Alexander Jorgensen
Panopticon
Extension:
To live one’s life—Told you so, I told you so!—is commitment with a lock—so big. And when you swallow it, your breasts…become…warm.
Ha! Ah, yes.—A pinch or two of flake food—to the fish below.—And every time you raise the cover—gate to this thing—and light shines and they slow down, they think: “Oh, my gawd—is God—the God—merciful?”—Is as if someone reached into that pumpkin and removed all the seed.
Is morning and there’s a rooster in the barnyard—? A fox is being chased by pack of hounds and—every step—minuteness.
Remember Odysseus. To the—he says: I am nobody.
Alexander Jorgensen is a writer and visual poet, an editor and publisher, an activist and an educator. His work has appeared in The Last Vispo Anthology: Visual Poetry 1998-2008, THE RETURN OF KRAL MAJALES: Prague’s International Literary Renaissance 1990-2010, and The Text Festivals: Language Art and Material Poetry. “My work is intentionally speculative, reticent and intimate. It does not feign boldness, but rather demonstrates a vulnerability to which one arrives when one has engaged too much in the observation of violence.” He lives in Iraqi Kurdistan.
The pieces above first appeared in Moria a decade ago.
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Panopticon
Extension:
To live one’s life—Told you so, I told you so!—is commitment with a lock—so big. And when you swallow it, your breasts…become…warm.
Ha! Ah, yes.—A pinch or two of flake food—to the fish below.—And every time you raise the cover—gate to this thing—and light shines and they slow down, they think: “Oh, my gawd—is God—the God—merciful?”—Is as if someone reached into that pumpkin and removed all the seed.
Is morning and there’s a rooster in the barnyard—? A fox is being chased by pack of hounds and—every step—minuteness.
Remember Odysseus. To the—he says: I am nobody.
Alexander Jorgensen is a writer and visual poet, an editor and publisher, an activist and an educator. His work has appeared in The Last Vispo Anthology: Visual Poetry 1998-2008, THE RETURN OF KRAL MAJALES: Prague’s International Literary Renaissance 1990-2010, and The Text Festivals: Language Art and Material Poetry. “My work is intentionally speculative, reticent and intimate. It does not feign boldness, but rather demonstrates a vulnerability to which one arrives when one has engaged too much in the observation of violence.” He lives in Iraqi Kurdistan.
The pieces above first appeared in Moria a decade ago.
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