or E. Moure's 'That's Amore'. Reading through what's left of Erin
Moure's work here (she's the kind of poet whose work gets stolen from
your shelves), it occurred that it helps to be well-read to read her
well, but there are enough other pleasures to minimise that constraint.
>From The Capilano Review Series 2:24 here's an extract from "The
Wittgenstein Letters to Mel Gibson's Braveheart (Skirting her a subject)
(or girls, girls, girls)", which title illustrates one EM strategy - the
endless qualification, also appears as footnotes on her footnotes:
"ARCHAIC TORSO OF KIM
Beneath the lamp of my cheek's glow, in your hands I am
daring the rift of our angel. Against your torso
I bestow in my candles an impelled breath, a feature,
an opening of my shoes, what we both knew at first sight
could not be halted. We drew outward into the citadels
of the blended chest, drawing up what we had lent
our chest & the skin caressed that night
of a young girl, we invented our sills over & over.
Have you read your Gertrude Stein? The curs
of the day come and torment us at a distance,
a line twigged from Randall Jarrell.
Not even death can come to us now wearing shoes.
To hold thus is stellar, an impetus of mouths we liquored outward
into a night of stars until we soaked the lip, arraigned into
each [other's gaze.
***
You must change your life to Renate Rilke's.
You must rewrite 'The Panther' of your frere Steve Rilke.
You must read your Frank O'Rilke now.
You must write a sonnet right away,
(maybe).
You must ask Norma Cole if she has read her Gertrude Rilke.
You must ask if you may call her Norma Rilke."
Translators? Poets? Readers? What think ye?
I think, for one thing, an ironic footnote is a staggering place to put
one of the GREAT LINES!
Pete.
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