Indeed, indeed -- that and the difficulty of saying the same words over
and over
I have thought it was a problem in the west of Britain where really every
thing is grey. Visitors often don't see that because they go in July and
August in brightly coloured clothes and sit in brightly coloured tents in
brightly coloured moods
I was struggling yesterday with a poem in this set that refers to a
Froding (dots over the o, Swedish chappie) poem called grey mountain song
where he either gets into it or gives up depending on whether you are
wearing your mental polaroids and says grey grey grey grey grey
but if one looks closely there are so many shades and variations and growths
Colin Simms has a poem in which he has MacDiarmid say -- or reports what
he did say -- you can see the mountains move if you look long enough
L
On Mon, November 21, 2011 15:56, Douglas Barbour wrote:
> 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
> [log in to unmask] [log in to unmask]
>
> http://www.ualberta.ca/~dbarbour/
> http://eclecticruckus.wordpress.com/
>
>
> Latest books:
> Continuations (with Sheila E Murphy)
> http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
> Wednesdays'
> http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10
> .html
>
>
> and as you read the sea is turning its dark pages turning its dark pages.
>
> Denise Levertov
>
>
>
>
>
>
>
-----
UNFRAMED GRAPHICS by Lawrence Upton
42 pages; A5 paperback; colour cover
Writers Forum 978 1 84254 277 4
wfuk.org.uk/blog
----
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