CONJUNCTIONS: A Web Exclusive
G. C. Waldrep
for & after Anselm Kiefer
∼
(what is important is that history be
silent (for a moment
(we call this attention
(it is one function of Art
∼
(stippled vesicle (rucked plexure
(a new Latin, vantage supplies
its architect (to the eye: not
(inaudible
(the shuffling of chairs
∼
(record the armature
(colonial I mean
(let the animals please stop talking
∼
(the video repeats itself
(we take inventory after the fire
(settle the horizon
(immigration particle
∼
(we are made uncomfortable
when the figures behind the masks
refuse to smile,
there are only so many
memories (inside the earth
(lithosphere
(extravagance
(airlifted, as horses have been
∼
(vision’s reconstructive delta
(nobody is watching
(rendered (—vowel shift
(or: as wax into fruit
∼
(demotic corollary: traffic surge,
the figure in the carpet
(traces of crushed myrtle
(∴ who is, is not invited
∼
(tracks any lit space, any brightness
(the eye
(in mortal groove
∼
(starlight as mixed media
(a grid is established not so
much
(geometry (as metric
∼
(sounds of encroaching weather
∼
(follow these instructions
to assist the vertical
(electrical (ergo,
(sustained gradient
(O plenum
(O dirty, broken glass
∼
(the idea vs. the execution
of the idea
(isometric ((& to the dispersion
(not so much music as
“in time”
∼
(for love of some common
(palette (spectrum
(music answers form
with form’s own apposition
(not pure, no
∼
(the physical reflex is
to catch what’s thrown
(to you (at you
∼
(lightwell (power source
(the magics of fatherhood
∼
(igneous (a Helen
∼
(a memory of music
is not the same as music
(ladder in air
breaks
the proscenium arch
(beadwork (if you have to
“search” for the art
∼
nothing about the bombing
(was quite random
∼
(capsid (protein sheath
∼
(to be surrounded
by image (the ambient
retroception
(prismatic
(video (as explanation:
(a storm passes, we say
a storm
(passes, has passed
∼
(camera obscura (panopticon;
the eye is either
discursive unitary (or
multiple
(dilation (intention
(required: a separate & natural
history of the senses
∼
(no we do not have permission
(from the animals
∼
(to preach to the fire, vs.
(to preach in the fire
(to preach into the fire
∼
(the larger forms are all ghosts
∼
(if you hold the art up to one ear
you can hear
(Greek Latin French German
(those blind gyres
([compel them to come in]
∼
(furrows scored for paint &
municipal connections
(productive image-in-motion
∼
(rather in Philadelphia
a human workshop
(configured soundscape
(the wrecked aerials
(slow psalm ((in desuetude
∼
(that there is a minute chemical
life
behind photography
(protons (electrons neutrinos
& all smaller
(particles math imagines
(spinning in that shallow brace
(should not surprise us
∼
(song of [monster; teacher
(song of [Samson
(song of [trumpet; crucified;
(—maple
(on some smaller planet
∼
fane (flag or pennant; weather-
vane (your face, obscured
(model airplanes in rotation
∼
(for: we are not wingèd beings
&
((There is no original scar
∼
G. C. Waldrep’s most recent collections are Archicembalo (Tupelo, 2009), which won the Dorset Prize, and—in collaboration with John Gallaher—Your Father on the Train of Ghosts (BOA Editions, 2011). He lives in Lewisburg, Pennsylvania, and teaches at Bucknell University.
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