Lovely catch, Lawrence.
The difficulty of find terms for all those near similar colours; of seeing them clear.
Where the painters have an advantage? So this does it, invites us to see....
Doug
On 2011-11-19, at 6:45 AM, Lawrence Upton wrote:
> A wide bar with hours of flow before
> submergence.
> Almost the whole way over,
> in dry yellowy-white sand, there’s a large S
> flipped horizontally and tilted
> sixty degrees clockwise, and then tipped backwards
> through picture planes at the western Gugh end;
> and, from here, the back-to-front base seems huge,
> filling all of the land, and pushing sea
> to south and thick black seaweed to the north.
> The central spiral is blocked out by boulders,
> mostly bleached very light, a little speckled
> with brown rocks on the Perconger side, where brown
> increases and darkens, almost blackening
> at its soft waves’ edge except for smidgens,
> creases, as between thigh and torso, Gugh side,
> where the stones are few and auburn.
> Bleached stones
> cap the S where the bar rises to join
> the land. And the waves inadvertently perform
> the inverse tilted open-ended letter,
> below which has been carved in basal sand
> an ovoid three-dimensional cartouche
> of the little f on much smaller scale.
> Listen carefully to hear it, as on breath,
> in the utterances of double-sided beach.
>
>
> -----
> UNFRAMED GRAPHICS by Lawrence Upton
> 42 pages; A5 paperback; colour cover
> Writers Forum 978 1 84254 277 4
> wfuk.org.uk/blog
> ----
>
Douglas Barbour
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Latest books:
Continuations (with Sheila E Murphy)
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and as you read
the sea is turning its dark pages
turning
its dark pages.
Denise Levertov
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