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Thursday
Oct142010

City composition by kevin jackson

 


1
She wants a bay’bee
He wasn’t much more
Tomato face
still squidgy
in places
If I dared touch

She says I gotta get her
a ticket


2
A woman with supersize
buggy
Two hoodies
slouch towards
One eyes its weight
the two kids
leg-locked
Feels where a scout badge was
Wants to help

Doesn’t know how to
And his mate
is already up
spitting grins

3
Barely sat
and shes troffing
through
a bag layered
with books and cakes
A monster bakewell tart
meets its mincer

I wonder if the books
go the same way

Were train tables
see through
her legs would be
whorled round each other
her left
foot flopped on her
half-off shoe

4
Then she looks up
Looks direct at
my hungry pen
Part-mended sadness
reproach maybe
girdles a loose face
Hair that hasn’t felt
fingers open its
lustre in a long while

5
All eyes are a species
of interference

Bear down
Bear down, bear down
Breathe


Like those on these two planes
death dealers
once
Here
laid in rooms
loftier than houses
Bounded by
eyes

Craving darkness?

Bear down
Bear down, bear down
Bear down
Breathe

6
I quietly pull
the thorn out
again
The lion
pads away


kj13oct10




Reader Comments (7)

Still trying to get a handle on this one, Kevin.

October 15, 2010 at 11:36AM | Registered CommenterShari-Lyn McArthur

Kevin, the freeze-frame composition places the N on a bench and it works, though I at first didn't think so. What corrals me in is the language's skip, almost attention deficited. Couple of things: S4, Part-mended sadness, etc. places the N into other's heads and not sure that the poem wants to do that, as it observes carefully while trying to 'Bear down.'

October 15, 2010 at 10:24PM | Registered Commenterlarry jordan

'A monster bakewell tart
meets its mincer.'

Oh, excellent. Love those lines. Still trying to get my head round much of the rest, but I'm happy to be confused for the time being.

Section three is my current favourite, but the rest is growing on me. Five is probably the weakest.

October 23, 2010 at 12:36AM | Registered CommenterCatherine Edmunds

I agree that 5 is the weakest, and yet I can't help feel it's the most important . . . Some splendid riffs, but I am a sucker for observation poems. The problem I'm mainly having is with the weight of the N's intrusions. Part 3 is a case in point:

girdles a loose face

is astonishing, but then

hasn’t felt
fingers open its
lustre in a long while

leaves me thinking Huh?

I think part of me wants the N to get some come uppance . . . but maybe the poem is his come uppance? Maybe I'm medieval.

Nevertheless, interesting and engaging, as always.

B.

October 26, 2010 at 11:52PM | Registered CommenterBrian Edwards

Big thanks Shari, Larry, Catherine, Brian

Wonderful that this one's connected, you know my anxieties over longer poems. Hugely value your insights. I needed distance to see where to take it. Hoping the revision works. In particular I've strengthened the observational stance (although judgement, emotion, supposition still intrudes)..... and tried to clarify the transition to part 5, which wasn't working.

You're spot on B, the essence of this (to me!) is in part 5. And thanks for planting the seed that there ought to be some consequence for the N.... Yes!

k

October 28, 2010 at 8:59AM | Registered CommenterKevin Jackson

just on a quick glance, I really enjoyed this, love it whenever someone uses 'hoodie'

November 16, 2010 at 11:06PM | Registered CommenterErika Hommel

hey erika, thanks for that, me too.... fusion's my mantra :)

k

November 27, 2010 at 9:09AM | Registered CommenterKevin Jackson
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