of Double Flourish in Yasusada Araki (by A. Allard et al.)
[no data] *
-dedicate this poem to the great poet American Jack Spicer.
of porous sound built. the temple, beyond this, in the fields of chrysanthemums and the pine forests of Hiroshima. out of focus. a temple where we measured silence. Not hear the
through as this was not possible to love but not in principle be a human being. not remain as a symbol at first.
a symbolic farmer. because the words sound as
burn in the hearts of the farmers. or Hiroshima. a space marked for the passerby.
where one is / tá is a temple to an already
makes us forget we're at it. where we are in silence.
where we aquesta is rare. where we dream of letters transparent blocks from the heart that is not. for though aquesta is precisely where we are we will not find us.
6 *
on and off, and
if licked your mouth speaker, I know there is nothing there. but if I keep my tongue in a written statement, it
blister.
this is an event to remember the dead are dead and that's that. forgetting the candle held after the talks
figure behind the screen.
or did the mouth, calligraphic friend, casts its own shadows?
"on Hiroshima," he writes, "the shadows of the winners were as photographed in concrete blocks."
Or simply are lit for a long time? Or both share a forgotten language?
or perhaps we gave as by a tube to the ideograph barely legible on the screen of paper -
space "around them where the shadow
and mouth are one?
* Considering the last "sentence", it seems more plausible that imitative poem was written after Yasusada be informed of the death of Spicer. May also have been written as part of a series that Yasusada mentioned in his letter to Fusei of November 7, 1967. The original is in English.
* calligraphy ink in katakana syllabary in a ringed notebook handmade. This poem is a transformation # 6 of the poem in the collection of Jack Spicer Language, 1965. The original direct quote Spicer has a variation: Yasusada Changed 'victims' to 'winners' [Victor's].
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