bitter neroli atlas

candle wax linen rosewood etc etc

                     amber verbena

triestine breathing call note

numberless pitch to long unsayable

but odd how this—what I am trying to get—a phone indecipherable sent word or
image or scent or etc that might have been anything thin as my old backbone will
and did               always whisper       madly    and I do too in my complex coding
                         whose intricacies I have thought, details to save
       relentless     round and round an empty space with no join
a non-weather kind of waiting for either/or

a watcher’s warning
to sleep in halts

as if one of the sensors
on a building is dead
and might not come back


and something drawn to         iron I am attracted--

                certain place
of filings where a mass is

of motive & what a motive.

ill hand moves down, its circling is over-travel
is limit, is overmuch/never could mea—
what I mean is, tell what was--

cold unpresent imprecise--
what was meant, was between--
whose fault who was trying--
to be alone
who trying
to pass through


I have in my mind a building going on, some one
or thing or two is building
from nothing to one
a place not the matter
or noise, silhouette, where is your place?
it somehow finds me back to
where nameless is open
nameless open home
make believe
defined and seldom I, well—
I wish I could meld
into my name or matter
it matters we are not less lonely
in my mind we are not less so
in alluvial screen our own
landform will it matter like a building
a held-in place
or set-of-givens, or singular
or is it all       parts a semblance of
where it is put nameless and never matterform
figure — “word” —accrue —issue of
“there” —reopen — figure of
some one or thing and
inching    small ideal   quite clearly
defined going on      though nameless
“inter”—come closer              wish I could
suffuse with a part    the matter so made
in range-map or screen a built-in one, this the
only type of place     that
took the center of
a day going on
and on accruing—type — retell —scape —build — issue
believed so and much too often
all “there”   that’s how
it’s so shaped and the I
a silhouette    noise-free, so masked
nothing to save    really     or make
a fixed matter or last look or “word”
that I will see    annul itself/delete
so give me somewhere, a site not a screen      give me
somewhere like my own place, not
a frame so much older, a place
of a torn-down thing, give me a name
that matters, give me
somewhere like my own place, not —


Abscissa: New Latin, from Latin, feminine of abscissus, past participle of abscindere to
cut off, from ab- + scindere to cut.

Perpendicular          coordinate
from the    addressable point --

Funny how the light on a screen --

passing through the optic axis [the sender-person] and what-seemed-to-be an empty
background. In fact, dark clothes hung. Optic axis in the center with hands. The
ordinate in the upperpart display was amplitude, absolute amplitude and the receiver
person just sat there [i.e. ignoring signs]. Diffraction pattern. Back focal. Soft porn.
Confocal. Conform and pretty much found

always squared sawtooth full-width      legs spread and luminous, every adding still
finite. And always intervals       equal to that width. Four hours, four feet of text.

The artist Truong Tran made 19 works of art from 9,000 butterflies cut from
pornographic material. He said: “I thought arriving at my goal of cutting 9,000
butterflies would bring some satisfaction and peace over the sense of loss I felt
throughout the meditative process. Nothing's really changed though. I still find myself
cutting butterflies, for what it’s worth.”

On the dimming co-haunt screen, the receiver-person is all over the place, in print. A
cyaniris semiargus alights on the blind spot between both eyes. It is blue. As you [the
receiver-person] back away, it disappears

and as you continue to back away, it reappears.


Print this? Y/N? Yes or no. To persist. Tough choice. In the main mode the ordinate
can be right. So right. Recall object [the optic axis] time and time after time.

The perceived size of an afterimage depends on the distance to the screen on which the
object is projected.

You’re very close and so is your body and so it remained, then it became sick. The cut
was smooth, it was dense.

Jane Lewty is the author of Bravura Cool (1913: 2013), winner of the 1913 First Book Prize in 2011, chosen by Fanny Howe.