Thanks Doug. I had a concealed camera with me & 3 separate shots became available except for the presence of security on high alert. My writing process didn't bother them but any tiny illuminated screen yielded personalized reprimands. The metaphor of the poem as snapshot quite operative in such a context (not uncommon in Official Wash DC).
Barry
.On Wed, 13 Nov 2013 11:09:45 -0700, Douglas Barbour <[log in to unmask]> wrote:
>Good to see you back here, Barry, & with those close hearings said...
>
>The acrostic is there...
>
>Doug
>On Nov 13, 2013, at 11:03 AM, Barry Alpert <[log in to unmask]> wrote:
>
>> OF ANDY G[oldsworthy]
>>
>>
>> Of loose association
>> for the place--
>>
>> a slow decay of the sculpture witnessed every day
>> now a trace where I've stood many times watching . . .
>> Decided to make a home for the stone /
>> you don't know it's so big
>>
>> gave another fling . . .
>>
>>
>> Barry Alpert / Wash DC>>Rockville MD US / 11-11-13 (High Noon) - 11-13-13 (High Noon)
>>
>> Hope this survives transmission as an acrostic half-sonnet because I've yet to be able to transfer Pages from my old computer to its replacement. Back in Poetryetc's archives you'll find six half-sonnets via Andy Goldsworthy's 2005 lecture at the National Gallery of Art. Possibly 2-3 more to revise out of my writing in the dark during his talk two days ago at the same place, which commissioned his still-transgressive work ROOF.
>>
>
>Douglas Barbour
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>http://www.ualberta.ca/~dbarbour/
>http://eclecticruckus.wordpress.com/
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>Latest books:
>Continuations & Continuations 2 (with Sheila E Murphy)
>http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=962
>Recording Dates
>(Rubicon Press)
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>Art is always the replacing of indifference by attention.
>
> Guy Davenport
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