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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! >=========================================================== ==============