Lakey Comess

Russian rhythms merge


Equable and caliginous,
symmetry calls out in hours,
permutations, regrets
before Russian rhythms merge,
command sequence, garden plot,
frequent storms, early call,
distant runners,
paragraphs foreclosed.


No end to conciliation,
no end to reason, able,
no end to response,
infinite ambit.


The falconer protected his hands,
eyes of his charge held on the stave.

Invasion charted over limestone, desecration,
rust of disaster, transferred layered obfuscation.

Violent fragility courses.


There were columns of light.
There were loud reports.
There was technique.

Wrapped wire, probed pledge
undertaken, furious acts.


There was a story,
scrawled on his chest,
policies shouting.

turn tide, turn
to, up, over.


Unexpected, it happened, a surprise.

And you?
                Heart sharpened,
or honed?


Scaled ground plan, different tracks,
mark conspicuously refracted frame,
skeleton, nerves, forced to travel
fluently, expository contrast, shadows
discerning once upon time, growing
faint, between plane and ground,

tapering off


Well placed blot, non finito.


Notarial doubt, execution,
dark calligraphic flourishes,
cursive, according to instruction,
clandestine, burned, lost in flight,
origin, consequences, function,
end papers, spine, pattern.
The monument bears witness.


Sign on his hand,
sign on his forehead,
difference between
one and one other,
ten sheets,
       five joined,
five singular.

Blood mixed with clay
rejects immortality.

Swift sure strokes,
chinks in a story,
discontinuous as text,
which precedes,
will follow bunches of keys,
(la chatelaine put graphically)
shabby pretensions,
acute and startling.


Spectacularly stiff-necked,
slipcase piety,
                likewise, inscribed.

Un-paginated, you carry the tide.

You carry the grudge.

You carry the thought for the deed.

Continue past sentinels,
live. Traps, still processing.

Before you could live.
Before, you could die.
You can live before.
You die, live.



Protocols of transformation.
Protocols of an arid climate.

Adaptation seethes through hollow uprights
in fence wires, windows barred, boarded.

Anticipation coincides with time only
to judge from the plan, subscribed,
to judge from the drawing as copy.

Lapses in prescience,
                               unreferenced claims,
squared by rule, numbers,
                               often ignored.

One drawn, one projected,
series seen in progression.

Four cubits or twenty four palms.
                Values of the octagon.

Four winds carved opposite
many, many and several currents.

Bunches of mint. Zappy

Mars, remote procedure, performed as a chorale.


Don't worry, you will never be replaced by a computer.


Big talker.

Bunches of mint, pine nuts, un autre cat.

Phistook, my friend, concrete and magical.
Can you beat that? Oh, someone is affronted.

Struggle, reaction, sport, played by humans.
Jostles forward for your attention, no point of contention here.

(Vanishes right.)


It has everything.


They gained recognition, wonderful value. Very zappy.
What do you mean what does it mean to be human?
Clarify this, three columns worth, outline for a thesis.

Proceed to annex more recent parts of the story.
Displays of memorial volumes, wordless cities.

You can hear it truly__this__evenly.


Subject of a portrait, how they managed.


Two ways. Gestures,
questions into the same,
knew what to do.


Traditional fiddle, revolutionary strings.
                Spin a fine line quite close to the ceiling.
Bright white light, provisional.

Twenty performances followed a cart
                among hard rocks, bowlines,
                                                             lost ties,
when you first heard the music, heart felt.

Singing the way onto the theme,
                               beaded curtains,
peer to pier, copies itself.

tension was tremendous.

Could not upgrade the memory, re generation.
Connect the whole, consonants, different articulation,
solo voices, words, to effect, from somewhere in text.

Come in.

Concerto in la minor,
per fagotto, archi e cembalo.

Solo cadenza,
six canon sonatas.
Two bassoons,
disrupt facility.

Download progress.
You might have to restart.

A tribute, great piece, uniquely,
as the French say, "idea of a lament."

Why, before that, wonderfully simple,
period instruments, small choir.

Lakey Comess, born U S A in 1948, has lived in Israel, South Africa and the Orkney Islands in Scotland and now lives in Lanarkshire. She has contributed to Versal, Big Bridge, Gulf Stream, Milk, Hutt, Otoliths, Hamilton Stone Review, Mad Hatters' Review blog, On Barcelona blog and other publications, also as Lakey Teasdale.
previous page     contents     next page


Post a Comment

<< Home

Powered by Blogger