Tuesday, January 17, 2017

Large and Swollen and Blue

The arabesques of a fugue scurry before the windows of my eyes embodying the grace of persuasion sparkling in a blood stream. Basically, a middle-aged woman standing in the rain in a leopard-skin bathrobe waiting for her dog to take a shit.
Because, you know, who doesn’t have a bloodstream? Blood pertains to everyone. It is our common denominator. More so than TV, or what is on TV, tits and dragons. 
I get something going in my brain, something like blood, a bloodstream, and I can’t stop it, it becomes a thing. A phenomenon. An entity that enters my consciousness and spins around until I give it more thought, which is what it wants, it wants thought, or is the blood itself the thought and I am the carrier of the thought, carrying the thought here, to this sentence, where it can slosh back and forth?
Bloody hell, as they say. Bloody this and bloody that.
If muscle is the horse blood is the spur. If blood is the spur bone is the ache. The concept of aching is important here. It swims in affiliation. It elevates grace.
I ache to play the glockenspiel. It is not enough to say the word. I do not own a glockenspiel. I do not know how to play a glockenspiel. And yet there exists a reality in which I might own and play a glockenspiel. So that by saying that I ache to play a glockenspiel I raise my antenna to the possibilities of playing a glockenspiel in order that they may be grasped as frequencies, which they most certainly are, waves and oscillations, vectors and fields, tuned keys and mallets, and understood to be hovering in the air in a hectic spectacle of play and plausibility.
There now, I said it, play and plausibility. I’ve been aching to say that all day.
I invoke a glockenspiel. I stand in the moleskin of a new reckoning. I knot the air with words. I hit slabs of shiny metal. I make music. I rehearse for a play that has not yet been written. A play in which a man and a glockenspiel are together in a room for the first time. And there is no regret. And there is no compulsion. The smell of a gargoyle turns vermilion and the larynx dilates to confess its diversions.
I sense the twirl of concern, the thrust of opinion. Concern is soft and green. Opinion is barbed and reckless. Concern is marinated, opinion is tossed. Opinion floats the myrrh of the market. The barter of suet, the murmur of silks. The souk is full of opinion. The man in the back sitting alone in the dark is full of concern.
If I find spots rattling with necessities of angelic fur, I murmur and sway in my iron steam. This is the result of propitiation, or hammers pounding the nails of persuasion.
The personality of a sound whispers its length to the drift of a towel. A word takes its time to form in the mouth and then crawls out of a paragraph triggering curvature and background.
The word is ‘towel.’ The meaning is wrapped inside. It will make appeal to the warmth of your blood in a drone of fiber and shape. The skin receives the world on its surface. The world penetrates the skin in a reverie of nerve and constellation. Water drips to the floor. Reticence is discarded for a swirl of embroidery, the grasp of a hand, the pulse of a wrist.
And if the letters fall in a certain way, the frequencies stir, the sounds are bright lucidities of sensory wave, crested in white and rolling, rolling great distances, large and swollen and blue.

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