning
track homes



doG ply

I am nt wrting out thsi
our that
pre tending
linking cool
word playfl word
melting minus a vowel
mins a limb
minus a tongue
mercury posioning
DDT thrid word
nesseaty
bolted atomc stomic
indication
med ium cool
wood words play plywood
slab of meat
unity slabs
breathing living consuming
stuffed potential
word play
writing now
words write themselves
writes the self writes the word
speaking withot a hand
stearing the whall
my head on the trigger
medium cool
surrounds
the cannd languge
premiered plastic
self indigent vowels
rnings down
looks for the crct sht shift
lets gt serious
this is poety
the nessesity belongs to
the humor belongs to
returns to the
lets get some oppiostee blink
the law belongs to the blink
fantasy fortrss
frezzing fesstering
leave it to to the word
to blink
to repreoduce
the word sound simulcra
late starvation
intelegant
press the mute
multi-lateral puss
broaday aestheis amnesia
bordom lyicaal
fashum fasist machine
happy dogs
blazing inn gun play
reciting
dog sysmbos
happy dogs
blazing inn gun play
reciting
dog vowels
happy dogs
blazing inn gun play
reciting
dog words
burning in word
ply



but I must live live, though I have died twice

Personal acts of resistance are the words I wanted to use. Turn the
flesh inside out, ripped apart to remains, damp clods of earth, laid
well away from the overworked, well groomed furniture store's breeding
multiples. Let immovable resolve implode on bended knees while the
millions sharpen their hearing of slaughter and decay gets covered by
the fattened crust of neglect. Hear the fertile black silence mourn
the dead. Know there is no trumpeting finally, only the struggle to
remember to struggle, discarding the utopian ideal, that died begging
for release on placebos alter ego's altar, begging for respect in the
symbolic horizon's florescent glow.





kari edwards is a poet, artist and gender activist, received one of Small Press Traffic's books of the year awards (2004), New Langton Art's Bay Area Award in literature (2002); and is author of obedience, Factory School (2005), iduna, O Books (2003), a day in the life of p., subpress collective (2002), a diary of lies - Belladonna #27 by Belladonna Books (2002), and post/(pink) Scarlet Press (2000).

edwards' work can also be found in Scribner's The Best American Poetry (2004), Civil Disobediences: Poetics and Politics in Action, Coffee House Press, (2004), Biting the Error: writers explore narrative, Coach House, Toronto, (2004), Bisexuality and Transgenderism:InterSEXions of the Others, Hawoth Press, Inc. (2004), Experimental Theology, Public Text 0.2., Seattle Research Institute (2003), Blood and Tears: Poems for Matthew Shepard, Painted Leaf Press (2000), Aufgabe, Tinfish, Mirage/Period(ical), Van Gogh's Ear, Amerikan Hotel, Boog City, 88: A Journal of Contemporary American Poetry, Narrativity, Fulcrum: an annual of poetry and aesthetics, Pom2, Shearsman, and Submodern Fiction.



 
 
 
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