from macrotritopus agencies
BASIC [WEATHER] PATTERNS
1. passed again, (like) a thought
masquerading as visible concreteness
outlined in poems to be read
during the rest of thousand & one
time of nights in suterens illuminated
by non-screen light – that
seem(s) to prescribe a hermetic
circle of references with imaginary centre
unframed within cylindrical nights
& your finger moving over a
‘thunderword’ [thunderscreen] & resisting
its paradigm, mesmerised
in meniscus shape of unpractised
metadramatic
image (on the wall of illusions,
fallen after… / in berlin)
& making you more revealed as
in inversion to white between eyelids
while reading the distance in redundancy within
some of vaguely distinctive
“edges” & “borders” of
morphological units – it was
either third or forth day of raining
& gravity with weather latitude turned them
into several sleepless nights – clio
presiding over the dream-work
to be decoded instead of history
or else, just to change the verse shoreline
by decentring the view
& rotating unrecognisable midriff edge of sky
into vertical linkage
(electric alterity came to nought)
in front of whose sudden
existence registered by the eye
every silhouette has a silver lining
lacking “televisual” ambiguity
under dysfunctional late-night street lights
2. arid drafts arranged in seemingly
prolonging course of
“an unseen hand [that] turns the page” or
population density de-
fined in ephemeric unknowns
of liminal exposure on the page surface -
gazing out at the series of thunders
which are reanimating only absences – “held
by nothandle” or (shadowed) opening
doors as a form of memorabilia -
when you came out, no
one recognised you
the transformation of character you were playing
had already taken place & that
something else stood with many phenomena
spread around her [missed] appearance
in perceivable language
however, you might have got lost in the forest
of bibliographical throwaways that hides no golden
bough [naming mistletoe, with leafs stronger
than those of lavender] but all the same
prolonged further to the volcano
3. (pour martin vanlemberghe
batterie, la palinka, jazz manouche)
& fragments of
anatomies be(com)ing audible units
within discourse of ash (/h/) dust
of headlines, epistles
or erysipelas envoy in three paragraphs
referring to goethe’s view absent from real
time - “called psychological because they
belong to the eye in a
healthy state” declared in
setting controls for
brueghel’s exile through icarus’ ex-
haling state of broken divining
(under)line from
the heart of the sun [mediterranean]
in reflexive transcription of primary
intention (& witnessing its dilution in
following attempts to be kept
as “over-determination of the figure” in
diachronic permutation) – chagallean motives
dislocated in mauve velvet puppets
remanding under contra-bass
strings indicating change(ability)
of time-table under constellations
resemblant of
fall that revives mnemosyne with
hamlet’s HuCklE passing by in indecisive steps
4. to come in between hail-stone ellipses
becoming more distant when
meeting required form
spoken in pauses as if projected by a
cinematograph having angina pectoris -
ocular spectra (darwinian
description of [b. fuller’s eight] colour
[plate] seen by an eye) of “raindrum,
windmachine” enumerating
ice from hemingway’s cocktail
& racial differences as written in accordance
with regulations of manifest “dogma 95”
(colour as defence
5. or reference compass)
bringing you inoculated laughter of
an autumn dictionary entry -
cinema – something like a
cultural isolation captured on the table
or landscape-driven testaments
intersecting parthenon: cf. goethe “here again
we see how the retina recovers itself
by a succession of vibrations
after the powerful external impression
is received”
Sonja Jankov is a graduate of UNS in comparative literature & visiting student at Charles University in Prague, centre for intercultural studies. The first collection of poetry Impresionistički kadrovi (Impressionistic Snapshots) was published in 2008 & the following poems in the Berkeley Poetry Review & Agon. Her research area includes James Joyce, materiality of language (as presented by Peter Greenaway & Jean-Luc Godard) & inter-medial encounters in work of Alesandro Baricco. After taking participation in several collaborative exhibitions (The Case Warhol, 2006; Evening Act, 2007; Museum Night, 2009), forthcoming is Cogito Ergo Sonnet in Shock Gallery - Led Art, Novi Sad. www.artslant.com.
