WEBVTT

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And this is from
the second section

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that I want to read from.

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And right now it's called
Straddling Unsuccessful Vault.

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And all of these
poems are actually

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entitled Set Design Theory.

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And I was sort of inspired by
a quote by the poet Susan Howe.

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And she said, "I would say that
the most beautiful thing of all

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is a page before the
word interrupts it."

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Set Design Theory.

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Twelfth night.

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This doll, this appears
to mock the rock.

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Painted tree in
the folded scape.

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Suggested mouth in the hills,
still of the lips of David.

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The planets.

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Nomad Neptune, O,
balloon of atmosphere.

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The silver ring begat the ball.

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Jupiter, O, the apple of
Magritte, celestial lollipop.

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Boom, the bang of monologue.

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Madame Butterfly
raised the heated foil.

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Ancient gold curls to pose.

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No geisha, as if I bit
into the silver layered

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upon the [? suite. ?]
Listen, din in tin,

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arrived, spoke, metal breath.

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The ring cycle.

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Glacier upon the
stage, the ball rolls,

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pose in the thin of glass.

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Noise over ice.

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Solo froze the stalactites.

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Light looms.

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The costume is a rest.

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Set Design Theory.

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This is her escape.

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Sparse furniture where
the lights gravitate.

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The flood.

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The installed arms in love.

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I see symmetry in bodies.

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The ocean divides the ocean.

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Desire, alarm, the
degree of dimension.

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Width of the stage punctured.

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The picture tree blows
into the wooded tree.

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Bark shed upon the set.

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Crystal nature scenario
ushers the dream.

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Middle interrupted flat
land clashing with skin

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defied expectation.

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Aria is the only
left apparatus--

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is Aria.

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Dramaturge is confounded
by the volatile compound.

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As the thorn pricks middle
finger, throne picks no emblem.

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To quantify assigned numbers,
forgotten eponym of area,

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length times width times height.

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Set Design Theory.

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Geometric hardware.

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Curtains lift to perceive.

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The objects torque
upon the platform.

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Exposed nails, ropes, wings, cog
teeth, available for inquiry.

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Swept stage.

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Tabula rasa.

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Walls meet floor at a line.

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The centered
pulpit, a spot held.

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A chair, we never
imagined an inhabitant.

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Dancing leg interject
the first utterance.

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Exit breath, the
mute of a vacuum.

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Set Design Theory.

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What first came to mind, how a
tree becomes a plank that long.

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Deafening notion,
music is to be heard.

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Informed by the onset of
blindness, pedagogy in senses.

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In the absence of
sight, smell of mold

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on toast before the
colors blue, green

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began to permutate
fractals on bread.

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What I mean is this.

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We learn to see,
and see, and see.

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Carry this notion
into other realms.

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Introduce the vibration
before the noise.

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Orchestra pit stings
the planks beneath.

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Shock of sound before
its climactic incarnation

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as sound in your seat
flooding the pelvic.

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Pause the ears as vats.

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At the epicenter, as
literal, the animals

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as exclusive of
ourselves, hear rumbles

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and feel the awkward
grate of fingernail.

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Tintinnabula, middle
English from Latin

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tintinnabulum from
tintinare to jingle,

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re-duplication of tinere,
to ring of imitative origin.

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In emphasis, onomatopoetic.

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Instincts felt imitative sounds.

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The storm strikes the
tree in the woods.

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We are in the theater.

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It falls.

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Set Design Theory.

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The artifice is spectacle.

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Imaginary bricks stacked in
sequence across the stage

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divide right from left,
upon a notion of locus

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where the actors reside.

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And the audience's
eyes conveniently

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gravitate to the middle,
the cross-section of wall.

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Our seats' privilege
upfront aback.

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The leading act's
costume is made

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of silver cloth and two zippers
from the neckline to hemline,

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on the front and on the back.

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Two interlocking
pieces of fabric.

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The audience has
not yet seen this.

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Certain images become
allegories, for fear

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that the actors might enter
the stage in the overused

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metaphor of the millennium.

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Or the leading act mutates
into a dancer and leaps

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over the imaginary wall.

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It shatters, revealing
the nonsense of heritage

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without context or the unethical
division between arts, selves.

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Speculation on the
event delays the event.

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A blow torch begins a
melted glowing light show,

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diverts the crowd.

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The leading act is afraid
of the reality of her role.

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She decides against the
stage, reciting her lines

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to the props.

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The audience is restless,
then appeased by the ethic

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of costume that consumes them.

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The audience wears
hats, or they don't.

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Ends the blue flame
of the technician,

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applause waxes and wanes.

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A curtain pulled
aside reveals the sun

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filtered through a window pane.

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