Three Poems
Identifying Remarks
WITHERING REMARKS
Isn’t it all just ochre? You’re saying your borders have borders? Is this an interview? I see I’ve grown up: Let’s run away from each other. I call that a didactic colon. I’d believe you on a panel, behind a row of water bottles. You know, the Middle Ages had no need for architects. People used to all share the same sun. They didn’t write dissertations about it (not that we should deny ourselves that pleasure). Dissertation yourself! I extend my hand and recommend its magic, saying anything. “Hold my hand, Rationality!” Withering away is the only state I acknowledge.
SEDITIOUS REMARKS
Today the rainbow, tomorrow the rainbow’s rainbow. Fake weddings every day. Those hands won’t look violent in the morning, just puffy. Timing is terrible, by definition. I love how two flat fifths make an octave. No economics without dynamite. People would still eat though, pumpkin pie with gin; fuck too, on zigzag quilts, in grape-leaf light. Just no more millions. Energy isn’t a thing. All breath is news. There’s no hello. Not till we’re arm in arm. The only state apparatus that pertains is cookery. From the kitchen everything takes on new colors, weights and saturations. Who cooks for you?
GRUNGE REMARKS
Your mom tied a knot in your rainbow. My mom taught me the power chord. All our talk gets fed into this metal tube and compressed into music: Enya, or Yanni. Metal is the frame tale, the salient element. The only magic is a freeway. Songs should be five minutes long, counting grunts. Keep glowering under that beanie, knotweed. I’m painting my guitar this Dosewallips color. It has a pressboard kind of intensity. These are my friends, Mumbles. This is my cat, Participant. Here, eat this raw carrot while I sing. What’s your anthem? Or is it rude to ask?
SAGE REMARKS
We tend to stay one move ahead of ourselves. Embody statistical error. Wear the ring of its double accident lightly. The things of the soul are the greenest of grays. I have learned to listen to them like dueling banjos. Not that I envy the Recording Angels their office. It’s probably a constant struggle not to spit their tea out laughing. I try not to make a big show of mystery, but sometimes that’s what’s there. Mystery can be a windbreak as well as a veil. Poets and spies wear blank baseball caps. A change of emphasis is the only freeway.
CONCLUDING REMARKS
I mean I don’t mind dying, I just hate explanations. Also men, and rooms. Goodbye to their haircuts and distended assertions! Their withering away is only a change of emphasis. Forget about them, time for introductions, this is Ozma of Oz. This is “the regular pelican.” These are new sprouts in old eyes. The rest will not be written down. Getting to know each other is the hard part, not getting along. Get a move on, empty little certainty. I, too, like to turn away. If we start out in the same weather, that’s something. Beyond old hat, blue light.
(monastery)
How can I work this big scrappy heap of method?
Maybe I want to annotate what they do and what they like about it, knowing it’s bad Proustian
self-torture and control freaking
Now’s the time to know the future and not die of knowing
“. . . by way of extremes, driving thoughts with the utmost consequentiality to the point where they
turn back on themselves, instead of qualifying them”
10:45, there’s lots to think about but it’s too late, need to get my child to camp tomorrow and go to
Castle Grayskull
First steps are not supposed to get hung up on terminology but they do, on TV, in books and dreams,
sometimes, get hung up
Playing checkers and poker with Ceci, teaching them the concept of italic type (like the ASL
orangutan conversations in Daughter of the Deep)
Churning, got groceries, got Ceci, date with Rachel, Cyd was here when I got home, chatted with him
a bit, now it’s late
“Now it occurs to me that almost any man may like the spider spin from his own innards his own
airy citadel”
T and U seem more worried than V, W doesn’t seem worried at all, and I don’t gather what X thinks
of anything
10:45, there’s a lot to say and shut up about but it’s too late, I need to get my child to camp
tomorrow
Study proteins, feel the feelings, try to feel the feelings and feel trying to feel them, love prosodically
and jam out
Perfect rhyme seems to me a part of the fatality of humming the songs we hum
But I can want the all-at-once quality (or a different all-over quality) in a temporal/sequential work
becoming
First day of fall a clear sunny Friday tangled in the morning then went to scoop a friend up
If you thought the sequence of gestures or animated the sequence of marks like that Picasso movie,
something quite different would happen
And the more I listen for the rhymes the more I resent
Finer than certain old lilac cartoons you feel you should scatter about
I worked at home Friday, got Ceci, we made a freezer dinner, stayed up late and watched The Golden
Compass . . .
the points of leaves and twigs on which the spider begins her work are few and she fills the air
I had a hard time listening but remembered or noticed it is a kind of laughter and not an attack
Afterwards I wrote you that you might hurry to read
(There is a certain vertigo in reading letters from Great Spruce Head Island, knowing the 1970s are
coming)
Affecting nothing but my own frayed nerves, yours
In the old days you’d enter a monastery
(cordless)
Incantation: to forget that bird the moment you flipped it
I was thinking of bluff and love, how they rhyme
Thanking Cecil Taylor for having fun with the North American vowel values, deep in the prickles
again
Now mystically friends with the cool kids in the neighborhood, he also knows how to fly
“I feel amazing, becoming a knight . . . It’s becoming being on a cloud . . . like a horse!”
Cloudlessly: figure out who’s the extension librarian, can they do anything for Clark County
Mosquito Task Force
Or my “personality” wrung out of shape in the presence of three bejeweled and demanding loves
Sometimes I think “Oh I just have to be different” (cordless) but don’t imagine what that is
Asked the kid to clean the sink with half a lemon like my mom taught me
Wanted to start “Alongside Notes on Love” and other lists, for instance of annoying things
Blushingly not at all complex, you drew a heart I thought was a map
And ladies’ hats “like picture frames enclosing tiny mausoleums and weeping willows done very
finely in hair” (Mrs. Gaskell)
It’s typically fucked I can’t find my work notebook, must have left it “at odds with”
“But it’s all one universe, and you know it”
#7 plopped a great three-point shot and I plopped oatmeal
Human on my faithless arm
I joked that the poem was Richard Wilbur but
slept in it and washed it up on weekends
Big THINGS to do about coffee pods for date
Crumple my books, take a shower, change cat litter
go home on foot to sleep among holy statues
Laundry, cut boards, screw them together, bathroom paint, love notes
transistors and lasers in order to make this day great
Then off to make errands with a downtown strange fate
Framed a freezer dinner, watched The Golden Compass, stayed up late
Went to Japan, realized he was in love with Miss Kids
“Yeah we’re Cordelias but we’re also Doloreses”
Love above is a malediction, can’t stop hearing it
At sea, the feeling of wanting nothing, a nothingness
What if everything I didn’t obsess about is amazing?
After extensive tunneling, come up with this glazed look
“O magic sleep! O comfortable bird that broodest o’er”
Strip of pink duct tape stuck to the window
I can’t decide to sleep in a novel
Sometimes you feel close to a baby gazelle
A victim of the words love and of
Cream of squash flower soup assuming I made
Sticky buns, worked the dough last night, risen
I need love, insurrection, all the music, and a patchkit
I want to forget what that little bird is
Sam Lohmann
Sam Lohmann is a poet and librarian and parent living in Vancouver, Washington. He is the author of various books and pamphlets. Recent work can be read online in the journals Hot Pink and La Mosca. Sam co-edits Airfoil Chapbooks with David Abel (returning after a decade's hiatus) and is a co-organizer of Portland's long-running Spare Room reading series.
Nick Benfey
Nick Benfey (b. 1993, Amherst, MA) received a BA from Bowdoin College and an MFA from Hunter College. He has had solo exhibitions at Sears Peyton Gallery, NY, and Moss Galleries in Portland, ME, and has participated in numerous group shows nationally and internationally. He was included in the Center for Maine Contemporary Art’s 2023 Biennial in Rockland, ME. He lives and works in Brooklyn.