Certain

[rowens]

Preramble

People say I'm hoarding. I say, yeah, I'm hoarding. That's part of my style.
Like Woody Allen done; he made neurosis part of his style.

Yeah. And he married his teenage daughter.

Well I'll make that part of my style too.



Certain


Commerce, Propaganda.
I'm sorry, little fellow.
You seem like you're a nice guy,
Liberty Biberty.

Like Jesus, brought up
from a story and a certain
family. But there must
be a point, a center
Point
to glow from:

as fictional as the self,
for anything to happen.

True, anything can happen
anyway with or without
a point.
Even love.

Even Love.








poems to be con't elsewhere

---

A critic told me that I have no complex human voice.
I find that appropriate for my style. I have no complex human voice. That is a trope that I will continue with. Complex human voices are a new ark.
I won't say a flood, as I like floods.
Solve. As Alan Moore said, the 19th century up till now has had enough Solve.
But coagula is facist[sic].
That's a theme enough.

[matsunosuperfan]

this is one of your more immediately comprehensible offerings. I find the ending massively rewarding, huge payoff there. 
personally could do without the preamble, which introduces all sorts of subtext that I struggle to parse, and also feels distasteful with the hebephilia joke. Irony be damned, gives me the heebie jeebies. Maybe the point, but hard to see what that point is beyond a vague edgelord giggle sensibility. 

rhythm goes a long way to making much of this lyric work. the first two lines scan in parallel, which sets the tone. "You seem like you're a nice guy" says the speaker, shaking hands with Death - this is the vibe, and I am here for it. 

around "point to glow from" I feel too many beats are missing, it throws me off. caesura seems intentional but, nevertheless, my mild irritation persisted.

perhaps 

as fictional as the self
for anything real to happen

could be a strong insertion, an extra pop of internal semiotics. 

think stronger lineation for the ending sequence might be

true, anything can happen
anyway
with or without a point

as I enjoy the effect of "anyway" floating on its own line, and keeping the logical packet of "with or without a point" as a single semantic unit makes sense to me

but the repeated "even love," man, what a move. and it lands like Kerri Strug.

[rowens]

I tend to work with rhythm AND contextual meaning. Sometimes contextual meaning trumps rhythm, and rhythmic "dissonance" is there to drive the point home.

As W. C. Fields said: "I'm very fond of children. Girl children, around eighteen and twenty."


Often when I read A. R. Ammons poems, I feel like I'm there in the scenery, since I am. And his rhythms and notorious breaks on "and"
feel right to me.

Then again, I listen to a lot of Sonic Youth and Grateful Dead.

---

Also, I made a point to make the word
Point
the only one-word line.

---

And it says "PreRamble".

---

Also, I often make a point to not say fiction is not real.

---

One of my mottoes is Creative Certainty.

Truth for me is not meant to be true for others.
That would defeat purpose.
As, for me, the only purpose of Truth is a huge affect-coherence that allows things to feel real at all for me.
As Blake's demons have it: "Opposition is True Friendship".

I'm not Blake. So my play with a concept of felt experience such as 'Truth' is a (re)minder of That.

---

In some poetic talk, they talk of agon.
For me, agon is more valuable than the poetry is helps produce.

I find the life of the artist worth the art it took to make it.

I am a failed pro wrestler, but I'm still a wrestler in sensibility, more so than an artist.