a virulent acknowledgement
of our species’ intrinsic desire
to destroy ourselves before
vaunting ambition compels
the stars to surrender their secrets
the technologies of Creation
We know we would make terrible gods
too enthralled with our own image
oblivious so we don’t have to care
After Otto Dix we know
why they send them home
in closed caskets
The war dead lack elegance
refusing to conform to
classic depictions of beauty
Their wounds gape
wet and labial, inviting
Death and Eros
indecently clutching, an
untitled lost gouache on cardboard
2018; All Rights Reserved
I added some background music tracks for dramatic effect and I think this performance is an excellent teaser for the book.
If you want to hear audio renditions of more poems from the collection, recorded back in 2016 at the ancient amphitheater of Epidaurus, go to my “Other Media” page and scroll down a bit; you’ll find it.
This blog is approaching its 500th post and, of course, I have something special planned to mark the occasion.
Watch this space.
Five hundred posts, eleven years of maintaining Beautiful Desolation…that’s a lot of time (and words and music and rants).
Couldn’t do it without you, folks, your support, your public responses and private messages.
Enjoy this snippet—there’s much, much more to come:
My personal sales copies of The Algebra of Inequality have arrived and I’ve been signing like a madman, getting my orders out, packaging up review copies, etc. Folks are buying multiple copies, gifts for friends and family, perhaps encouraged that this selection of poetry isn’t as dark and brooding as previous efforts.
Wanted to post the flier Sherron designed to send out to booksellers and libraries. If this doesn’t draw some interest, I dunno what will:
And one last reminder that the Free Flow Dance Company will be performing a number of new works, based on some music I sent them earlier this year. Director Jackie Latendresse promises an evening of sublime entertainment, set to some of the oddest, er, “melodies” you’re likely to hear.
The show is in Saskatoon on Saturday night (June 16th) and doors open at 7:30. Ticket info, etc. can be found in a previous post, just scroll down and you’ll find it…
This house is unsinkable
I have made it water tight
installed extra bulkheads
to prevent catastrophic
flooding personally inspecting
every single weld and rivet
for signs of wear or defect
No need for lifeboats
I tell the others in response
to their misgivings we’re
fully insured through good
old Lloyd’s of London
only liable if we’re victims of
some unforeseen act of God
i.e. that ice berg you never
spot until it’s far too late
My book designer, Chris Kent, labored mightily over the weekend, sending me a number of versions of the cover until he came up with the absolutely perfect look for The Algebra of Inequality.
Chris took the cover art I gave him, a painting in acrylics I completed earlier this year, and transformed it into something that is gorgeous, evocative and utterly in keeping with the mood and themes of the book.
I shall say nothing more, merely post his final version for all to see.
I believe this is Chris’s 11th book for Black Dog Press.
I think he’s got something, don’t you?
A looooong interval between posts.
Well, what do you expect? I’m a working author, with a mind that doesn’t allow for much leisure or fun.
Mainly, I’ve been editing The Algebra of Inequality, my latest collection of poems. It has been an agonizing process, choosing the best poems from the past five years, winnowing out the rest. And sometimes a poem gets the chop not because it lacks tunefulness or thematic unity, but for other, more nebulous reasons. Somehow it just doesn’t quite fit with the rest. It’s a judgement call and often I had second, third and fourth thoughts, so the whole thing became ridiculously drawn out and fraught, dragging on for weeks.
But now it’s done. The interior layout is just about ready and my regular cover guy, Chris Kent, is hard at work on another doozie. I’ll be leaking a sneak peek of said cover in the coming days; it’s based on one of my paintings and, knowing Chris, it’s bound to be eye-grabbing.
Yes, what’s up with the painting, why has it become so important to me? Because when I haven’t been editing, I’ve been regularly making that trip down to my little basement dungeon and attacking canvases with acrylics, a screwdriver, awl, various other implements. Getting physical. The results are odd, distinctive, and the works tend to elicit interesting reactions from the people who see them. But it’s a thrill leaving text behind for awhile and working purely symbolically, utilizing a totally different area of my brain.
Recently, I’ve also completed a large, complex collage piece that may end up as the cover for my short story collection later this year.
One of the poems I lopped from The Algebra of Inequality was one I concocted a number of years ago, titled A Personal Cosmology. It has a strong, visual component. I used some square styrofoam and black paint to create a series of stark, geometric images. Then I employed “automatic writing” and started scribbling, one short prose bit for each of the six images. I think I posted one of these images and accompanying text a few years ago but, for the first time, this is the complete version of Cosmology.
I love this piece, it comes right from the soul, but it just wasn’t right for the collection.
It was one of the final cuts, a hard one to leave out.
Click on this link, scroll through it…enjoy: