Raw Poetry

“Flesh is the reason oil paint was invented”. Willem de Kooning

My book, Vulva Magic, Lyricalmyrical Press (2003) is now a regular re-entrance by myself into a raw ferocious voice; the excursion of a past voice that concedes both confessional and feminist poems that take on aggressive and sexually charged tactics in their expression. Some of the poems I am still attempting to edit and revise, even 7 years later. Whether they need it or not is both a subjective remonstrance of taste and poetic deliberation, as I am certain that with all voices of poets, each evolves continuously moving more certainly with clarity into itself–this is only practice. Though subjects and objects of the poem/poet can often be revisited and become the staple of style, voice and technique.

I, luckily, got an unexpected chance to see the Abstract Expressionist exhibit at AGO. (Its second last day being September 3rd, 2011) I came across de Koonings Woman Series. His infamous quote about paints struck me as my book Exaltations in Cadmium Red is forthcoming by Guernica Editions in 2012.

“Flesh was the reason oil paint was invented”. Willem de Kooning is known best for saying about his oils and his depictions of certain paintings he’s most known for. The quote immediately took me to the themes I am intuitively most drawn toward and tend to best explore in my work as a poet and artist…at least what is obviously inherent and apparent at this particular phase of my work. Namely, the title of the first Chapbook, Vulva Magic. The set of poems that is in the book–The Eros Poems: Eros I,II,III,IV and V. The underlying point of view and attitude of these poems inspired me to write a series of pieces titled Flesh, which I am still hashing out now. Yet, this quote seems a perfect vehicle, as well as, the reason behind my using Cadmium Red as part of my title…each of these phrases, titles and quote as components are connected. Raw, Red, Sex, Flesh, Eros, Oils, Potent smells, the thick texture and languid sensual fluidity of oil paints, their undoing by turpentine… it makes sense that a painter of the Abstract Expressionist movement would go so far as to quote the medium of Oil paint as the direct representation of human body and sensuality. I look forward to what comes of Flesh, of oil paint, especially Cadmium Red as Flesh. I am interested in re-visiting, revising these Eros poems, how they co-relate.
Chapbook Cover

THE EROS POEMS

Eros

Your habitat resides in partnership to erotic dimensions
here, the aspect begins
You shift over me, glide under me, enter my condition
Whisper sorts of melancholy into my ears
I feel your frame hovering–you suround me
Glistening Moonshine darkness
Your skin scorches in hardness and audacity
your member begins its ephemeral dance through twilight
thick density fills air pockets in the space we share
Crescendo moves slowly
down through the torso and into the limbs
this is where the Eros symbiosis begins–it shines
and your clumps become muscle clamps
you have been called to seige
to find your home with the other making mixed erosions
shaft and arrow, trunk and tree
you welcome me into natures embryonic secret
the hushed hyena quivers panting
Eros, you intoxicate the labyrinth of me.

Eros IV

Make me eat, give me food, hunger me
slyly dither above me, my womb is wax
lust writes no confiscated beastly conjectures here
I quiver
I quake
I am a great mistake
too human flesh; it must be oppressed
scathed into green mucous and fresh
Chlorophyll–that metal mineral rubber mix
Safe sex
disperse the eros
dally it in dried urchin
procreate without misdemeanor for tube fixing
pill crisis
Abort Abort Abort
Operation tube tie
HIV, that vile condemnation

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