Doug -- you know, I wondered the same thing, after I wrote that. It
certainly isn't a wild departure from the themes that occupy most of my
work. The long lines? I don't normally use them, but I'm a firm believer
that you should learn to play in every key, and then use the one that
works best. So I guess that was just a copout in case people didn't like it.
What was interesting to me was that I seemed to start out to contrast
the timelessness of stone with the transience and immediacy of flesh,
and ended up finding more similarity than difference.
Douglas Barbour wrote:
> Did you mean formally, or the kind of thinking it enters into, Tad?
> Because it is such a thought-full piece, the long prose lines seem
> fitting, & the slow but consistent movement works for me.
>
> Fascinating, indeed to let a photo-shoot become a meditation on
> mortality....
>
> Doug
> On 27-May-07, at 1:11 PM, TheOldMole wrote:
>
>> Anyway, here's the poem. It's not at all like what I normally write.
>>
>> DAN McCORMACK PHOTOGRAPHS LEAH, NUDE, OPUS 40, MAY 2007
> Douglas Barbour
> 11655 - 72 Avenue NW
> Edmonton Ab T6G 0B9
> (780) 436 3320
> http://www.ualberta.ca/~dbarbour/
>
> Latest book: Continuations (with Sheila E Murphy)
> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
>
>
> Of palaeopresence. The extra
> space around what is.
>
> Dennis Lee
>
--
Tad Richards
http://www.opus40.org/tadrichards/
http://opusforty.blogspot.com/
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