WEBVTT

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I'm going to read
one more of these,

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and then turn to a
sequence from the book.

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This is actually not
one of the waking poems,

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but it's another new
one that, in some ways,

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works off of mathematical
or philosophical proofs.

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If you think of
Wittgenstein, you

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think of a number of
mathematical proofs

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where the points are
numbered 1, 2, 3, 4, 5.

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Argument is conducted.

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And rather than the numbers
here serving as section breaks,

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they serve as the
beginning of the line.

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And so they come
up very rapidly,

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and they're incorporated
into the text.

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And one of the things
I'm investigating here

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is the difference
between what we

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might call poetic numbers
and arithmetical numbers.

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Just as there is a difference
between poetic time

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and chronological time.

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So let's see if I can
move through this.

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It's called "It
Stands to Reason."

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"One.

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The soul is expensive.

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Two.

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The past both enters
and is severed.

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Three.

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Blood runs, and darkening,
dries, until there's more.

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Here is the knife.

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And four, though we
stand face to face, we--

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five-- we cannot hear
the child scream.

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Six.

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Cannot say the whole sounds
available only to angels who

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must keep it from the gods.

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How else can it continue?

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Seven.

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There is no elsewhere.

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Eight.

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The chopped straw,
too, will burn.

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Nine.

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Cover them.

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One.

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If we remained indigenous.

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Two.

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If greed, et cetera.

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Three.

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If you, if-- four--

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I-- five-- could still forgive.

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Six.

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Be forgiven.

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Seven.

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Without further offering.

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Eight.

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Would there be hope
enough, or nine,

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is this the final scarcity
for which we kill again?

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One.

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Therefore, after food,
two, after gods, three,

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for the memory of mercy
meaning peace on Earth.

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Four.

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Would you walk ahead of
your own shadow, listening?

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Five.

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Ahead of your own kind?

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And six and seven.

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I'm blessed, here, at the edge
before the present holy flashes

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through you.

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Eight.

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Forsaking and forsaken.

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Nine.

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And listening.

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One.

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Because it cleans.

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Neither impression
nor expression.

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Two.

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Because the feathers flare into
the retina across the-- three--

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half burned out bridge,
only the loose ends

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of the neural net rekindle--

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four-- Around the
cry, the unaware.

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Five.

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Is it lethal?

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Six.

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Is it conditional,
as in surrender?

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Seven.

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Fossil of the former godhead.

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Eight.

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To be incised
forever, scraped away,

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and, nine, laid out among the
dead leaves, treeless now,

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where there had once been
shade enough for burial.

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One.

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You see, it is an argument.

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It-- two-- requires murder.

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Three.

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The glare, far worse
in the absence of--

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four-- worship.

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Crackling.

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Five.

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So that you-- six--

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remember the whole catalog.

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Seven.

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The more than skywide mind
reflected off the armor.

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Eight.

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Since even then, the
gods were solitary.

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Blinded also by such--

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nine-- ungovernable
rage, they said

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it would remain the only origin.

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To which we say,
begin again with one.

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Young shepherd.

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Two.

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The flowers would
return in spring.

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There is a song for them.

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Sweet comes in the grass
under the wind, and--

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three-- their faces follow--

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four-- as yours, as mine.

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Now-- five-- according
to the voice of reason--

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six-- according to the voice of
what we call poetic knowledge--

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seven-- by which is meant
desire for the true continuance

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of love as it was given.

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Eight.

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The shepherd sings of it,
as he will sing again,

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both to himself and to the
king in time of war, calling

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it penitence, calling it honey.

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Nine.

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Raw honey, though it
smells of wood smoke.

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And honeycombs are lifted,
dripping from the hive.

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