for Chris Martin
these sudden days
blowse & hum
thirst & quench
a tide of tensing trees
days tick by
beats in a song
my body grows
fuller each day
I think my life
has always been
for this quiet
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If music plays with film
then film is an illustration
of music’s movement.
Snap, blast, sever, sever, stop.
Even the dog twitching his ears.
If islands nestle in the ocean,
and a statue rises above the pilgrim,
then we are standing on a cliff
and the pilgrim has reached her goal.
The light is as pale as the back of her hand.
If the dancers twitch arrythmically
their dance is only partly kept.
At twenty-four frames per second,
film makes a lonely memory.
They sway staccato, staggered, stretched.
If drums repeat the pace
of film’s slip through the gate,
then the song’s refrain
retells film’s fades and cutaways.
Even its night-quiet darks.
If horns evoke an antique joy,
lens flares and close-ups send
their renderings into red relief.
How has mankind managed grief?
Light, noise, movement, breath.
If blood is to the body
as film is to the camera,
if film is a flat and lucid eye,
if light is a perishable gift,
then the night is the gate of the dark.
If light falls away with always
then film is a parcel of rest.
Panoramas, linked and strung
as castle-steps, lawns, the fine
iron bars of the castle gate.
If drums pace the beat of blood
and film is the speed of the rattle
of breath, then the dancers have
truly escaped us. We slow
as they quicken. We go and go.