Название | Repetition Nineteen |
---|---|
Автор произведения | Mónica de la Torre |
Жанр | Зарубежные стихи |
Серия | |
Издательство | Зарубежные стихи |
Год выпуска | 0 |
isbn | 9781643620633 |
UNO. Um solemnly, Ina llama dada.
Um Sorbonne de café antes de que super smart.
Um boho denture de um sfumato.
Dos casinos para ulna trajectories
Y sue know surmise do la siesta.
Chanting selenide son dos
Car la yard y spared dos lives,
Dos yoyos queen ya son tres.
Tres Esc. pass y Varangian,
Um compile, um evenly.
Tres libidos abort, tres franks de sal.
CIA vexes duh dime too bomb y nada.
CIA Esc. lo gizmo queer dos.
Y Si cinch vexes etc. pregnant
Y Queen aqua queer too came
Female ardor y veteran.
Birdwatching
puerta corrediza
Behind the sliding glass door, a cinderblock wall
bloque de ceniza
demarcates a small concrete patio.
tangible
A window-shaped opening frames a shrub
oportunidad
of many branches growing on the slope,
sucursales
Or is intended to frame, if intentionality can be attributed to a hole,
incriminar
The shrub, like all living things, surpasses the wall’s edges.
barreras
Two dirt-covered outdoor chairs, of a hue
autoridades sombra
of blue that wavers between deep sky blue and azure,
triste ondear en medio de
Facing each other and empty, their colors mirror
vano su carácter
the plastic in the abandoned dustpan and broom at the outer edge,
perdido
tilting toward the soil, as if to sweep it up.
redada
The cleaning liquid’s solvents discolored the chairs
autoridades
Three chemical agents account for the faded hue:
desvanecido
denatured alcohol, methyl alcohol, and ethyl acetate.
estrechos
Four continuous, discrete sounds, all announcing nothing: a screech, a hammering, a siren, a buzz.
nereida cuchicheo, telefonazo
hacer chatarra de nervios
Totaling five. The top edges of the patio’s walls and an angular adjaacent roof jut against the landscape to bring geometry into sharper focus. The building knows what to do there.
penetrante
Updated Prior Inscription
Behind a gliding glass door, a wall made of blocks of ash
demarcates a small tangible patio.
A window-shaped opportunity frames a shrub
with many subsidiaries growing on the slope.
Or intends to incriminate, if we can attribute intentionality to a hole.
The shrub, like all living things, surpasses the border’s edges.
A couple of grimy authorities outside, of a shadow
of sadness suspended amid deep sky blue and azure.
Before one another and hollow, their character mirrors
the plastic in a dissolute dustpan and broom at the outer edge,
tilting toward the dirt, as if to raid it.
The debt-free agents distress the authorities.
Three ghosts behind the vanished hue:
non-naturalized, methane-derived, once associated with ether.
Four continuous, finite channels, all announcing nothing:
a screech, a hammering, a mermaid, a ring.
Wrecking five. The superior nerves of the patio’s walls and an angu-
lar adjacent roof jut against the landscape to bring geometry into an
invasive focus. The structure knows what to do there.
A Big, Beautiful Wall
One. No din, a flash.
A sip of a hot drink made from roasted and ground seeds found bitter
after swallowing.
A bottomless pit.
Twofold roads, one path
and shut eyes, unawake.
Two looking glasses are how many?
With dusk come lights.
Two children, now three.
Three is oath, is stillness,
a chum, a foe.
Three truths, three lies.
Four times the speaker said nothing.
Four and two are the same.
Having asked five times
why she’d stay there, she set the bed on fire
and left, letting it burn.
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