Kimberly Alidio
from why letter ellipses
irrelevant illegible
why letter ellipses
Dear Archon
Dear Archon
irrelevant illegible
A fist and a flag
are thought to
encapsulate the
dead’s discovery of
truth and meaning
especially any
dead interrogated by the
police and
recalled only in
law and census.
Refuge in the
traditional symbols of
our left
makes us powerfully
small
my enemies I no
longer assume are
yours transfixed by
private glories beyond
embarrassment.
My
own revolution this
morning
you quoted Artaud
all action is
cruel push the
limits to
be relevant to
day is to kill
words from the
stage.
At night
traumatized states of
alienation talk
radical slogans
time is now
no other to
aggregate visions
where what words are true
words not myself
own
antidote.
Recall private
language
nectar and blood-
stained sheets is
ethics of
attention to
our cruel hungers
eat their own
tails as a circle of
light.
At the cusp of
dawn a candle on
the mantle
most gorgeous searing
light on mgmt
strategies.
Reckless feeling
attends
a hummingbird before
solidarity fixes.
Which reds are
proper prey for
such a precise
machine.
Official verse
dive bombs informally
around us keepers of
new arcana.
If I’ve ever become a
book.
I’ve stopped being
afraid under
irrelevant and
illegible light.
why letter ellipses
days lunar eclipse sever lines silver dust
why letter ellipses
milky wool steady preference veil down
the aggressive bed
anger sentiment
coy infant
the antifascists beat the fascists in the second world war is that correct
now for instance in the philippines the americans took over a filipino liberation front called
say the huks to organize them as an antifascist guerrilla group now the minute the fascists
the japanese were beaten then the antifascists reestablished the same
kind of colonial policies in the philippines that the japanese would have put in anyway
the same kind and in fact its worse because the filipinos are much less
interested in having a white man tell them what to do than having a japanese
tell them what to do much less oh there are probably all kinds of antifascists
but what Im saying is that fascism has been made obsolete by america
thats what I said before fascism theres no fascism its americanism
america is the blight on the world
how people moved naked except women with props I crossed campbell slowed eye screeched
arm up to coffee lips savored crosswalk men are horses home to lost skyline
how americans steamed except
subsonic
let everything fall already crawling
a sunday in new york at the dutch man
flee rehearsed in
airbnbs near the
I-10 and ludlow cleaning crews
knock highfee low pay then the real
thing terror bedroom neighbor
frats
know your homophobe landlord
I’m home wish I could say
you must go
stars interspersed between god and angels everything glittering and gold
church was different from home it had a lofty effect on ones thoughts
levitating latin every trapping was very inspiring
our holy
human energy
sustain our holy
human lives
color mandala flesh no certainty no
what think happened
moral no national tradition
no trivia happened no
why what fools no adult
ages five to twenty I saw startling-looking figures with startling ideas
heads encased in long starched veils ursuline capes when it rained
looked like wraiths
our holy
human energy
telling
the necessary lies
Im not saying there is no fascism
but surely what I know and what Im seeing
at the moment will not inspire me
stream free in a university taught me about blossoming
in the form of nastassja kinski
can’t prove harm & good at nothing
a regard kept mannered from life and writing and person
by the very nature demonic
because
its goal is power
always running with great black umbrellas to kill bats literally hanging in the belfry
bewild privacy mistaken for being set free
fire sun rises crackle desire’s slate
empty text of singular purpose
very soothing
Dear Archon
I have been thirteen
frowned on haunted for years
shadow spread myself
Cixous before or after
file my nails in poetry
she hangs in self-absorption
from her lovers tend to edges
before they tear
unmanageable
palpebral fissure what threat
clitoris run-on slows down
in Camomille’s mouth
plausible surfaces new
when seen fingernail
by the italics higher order
subterranean eager astride
Dear Archon
displaced from situatedness
dispersed across several continents
there won’t be a gathering
finite form embodies the place
where one is now
by indeterminate accident
a desire to mother
a body gains transparency
landscape appears
in a body-framed portal
emplacement of displaced
migrants detained
alien landscape
reconstitutes alien body
what if one makes a new past
body mirror
landscape absorbs alterity
hot-tempered all night
mimetic linguistic
new facts of not-belonging
beyond geospatial mapping
I’m gonna look for my body yeah
I’ll be back like real soon
Kimberly Alidio is the author of why letter ellipses (selva oscura, 2020),
: once teeth bones coral : (Belladonna*, 2020), and After projects the
resound (Black Radish, 2016). Her most recent chapbook is a cell of falls
(Portable Press @ Yo-Yo Labs, 2019).
Note: “why letter ellipses” quotes Amiri Baraka’s talk at the Overseas
Press Club, February 17, 1965; Andrea Dworkin, Woman Hating (New
York: Plume, 1974); Furio Colombo’s interview with Pier Paolo Pasolini,
“We Are All in Danger,” November 1, 1975; and Susan Howe’s interview
of Bernadette Mayer, April 22, 1979, PennSound.