I had my hyper-productive cycle, and now, as is visible, my ability to conjure poems is waning a bit. I’m still committed to writing and showcasing, perhaps more than ever, because I feel that exposition helps me not only calibrate my productions, but in having a veritable self-responsibility to creating, even when I’m wringing about.
This composition was, as all of my poems of this new (empyrean) cycle seemingly are, about otherness. It does not have 57 parts, but it’s instead catalogued in a diarial document, the same one where I extracted “poetry without a place”. It is diarial because I did write it very quickly (shy of sixty minutes), and it received very little editing, mostly because I like the urgent, immanent aspect of the last part, and not only is that rawness hard to replicate, it is near-impossible to “align” if the rest of poem is overworked by editing sessions. I was inspired, in regards to the subtle narrative, by a plastic gunboat that I actually did lose in an acequia when I was little, near the farm of the man that raised me, which I lost in the same year as I lost the gunboat.
In regards to image, symbol, and the mental geometry, I was lightly inspired by Heidegger, though I won’t say how! Visually, and especially in the last part of the poem, I drew from a magnificent photography capture by Phil Gomm, named The Scrying Mirror. At the time, I was already enraptured by his project, but what the sentiment exurged within wasn’t quite apparent until I wrote the composition. (thanks, Phil!)
As always, I hope you found something worth the while, I’m never quite sure,