print and annotate this guy
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two maker s reach out
their
inquiries
across the how
of languages
side by side becoming
lecturers of
friendship
and so on and so on beginning
tantra,
loaning hymns,
less than
coast elapsed lovers engulfing
hungry loneliness,
older than
making a poem in the garden
or the printing press,
washing it all down,
wandering outside weather
in a loop of the sofa, re
living
coffee fantasy
disco
blazing
full bloom
house
stretch into eternity geography under my feet,
I can
see small eddies and
whirlpools
the
kitchen
music blessing
elder
and the
art of dawn
fine
ally
break
ing
boat break
fast
revolution
aries
brightly night wide in
side the laundry room,
water shimmering
grace velvet
protector
of
honey
suckle,
southern dreams,
moon
perfume,
mailbox flowers,
the familiar catapult
spill
over
familiar familiar, familiar
Tómales, familiar
center red
wood time in
soft sutra sil
ver hills
as
her
each of these words has a round crispness to them, a cut-grass envelopyness resembling those last couple drops of water that fall from the screen at the outpour of the sink faucet. writing about this poem is a cacade for me. the space pouring around each word is just as much a participant, if not more so, than the arrangement of letters into sounds. sil, of the forest, woodland, to leap, to jump, to shine, pebble, silence.
writing about this poem is writing about its mentor. Cole Heinowitz was an alive set of meolecules fastened to grasp the sparkling tangibilty of feeling and being. I left my semester with Cole with a remarkable gift: the feeling that everything: fridge, maple, sidewalk, letters, chairs, were companions. And in this, how, possibly, could I ever be alone? Atoms became molecules drenched in honey and red dirt. My roomate, Sam, became a magician who stood under the “idea light”---a bare, ridiculous bulb hanging about 1.5 feet from the cieling by the pantry in our kitchen. The light you turn after sneaking down the stairs to get a midnight bowl of cereal. I understood the reason my eyes fell to the bottom third of sight when I run, a scientifically-proven centering of the nervous system and of the mind, and could hear the musical pattern of my feet making contact with the ground more proufoundly.
Now that Cole is gone,
I feel the electricity of this practice stikingly. The potential is lingering in every object I touch.
This poem began in response to an assignment in Poetry as Coexistence, Collabaorting with the Non-Human. This class seemed to be one of Cole’s dearest entitities, a project and a co-creation that got more and more alive.