Poetry. Sentence by sentence, line by line, LIGHTHOUSE casts horizons. A possible allusion to Virginia Woolf's To The Lighthouse can be discerned in the sense of suspense, of preparation and promise that pervades the text, a sense of things underway. But that it is present excitement and expectation rather than some terminus out in the future that is art's (and life's?) ultimate achievement is clear from the outset. Of course, one can't think of a lighthouse without being aware of the slippage of its illumination and the concealment that surrounds what's revealed. A strange narrative -- a narrative of the strangeness of what is -- comes into view. LIGTHHOUSE is about the experience of being on the way, distance by distance. We move from part to whole and whole to part again, "the proximity unveiling a subtle inquiry."
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Copyright © 2002 M. Mara-Ann.
All rights reserved.
ISBN: 1-891190-11-3
one water rites.....................................................15 trident.........................................................22 temporal declination............................................29 tributary.......................................................33 source..........................................................37 crescent........................................................39 chance sublimation..............................................47two ................................................................57three entrance........................................................81 provident ascension.............................................88 belief..........................................................97 ubiquitous intent..............................................103 respite........................................................108 aerial dissonance..............................................115 preeminent sight...............................................127
Excerpt
| water rites I. it's a matter of direction this being at the crossroads there was a smooth sobriety to the quiet darkness of the night a chill felt, but not the panic from before there's really nothing you can do about the rain especially when you love it so and wouldn't wish it gone but the regular rhythm of that drip resonating in my head pounding like a sledge through my eyes demanding the moment to stretch singularly long consuming me in this stillness between discomfort and denial in a coolness that is space in an aloneness that is seen focused and inescapable in the attic below the stars next to the fire just above the water. II. the energy had quite obviously dropped I lasted as long as I needed floating beneath the droplets in retrospect, I should have taken a blade of bamboo but then the taking did not exist the desire to go can be surprising where the want to remain is intended there's nothing in the nakedness to remind you | |
| and th | e freedom doesn't feel as exhilarating as anticipated |
| but instead a sense of return | |
| like the time when you gav | e up paddling |
| surrendering to float the buoyancy is natural with each inhalation the chest rises in exhalation returns. III. an imagined delight sitting on the porch in the rain alone at night aside from a cat most everyone had gone last time there were raccoons mothers with young babies trailing behind both wearing the thief's mask of the night | |
| this time the fat c | at looked like a raccoon without the modesty of a mask |
| she sat with me and we watched the rain | |
| a man with long blond hair and a beard walked through the distance without | noticing |
| the cold slid down my throat the rain rushed down the eave | |
| upon the gravel, it sna | ked through paths of least resistance |
| I was witness. IV. | |
| the logical mind c | an explain it as a matter of timing and patterns |
| but congestion is the metaphor the physical manifestation of the difficulty and the unavoidable process of the process of leaving inch by inch, there's no fast way the situation compounded by the presence of water | |
| a looming deadline is insignifi | cant when the prohibiting forces are omnipresent |
| the only way is to accept the limit to find the compromise it must have been luck sneaking so vulnerably through the night having broken free of the dense pressure flying fast carefully. V. quick thinking, instinct, and flexibility are the best tools in a pinch a gas station without a telephone? at least one can depend upon the largest of monoliths someone like me sounded surprised and concerned knowing exactly the number of minutes | |
| of course, children in shee | p's clothing always think they know better |
| though I almost missed the door just as I remembered passing through the threshold now winding through an almost memorable mystery fantastic scene unfolding before my eyes | |
| the stilln | ess of the leaves and twigs strewn across the... |
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Anbieter: Dan Pope Books, West Hartford, CT, USA
Soft cover. Zustand: Fine. No Jacket. 1st Edition. Berkeley: Atelos, 2002. First edition, stated. First printing. Paperback original. Fine in printed wraps, with a front cover crease. A tight, clean copy. Octavo (oblong), 131 pages. LIGHTHOUSE (ATELOS 11) is M. Mara-Ann's debut collection, published as number 11 in the Atelos series of cross-genre works edited by Lyn Hejinian and Travis Ortiz. A formally inventive book that merges poetry, visual art, and digital media concepts, exploring perception, light, and human connectivity. Edition of 1,000 copies. M. Mara-Ann is an American poet, multimedia artist, and performer whose work spans text, sound, and installation art. This was her first published book. Artikel-Nr. Rear-Poetry-Mara-Ann
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