Intriguing use of "*" After two readings I can't quite figure their relation to quotation marks. Line
8 is really something--I might like to treat it or quote it in the future. Who should I cite?
My 89 year old mother almost got clipped yesterday by a METRO bus while we were crossing the
main drag of Bethesda Maryland to get to a major gallery exhibition mounted by Osuna Art of the
Washington Color School painter Howard Mehring. That near-miss forced me to adopt a
performative stance towards reality in which I have a camera in hand with finger on the live
trigger--overtly focused on the drivers & vehicles impatient to turn into well-marked crosswalks.
Stops 'em in their tracks. Deters panhandlers as well, when you're walking thus on sidewalks.
Barry
On Wed, 5 Mar 2008 10:56:39 +0100, Anny Ballardini <[log in to unmask]> wrote:
>an interesting composing
>
>On Wed, Mar 5, 2008 at 4:52 AM, Peter Ciccariello <[log in to unmask]>
>wrote:
>
>> *Important *
>>
>> When you are still there,
>> Just that one peremptory step aside
>> And the dark fuming bus vortexes past you
>> And you are still there
>> Looking out from your envelope head
>>
>> Continuing on your way
>> To something else so important
>>
>> *Importance gesticulates in as quickly as it soirees out *
>>
>> - Another thing
>> The bus can't carry:
>>
>> A brown desiccated leaf
>> Dancing across the snow
>>
>> All these things that you do
>> These things that you have married yourself to
>>
>>
>> - Peter Ciccariello
>>
>
>
>
>--
>Anny Ballardini
>http://annyballardini.blogspot.com/
>http://www.fieralingue.it/modules.php?name=poetshome
>http://www.moriapoetry.com/ebooks.html
>I Tell You: One must still have chaos in one to give birth to a dancing
>star!
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