Raymond Farr

Faux Pas & Beyond Referents: / U /

AS ONE OF SIX CHARACTERS IN SEARCH OF AN AUTHORITY I DIED / U / IN A FRACAS BLUER THAN WINDEX. A PARLANCE / U /. A VIOLENCE / U / TWENTY PACES OFF. ERRATICALLY IN TERROR. AN EDGE / U / QUICKLY&AT DUSK. THE VOICE / U /: “ACHTUNG!” / U / IN THE TEMPLE OF ACHTUNG! DISAPPEARED / U / IN THE HAGUE OF CORPSES & DWARVES. A CON-SEQUENCE BUILT LIKE A SHOE BOX.

I Fly Art Out of Cells

Consisting of etched:
                                        erlkings
scythe corn ears verbatim:
                                     a manual
too populist:
                    conveys cataracts
to upon.



In response to:
                                  I fly art out
of cells:
                    one chance of it at
all:
      since overboard is reigned.



Its charm is too blogging:
                      at      pain's
weird visitation
           careens
                  out of violence:
penetrates to evidence.



                   Boat, meaning
volume:
            grants inkling a deed:
a face
            scurrilous on westerns.



Sameness over contours:
seems trivial yet impossible.


Bounty marches:
                       anti-canoe:
conditional yet deft.



                In real fog: up six
straight hills: a tale
suspends us.



                My angst over-
laps:
        part aperture, part skin:
wheresoever I plod.



Pyramids in relation to yield:
pose avenue C:
                            a cone in
what afflicts us:
                     supposition
in figuration:
                   left dangling.

Words Become Moons.

Viaduct translations. E s t r a n g e d love is an o r b I t I inhabit. At 90 b e l o w, I walks the walk. “O b s o l e t e” manufactures “the m a s s e s” in Michigan’s upper peninsula. Estrangement is another o r b i t I inhabit. All our fairy tales combined, k n o t up ties with jam-bone in the w a s h e r. I mean, all our g r o o v e d intimacies shatter our under-ground hand to hand to hand. I harbor f r e q u e n c y like a rock in my fist. Ur-sculptures bulk up a l o n g terraced hillocks. About Granpa in a s k i r l. About g r a m m a r in w h o r l e d identities, we share an attitude which is laissez faire. About brand names uttered at crib side, my brother’s view of science revealed mom was a techno-mom. The facts lured us.Facts altered by puritanical dogma are clues to the incarcerated mob. Melodramatic desk top abundance is less so now than it was then. The oak leaves, unasked for, decided my world. Arbitrary is the utterance of personal space. Do you believe those trumps took the game? The statement “I am” serves as photographic plate. I n t i m e a f a l l e n m o o n inculcates our books become grace. Given time, decayed mangos buttress up defended sentences. I am likened to a “photographic plate” is a l e a r n e d behavior. Intelligence allows distance from the beginning. In any other form I am a damask of uncertainty. Ignorant of sufficient reason, I m a n g l e d toxicity’s sublime outcome. Inviolable commands committed purges of naval engagements. Am I stupid or just out of my mind with suffering? A stranger abounds while emerging like a logged flight of fantastic pillars. The historic tome blinds us with metanarrative, clues to the empire. In came light house keeping to cleanse my soul. And so I stayed ignorant until I gambled upwards of a trillion dollars. The past showed a smart aleck its scars. Cinquefoil. Benadryl. Blood & urine tox-s c r e e n s were ordered. I endowed the market with possibilities. T e c h stocks took off like yo-yos. Don’t know how the strawberry went out. H o w in The Grand Canyon Suite did that tune get loose in my head?! H o w a b o u t travelogues screaming bloody murder in a crowded theater? Did cops shout? Bundle up. Uncoil your slapstick banter like a panther springs free of island meters. The difference is one. I am the difference means I am the one. I make a difference in terms of too little too late. Ignore your time piece until rifles kaboom your three piece suit again. Inane anemones dissent from peculiar human artifacts. A l i e n diagnosis is what it’s all about here in Mayberry, USA. The bust of complete paralysis creates a vacuum in the office next door. Transmissions have ceased is not an example. The barber pole inflicted aberrant meanings in the social sense of the corner of her eye. She malingered in the mermaid’s turquoise. It’s not about face but about defeat. However befuddled my meaning usurped unmitigated carnivores. I apprehend a c o m m a here, and here. A coma was expected, given God’s condition. I had trauma and needed a license to practice medicine. Arrested pejorative wizens a lozenge. Ekphrastic china. Emphatic spiral stairwell twists its logic down then up, then down again. The howls verified wolves in the precincts. The human body was still warm in a dream. The hillsides, dotted with stumps, positively blinded me. I reconstructed worldly simulations. Harrumph the hijacker, his echelon’s ovoid hydraulic skid belittled a tome of dour moon wash. Momentous seemed like adrenaline occurred. The rush hour waned, appeared complimentary. Tumescence instigates sublime cock fights like names we give children in urban decay situations. I admit I am patently hungry whenever I visit my lonely booth. The moot has been excavated beyond reason. Eye lids in the fantast’s reflection. Apalachicola is the abridged version of “last night I spent my last dollar on mangos.” Imprimatur hope-lessly translates the seasonal crop yield of four metric tons to a bushel. Infinity grilled our suspects until they were doomed. Capillary pressure coded us like beings. Feeling puckish, I landed sideways until fields of handpicked tomatoes. I bargained for status. Nomenclature-types consciously codify “benignly.” Forged IDs signify our signatories’ John Hancocks. Poetry trickled little mouths opposite the American river’s source. Road rage escaped m a s s production’s mountain pagodas of scale. Border penultimate origins in time to rhyme. A fragment has no nature but fragmentation. A second fragment is worth its rhythm in gold. A forest mirrored a moment acclaimed by feats. The text uncoiled while colliding factors. Matrons harbored by a fist. Visitations dynamited like TNT demands. We barrel not harrow but squirrel to the brink, panzers divided by tropes a.k.a. time’s guerrilla warfare. I anticipate suited up in our clownish frocks. Military industrial complex suffered casualties by ack-ack in the boardrooms of the menacing ‘hoods. Fired up menace predated my fortune like raids on a damsel’s dramaturgy. The trolley jerked, shuddered forward, uphill, a revolution among gears and machinations invisible to the eye. What we witnessed was a strike on our homeland. Endeavors destabilized moon walks grieving like a golf swing above our heads. A lovely load of nothing for your troubles. Doors closing like crap through a goose’s infrastructure. In the meantime, only glossolalia walked out. A landscape, surnamed Stanley Stanley, is manifestly a rodent of means. “This was tag team negligence” is a quote from TV. Do you mind if I come advertised, as verse is central to this page? The end of science is the scientist’s raison d’etre. The phone call reminded me. Clock tower strategies fail like social constructs, in the ambiguous sense of “social constructs.” The mist is r e s e m b l ed. In full view of totems, the familial is inherited, and so I answered taboos. The impulse is to further the utterance of context. Epistemes translate the unacknowledged schism dividing two hearts like a river is a metaphor and this is a run on sentence. Did I not tell you: the impulse is to further the utterance. Bait must be taken to be utilized. In the interim between gazes, something blazed indefinably. I wandered across territory seeking the narrative’s conclusion but found I doubled back upon myself. I am drawn in like a figure, my brushes overloaded with crushed beryl. Stroke by stroke, I exist in fecundity’s vast inconsolable range like a question mark or the nib of a pen. I imagined e     x     p     a     n     s     e    s     .

Raymond Farr lives in Ocala, FL. His work appears both on line & in print at: Otoliths, Apocryphal Text, Anemone Sidecar, Pinstripe Fedora, Dusie, Little Red Leaves, Sidebrow, Xstream, & Word /for Word. His chapbooks are available cheap by emailing him at r.farr@worldnet.att.net

 
 
 
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