WEBVTT

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The other thing I like and
admire about Richard's poetry

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is theatricality, his
interesting cinema

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and direction, stage direction,
and stage management,

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so incorporation of all
of that in his poetry.

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So these are just a few poems
that have to do with that.

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"Thirteen Point Three Three."

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"A cunning policy,
the sunrise announcing

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new and same with
light, its body east,

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shot as it was stalled late
west and, to broiling score,

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identifiably.

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We knew there had
come a night and gone.

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We knew Cujo was
under the engine,

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as ever, as three
into ten goes three,

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fucked by dog on chance of sound
in shade, by sun on car far,

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God, from help.

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A mother's measures [INAUDIBLE]

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Having, during any second,
human disbelief in perseverance

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to outrun, thirteen and a
third shots, stills as it were,

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are needed to make
what isn't real.

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Or more, per.

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The museum of the
moving image is dark.

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The medium is dark,
dark as a decimal.

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Numbers on residential
Queens facades

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rise or fall by
twos indefatigably.

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It scares me from the
museum how far I go walking.

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How do we go in the dark?

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We come home, commonly.

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If we can't cover it
with retained image

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more rapidly than a
thousand times a minute,

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the flick discovers us.

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The movie says, A you,
A1 you, A2 you, A3.

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Host and hostage stir.

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We wish to see.

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Take away interruption, and
continuity has no brink.

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Icemen dazzle as sons date.

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Let's go over
interruption once more.

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Continuity, but a policy
through the boroughs-- how many

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stops between time and time 2?

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--is insistence there be a
train, like Cornell's El,

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by bridge hoists
and windows breaking

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light, idling into
the shock, yours,

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of a silhouette repairing.

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The medium has one, me, two,
not minding going for it.

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The car door cracks
before it opens wide.

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It wavers, catching
dementia's attention,

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like a needle at the
bottom of a pool.

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Any dream we have is
a far film of God.

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The eye, for a lapse,
a hilt of sword,

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scans as anon what looms."

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