Читать книгу Repetition Nineteen - Mónica de la Torre - Страница 12

Intimacy in Discourse:A Comedy In Three Movements

After paintings by Thomas Nozkowski

One

Stick Man steps back

containing multitudes

of hues. “Ta-da!” he mouths,

since he’s mostly

narrow bands

of diffused colors,

a rainbow, faded,

except for the saturated,

tender-looking red

square for a heart

and the sore ball

of his left foot

supporting the tilt.

Not to mention the display

of acid green

on the crown of his head

and wrist, signaling

the mind-body connection.

The histrionics

in the perfect tension

between dexter and sinister.

Welcome to showbiz.

Two

This binary roadblock here

demands that you back off

to keep on contemplating it.

It fancies itself a zebra

standing on diamond-patterned stilts

for camouflage’s sake

and fastens itself to an equally

ornamented attachment

as if to hide from its handlers.

Forget it, it’s not interested

in establishing any rapport with you.

Blame it on instinct; it knows

how coveted equids are in the North

American private sector.

Three

Here’s your morality tale,

an optical conundrum/psychoactive puzzle:

the dominant lines lock,

while the areas they delimit contain

other lines within, of the faint,

disjointed variety.

Like interconnected

people and the basic story lines they each cling to

to remind themselves of themselves.

Yes, this is redundant.

In this picture, both

types of lines compete

for your attention, so that the eyes’

only resting spot

is a central area where color

has enough room to settle.

That old positing of linear

thought patterns versus the dispersal

of feelings and their counter-

tendency to ground.

In the source language disparate,

pronounced dis-pah-rah-teh, is nonsense.

Place an accent on the wrong

syllable and it becomes “shoot yourself.”

Let’s not overthink this.