WEBVTT

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"How many of my
executioners were charming?

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The image tells us
nothing about settling

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scores central to the shooting
or of the light brim of blood

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that follows.

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At the moment I'm smiling.

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At the moment my
criminal record empties

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and there's no Lasso yet."

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So in the Jean-Luc
Nancy commentary--

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"What image?

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Did anyone see an image?

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Virginie told me there won't
be a photograph in her boca

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fortino sámano in front
of the firing squad.

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Then I won't have seen an image.

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But it says nothing.

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I noticed that this is
set in an Alexandrian.

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The image tells us nothing
about settling scores.

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Right away, already, the
cardinal line of French poetry.

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It is not by accident.

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It is why the cut that follows
says concisely, central.

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The image says
nothing but the image

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has par excellence, a
quality of the poetic.

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The image is the poem.

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Absent the image, the poem will
make an image in speaking--

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just as 'light brim
of blood' as seen

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when read, when said to
oneself, seen literally

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illiterated in the carefully
elaborated welling of red.

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Virginie chooses wording
the doubles blood's plosive,

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insisting on the coagulating,
carmine trickle to follow.

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Just before it is to spill,
at the moment, I'm smiling.

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At the moment.

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I smile now, having
this moment in mind.

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I smile at this moment so
it will remain this moment.

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I smile thinking of
its eternal return.

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A smile for an easy death
lasting only an instant.

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A smile for the stillness
of the moment before it

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spills, the meaning
suspended in an imminence

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which remains imminent.

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The meaning never occurs.

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The image says nothing.

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Here's a poem on the ridge
the edge on the brim.

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This does not make a Lasso.

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Not a loop that would fetter
any more than Fortino was

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tied in front of his killers.

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His blood and his
crimes empty out freely.

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But I cannot not hear how the
blood is caught by this no

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Lasso.

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The trickle of
carmine makes a loop

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where meaning is
captured by a moment that

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will never come to anything."

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