glass quiet turned tone resin
applaud the contours
a drama was here
curtains too
but give thought the layer
or finger the width
of there to stay
you made it true
in your stare at the painting
the painting, that's yours—
so why look?
(looking for looked for
in the here and now
is past possible)
accent the audience
(cluster cough rides chatter pedal)
yours truly,
times three
I'm a little worried about:
mired in sequence
becase all the things you are
(cymbal crash)
is ended—see
we climbed there already
to seek solace no
because inkstained
or welled up inside
can one say overwhelmed
better than too much?
or beat a waterfall retreat
we hear century a little late
and say what I think
the standard should be.
Turning from the blaze to the counterpanel //
I saw how we are all great in our shortcomings, yea //
greater because of them. There are letters in the alphabet //
we don't know yet, but when we've remembered them //
we'll know the luster of unsupported things. //
Our negativity will have caught up with us //
and we'll be better for it. Just //
keep turning on lights, wasting electricity, //
carousing with aardvarks, smashing the stemware. //
These apartments we live in are nicer //
than where we lived before, near the beginning. //
-- John Ashbery, "When I Saw the Invidious Flare"
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