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obedience 88-92
because in most questions
we neither take a step nor go further
in most steps
there is neither a further or a step
in most questions
we terminate the previous
before the answer
we terminate curiosity
that carries a further
reach beyond the body's
customary conjunctions
from entertainable speculations
to degrees of uncertainty
beyond the next step
that steps the next step
that steps back into stock ideas
and furnished apartments
some are fiction
others frenzied events about to happen
in a place already in existence
a circumstance that belongs to history
a certainty of steps taken
later annexed into sediment of foam
placed at a particular juncture
a particular time
conjoined to another
attempting a feeling
a consistent proliferation of possibilities
before the before beginning
because before there was a matter of fact
there was no difference between
rejection and difference
connected to sediment
that is a step taken into impossibility
into the difficult
into the freely falling
continually falling forward
into an impossibility
into an endeavor
with no definition
no feelings of cold passion
or creative comforts
or microwavable expressions
just vivid conceptions with a variety of terms
it may seem one’s eyes never existed
it may seem that time and place are mere fiction
as if they never existed
no fixed logic
no fixed conception
no fixed bias
neither female nor male
just, situations shifting in
beginning’s beginning that has no beginning arises in conjunction
out of a phenomena of principle without phenomena of principle
to an impossibility without fiction without a resemblance to a greater or lesser degree beyond a solution beyond principle without an entity
a distance without an object becoming an idea without sediment
a later case that is neither in favor of nothing falling in an image of devotion
cycles due to nothing
Bharat jiva-33-34
ζ
it could be
I have found thee
in
the union of constant
in the union of contrast
in the state of objects
in the noise of the state
in the static road
in the inhalation of exhaust
in sharp edges
on the increase
in the amorphous universe
in everything
and everywhere
essence and malfeasance
on a thread drawn tight
one hundred divine acts
this is the original
this is the copy
what is butter?
what is wood?
what is connection?
what is the truth born of heat
in a blink of an eye?
what is wood from the tree
that lands in the heat?
what are lifeless
heaped bodies
as a retort against the absolute?
Bharat jiva-38
ζ
put some salt in water wait till morning
wait in the mind
that waits in words
that arrives in the wait
put some salt in the mind
taste the morning waters
in the will
that puts salt in the mind
concentrate nothing
on before salty waters
swelling hordes of
tastein the salts of suffering
reflect on the reverence of seeing tasting
the joy of seeing
the infinite joy
of knowing
nothing but
the infinite in the finite
nothing but instantaneous rest
in the continuum
of verbs, nouns, and adjectives
after the point and comma
listen to the sounds of waves
takes the breath away
from morning heat
swelling
in the suffering wound
in the salts in the mind
pronouncing the self
a watery everything
within a body
covered in the salts
of a
suffering
being body
against
a dwelling empty
reflected on a bed spread
of indestructible matter
unkempt by anyone
buried beneath the feet
in the breath
of the golden sun
that enters the body
swelling reflection
that reflects back
Bharat jiva-41
ζ
without a second
deep within a vast separate
nothing absorption
river rising
consumed by flames
a body instant
before
the instant expires
something and
a witness
surrender and sweetness
nothing further
through fire
to perceived another other
self
rubbed in syllables
like oil
like butter
like water
like a photo
freed of its image
Poems on this page © kari edwards 2005-2006
kari edwards is author of
iduna, O Books (2003), a day in the life of p.,
subpress collective (2002), a diary of lies - Belladonna #27
by Belladonna Books (2002), and post/(pink) Scarlet Press
(2000). edwards’ work can also be found in Scribner’s The Best
American Poetry 2004, Civil Disobediences: Poetics and Politics
in Action, Coffee House Press, 2004, Biting the Error: writers
explore narrative, Coach House, Toronto, (2004); and Bisexuality
and
Transgenderism: InterSEXions of the Others, Hawoth Presss, Inc. (2004).
What's your
favorite poem that you've written? Care to share it with us? from: iduna, OBooks 2003
The Sky Is Always Higher
Recently I Looked Like An Identity, Or Recently Have Been
Thinking Language Like An Experimental Conference - Cast Into “Hi My
Name’s . . . “ And I Stick Too, Think About “Talking Dirty: Desire
Pornography” (And Something With Wiggle Room) - In General, Need
Gilligan’s Island, Wishing I Saw/heard Half Of The New Color Green.
Find Language In A Situation, A Sky, A Someone In A Group That
Privileges Identity Gossip Over, Longer Possible Pointing To Which Is
Never Permanent, But Boundless In Action Pathology. Have Cast Someone
Into A Thing, As Much As Anything, Looked Like A Hungry Ghost, Live
In Linear Ha Ha Language. (“Will Robinson Take Me If You Are What I
Think.”)
Recently I Looked The Same. If There Is “It” And That New Color
Green. Comes With Lo-and-behold Verbs That Recognize The Newborn’s
Saying (“I Am A Situation, I Am A Panel, Which Is Applied To Another
Way That Uses Social Gatherings To Say, “Hi My Name’s Identity: Hi My
Name’s Complete Absence,” I Find A New New Color Green, Like Ginger
Or I Am A Situation”): Which Happens With Digital Voice- Overs, With
Watching Gilligan’s Island, Wishing Options Are O.k., Saying (A
Gender Is Not The Position, But A Situation, Cheap And Alien): I
Think If There Is Half Of A Willing Surface I Will Be Able To Situate
The New New Color Green.
What is your favorite poem by another poet?
MR BOJAGLES by Christopher Knowles.
Close seconds: almost anything by: Rob Halprin, Juliana Spahr, and
Lisa Jarnot.
What poets have had the most influence on your
work?
John Giorno, Anton Artaud, Friedrich
Hölderlin, and Anne Wladman.
What's your pet-peeve in a poem? (ex. comma
splices, obscurity)
When there seems to be nothing at stake.
What's your favorite print journal and why?
AUFGABE, By E. Tracy Grinnell
Do you have a writing ritual? Care to share it?
Do you ever break this ritual for artistic reasons? If yes, how does it
change or improve your method?
I think there is a difference between ritual and practice, I have no rituals, but I do have a practice, I usually get up early. On Sundays my partner and I have a practice of fasting and limited movement (we do not leave the house of use electronic devices, except to make tea and lights to read). The Monday after that I am usually up between 2-3 a.m.. Most mornings between 4:00 and 6:30. The only time the practice chances is if I need to sleep more. Does it improve my method? that is hard to tell...I do not have much to compare to.
