Foxy lad moving tail he spread the grass makes them
reply both of us here smacking their tongues
poseur beneath a black mulga tree another
concertino moon elbowing their way on pointed
mag wheels red granite climbing the white ridge
valve on valve they stumble in kangaroo grass
spoiler down the burning river bends its back to be blown
nitro sunset cresting elegiac wreckage
rash to have its neck at the accumulated fixed point or
percolating an eccentric shaft to recycle a sort of petrichoid
within where I spent much time scouring Marx & Dada &
Fort Knox the energy generated by lyrical frigging
tap tap tap at great intervals a further thread seen to draw
archaic winters if one looks closely besides showing how.
Not to be outdone by due diligence
the ardent configurators work their
after magic dress-down, blast!
Salomés’ introvert classification conundrum
lancing the goitre of paint formed in the lower left
we call shoreline or catechesis or place where
moral ambiguity coalesces or simply congeals,
dare I say concentrates attention in the desire
to impeach? The Dead. What to call the painting?
Rotten apples or, Musical Drift. Prisoner
in bas relief. A sonata interferes with recitation.
A lost tooth fouls the sketch paper. Charcoal
for a castration complex. The figure, bold as brass.
Anything to do with war will bell-shatter.
Monument - Louis Armand & John Kinsella
Louis Armand is a Prague writer, theorist & visual artist. His novels include GlassHouse (2018), The Combinations (Equus, 2016) & Canicule (2013). Theoretical works include Videology (2015), The Organ-Grinder’s Monkey: Culture after the Avantgarde (2013) & Incendiary Devices (2001). He is the editor of Avant-Post (2006), Hidden Agendas: Unreported Poetics (2010) & City Primeval: New York, Berlin, Prague (with Robert Carrithers; 2017) & many more. In addition, he is the author of ten collections of poetry, which include East Broadway Rundown (2015), The Rube Goldberg Variations (2015; both from Vlak Records) & Synopticon (with John Kinsella; Litteraria, 2012). He has exhibited at Art Prague, with solo shows at Galery ArtNatur, Gallerie Gambit, Hunger Gallery & Indigo Space. A screenplay for Clair Obscur won honourable mention at the 2009 Trieste International Film Festival. He is formerly an editor of VLAK magazine & Directs the Centre for Critical & Cultural Theory at Charles University, Prague. There's more info at his website here.
Australian John Kinsella has written over 20 books of poetry, as well as plays and fiction; he also maintains an active literary career as a teacher and editor. Kinsella’s poetry is both experimental and pastoral, featuring the landscape of Western Australia. Paul Kane observed in World Literature Today, “In Kinsella’s poetry these are lands marked by isolation and mundane violence and by a terrible transcendent beauty.” His The New Arcadia (2007) is a book-length exploration of Western Australia’s timeless and timeworn landscape; the book is informed by the history of the country and the bucolic poetic tradition. Kinsella’s recent books of poetry include Firebreaks (2016), Drowning in Wheat: Selected Poems (2016), and Insomnia (2019). In his “Alternative Biography,” Kinsella describes himself as “a supporter of worldwide indigenous rights, and an absolute supporter of land rights.” He has been a “vegan anarchist pacifist” for 33 years. Kinsella has taught at universities in Australia and at Kenyon College in the United States. Founding editor of the journal Salt in Australia, he serves as international editor at the Kenyon Review. His interviews with other writers and selections of his poetry can be found on his website.
Read X Marks the Parataxis, an article by Armand, Kinsella & Jessica L. Wilkinson over at Cordite Poetry Review
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