Calligraphy & painting as ways of seeing: I like how it works here, Lawrence.
In a sense just underlining what the series is attempting, but foregrounding that aspect...
Doug
On 2011-12-01, at 5:22 AM, Lawrence Upton wrote:
> A wide backslash brushstroke of sea-rubble,
> mostly but not all grey, from the halfway,
> east to west, to a midpoint and a bit
> over the top of the sand, going south
> to north. It zigzags, from the upstroke’s end
> in three nearly horizontal stripes
> like a jerky blind unfolding towards Agnes,
> dangling just more than the hurl of a large stone
> from the ramp down to the water-smoothed towan
> on which a dog cuts deep calligraphies
> with assiduous enthusiasm, pausing
> suddenly, one paw held about to flick sand
> backwards over the granite-specked surface
> otherwise uninscribed. Soon the waves’ ideogram
> will go under retelling sea once more.
> The dog will be away long since, eating
> or sleeping or digging something elsewhere,
> scratching the story of its inner life,
> not knowing it is possible to read
> back what we have written; and unaware
> that marks represent the noise of mouths
> if we believe it’s so and work at it.
> Once more the churn and its loose material
> shall work at dry expressions of themselves.
>
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>
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>
> -----
> 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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and as you read
the sea is turning its dark pages
turning
its dark pages.
Denise Levertov
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