Ian Dreiblatt
I am sitting by a river
with Enheduanna the
first poet known to
history by name from
the 2200s bce

she wants to know what
people say in unison now,
oh, I tell her, we have more
parallax than unison, since the
big empty fractaled off into
infinite micronothings, she
nods, that's why we started
writing things down, and
by the way it was wonderful
like waking in a fresh
body each morning

and what do you sing into?
she asks, I say, history I
guess or the ability to sign a
timeline what about you? and
she says, a dream of a woman
young and full of power
her great awesomeness
covers the great mountain
and levels the roads

she raises floods clothes
herself in whirlwinds
speaks a hot language
that melts amethyst
out of the earth

what do you do all day,
she asks me and I say, oh
mostly reconfigure small
columns of light into finely-
tuned looping patterns and
then worry about various
aspects of the loops, what
about you?

it varied, sometimes
washing stone feet
sometimes chanting until
you felt like a
marionette one day I
had the thought could
writing be a medium for
poetry but then again
who can live in a body
someone else made them
and how long might
any language keep et cetera

except then I tried it & it
worked I wrote poems
down and could feel
them scratching across
the translucent
surface I became of
a smooth red tablet

oh, I say, well we took
things a little far maybe
we threaded the world
with infinitesimal writing
the air our bodies the
shores of the continents

she says, all any world
ever was is whatever you
miss from it, the streets'
shifting intimacies, smells
of friends' houses, outcroppings
of rock, ghost and commodity

so write it all down,
she says, write it in stone
in the loose morning
of nothing we hoped for
ten thirty sits like a
diamond and you'll
never believe this but
that's all there ever
was anyway
from the book FORGET THEE / Ugly Duckling Presse
READ ABOUT TODAY'S POEM
Share Share
Tweet Tweet
Forward Forward
I don’t know that I have much to add! I’m fascinated to imagine the moment when poets first asked whether it could be worthwhile for the art they practiced to tarry with the nascent technology of writing. And I’m fascinated by catastrophe! And culture! And what people had for breakfast! Which are all the same thing, maybe!
 
Description of Correspondences, a critical project between George Abraham and Bradley Trumpfheller
"Correspondences: On Claire Schwartz’s Civil Service"

"Confession is a fundamentally relational mode—a relation which is not always (or perhaps even not usually) entirely consensual, and whose dynamics are governed by asymmetries in, among other things, knowing. And of course, power structures like a state exploit such modes, forcefully imposing relations via confessionalism which both acquire, and build borders around, knowing."

via TRIQUARTERLY
READ ALL TODAY'S HEADLINES
Poetry Daily yellow logo
Support Poetry Daily

Poetry Daily depends on the generous support of poetry lovers like you. Every donation helps to share the gift of the best contemporary poetry with readers every day.
Cover of Asymptote, April 2022
What Sparks Poetry:
Cindy Juyoung Ok on Kim Hyesoon's "After All the Birds Have Gone"


"Stanzas and whole poems refuse the unit of the sentence, creating new syntax and refusing to designate themselves relevant to the constructs of past, present, or future. Kim’s is a poetry of present aftermath—of the annihilation absolute but not completed, of the past yet also ongoing. Although the source text of 'After All the Birds Have Gone' is in the present tense, its frame of reference is of survival, invoking the past, while the implied conditional hints at the future." 
READ THIS WEEK'S ISSUE
View in browser

You have received this email because you submitted your email address at www.poems.com
If you would like to unsubscribe please click here.

© 2022 Poetry Daily, Poetry Daily, MS 3E4, 4400 University Dr., Fairfax, VA 22030

Design by the Binding Agency