Marsh Hawk Review is an online poetry journal sponsored by the Marsh Hawk Press collective. Marsh Hawk Review will appear twice a year, under the revolving editorship of collective members. Each issue will offer a selection of poems solicited by the editor, in addition to new work posted by poets in the collective.

Monday, March 7, 2011


R&F Iridescents

            Her glance like crushed pearls

            She is mixed into transparency: ultramarine, Pthalos

            Money captures the evasive nature of silverness

            The usual greys in his German aluminum:

            tin bluish darkbrass

            A cool and light yellowish however

            Since copper is the iridescent version of him

            or a bronze that will not survive him

Beads naturally glance and flock around her neck like pearls

The crushed “has”

when transparent is mixed with possible

Money evades capture on his promontories

Very hotly, his deep money = tin

Darkness greys a metal blue

The thin light in however

Copper editions itself

            Grain like pearls, a naturally volatile view of crushed beads

            Transparency colors “such”

            Money’s silver forms imprisoned

            Copper in rainbow expenditure

            runs beautifully away from them

When our volatile views are crushed like pearls, like grain

Money adopts our escape

A silver form imprisons our pessimism

A grey in trouble, thin in many brasses

Copper waits nearby, its expense a darkred Mars

Ancient, ancient bronzes, an uncontinued brown

            Grain and pearl prospect in glass beads, in powder

            When painting is an example of transparency

            When iridescence is an escape from writing:

            volatile, pessimistic, aluminum, prospect

            A tight color troubles them in degree

            The light writes over him in a cold yellow application

            Pitch-stirrers, depth

            She waited very close to him, a copper expenditure

            Her red-dark ran advantageously around him

Her erasable prospects: grain or bead in flanged glass

She was corrected naturally with propellant

Which painting (for example) transparently mixes the rainbow with money?

A low form of captivity, this escaping in order to write

He forms normally an erasable pessimism

Brass is an actual intermediary between them

Clocks mix time up with depth and copper

They waited very closely together like copper plates

or old old bronzes

            Wheat like beads, flanged glass, a naturally corrected painting

            He is a transparent mix of Pthalos used to paint a uranium arc

            Absolutely boiling hot: your deep money

            The constant grey problems of his metals

            A very narrow definition of him

            as a stirrer of bitumens

Wheat and the prospect of pearls = the assumptions in painting

His transparent mixing with uranium in order to look like money

This captivity, this avoiding, this looks like writing

That very narrow him, an expenditure of darkness

He stirs her like bitumen

            Where the spheres attach for example

            Where the glass and flange were supposed to be

            He is as empty as a corrected image

            She decorates with pearls his transparency

            The happy arc of uranium that looks like money

            The body in captivity: written, supposed, avoids that

            He is systematically uninformed

            In brass meditation, the light written in yellowed grammar

            Narrow for the sake of editions

            Pitch stirred, asphalt desirable, without advantage

See where the spheres attach to her

The glass (a vacuum), a corrected image that decorates someone nearby

The body in captivity writes

As for the grey problems in his metals

He agitates in the launching of asphalts

She is stirred like pitch

She is one of the day’s copper favors


No comments: