The other thing I like and admire about Richard's poetry
is theatricality, his interesting cinema
and direction, stage direction, and stage management,
so incorporation of all of that in his poetry.
So these are just a few poems that have to do with that.
"Thirteen Point Three Three."
"A cunning policy, the sunrise announcing
new and same with light, its body east,
shot as it was stalled late west and, to broiling score,
identifiably.
We knew there had come a night and gone.
We knew Cujo was under the engine,
as ever, as three into ten goes three,
fucked by dog on chance of sound in shade, by sun on car far,
God, from help.
A mother's measures [INAUDIBLE]
Having, during any second, human disbelief in perseverance
to outrun, thirteen and a third shots, stills as it were,
are needed to make what isn't real.
Or more, per.
The museum of the moving image is dark.
The medium is dark, dark as a decimal.
Numbers on residential Queens facades
rise or fall by twos indefatigably.
It scares me from the museum how far I go walking.
How do we go in the dark?
We come home, commonly.
If we can't cover it with retained image
more rapidly than a thousand times a minute,
the flick discovers us.
The movie says, A you, A1 you, A2 you, A3.
Host and hostage stir.
We wish to see.
Take away interruption, and continuity has no brink.
Icemen dazzle as sons date.
Let's go over interruption once more.
Continuity, but a policy through the boroughs-- how many
stops between time and time 2?
--is insistence there be a train, like Cornell's El,
by bridge hoists and windows breaking
light, idling into the shock, yours,
of a silhouette repairing.
The medium has one, me, two, not minding going for it.
The car door cracks before it opens wide.
It wavers, catching dementia's attention,
like a needle at the bottom of a pool.
Any dream we have is a far film of God.
The eye, for a lapse, a hilt of sword,
scans as anon what looms."