Julie Carr
Three Poems


Sleeping with a pretty girl

A


Smear still on the screen. Pornographic fashion shot in my home
This is no consistently euphoric novel
to help us feel backwards to where we belong
Such nodes invite penetration
as optimism demands protection
Inorganic heavy matter : house :
the grace of perfection
cannot console us
There is only one order and we do not understand it

………full dish, dish of fruit


B

Intellectual labor (a kind of play) vs. manual labor (a kind of boredom)
Hard labor (a kind of suffering) vs. active labor (a kind of release)

This libidinal
tottering body : oh workers I've seen :

………………………we're all neurologists now

What do we want to know and how far are we willing to go for it?


So now I feel my little finger
in excess on my left



………The beautiful wrinkled brow of my friend
………pinkens when he speaks.

May I detail
………………a man's cheekbones

sipped at the brink of sleep?

In precisely three minutes
the doorbell chimes
garrulously
And the philosopher says: I'm going to smile: how could it be otherwise?

………To admit to my pleasures I must take off my clothes and make myself cellular sinking down
………I was excited for wine



I can be no better

The candidate can find another job

We are done being white said the party

I can offer you no more

Once on the seat of a swing I watched silence until it became sound, I can

be no better




………In real life everyone walked out. I thought I was doing a pretty good "bowie" but there were too many scarves and taking them off with flourish, hurling them towards the audience, didn't do much to break up the monotony of the crowd.

"The procreative truth of me"
pissed itself

For Fred on Her Endless Tour

………I woke with no
………sex — utterly

……………………disordered under my
arm. Deep
automatic
……………………budget cuts dig the hole and kick the can

It's still dark



Footsteps above
Future below

Gull persisting in the memory of being contained at home, or
in a vessel. What black

…………butterfly, voiceless in its fourth-person narration,

is the real world?

With the conviction of a net of branches or an unidentified language
the couple couples



Too thin is too thin: pools in the ice

………Shadowed by the gleaming museum, a dog on the
pavement. Vowel to the east of him, ravaged to the west of him

I pry dandelions out of the lawn, one and one, toss into the stinking
barrow

I'm caught in another arrogant logo-jam:

………wooden heels
………pale blue sighs


A word as glitch: blulen, machin, turns red the breath



The eagle………………wished

Watched shadows

……………………………of bags

……………………………The only arena of longing

is this.



Julie Carr is the author of six books of poetry, most recently 100 Notes on Violence (Ahsahta), Sarah-Of Fragments and Lines (Coffee House), and RAG (Omnidawn). Think Tank is coming out with Solid Objects in 2015. Surface Tension: Ruptural Time and the Poetics of Desire in Late Victorian Poetry was published by Dalkey Archive in 2013. Her co-translations of Apollinaire and Leslie Kaplan (French) have recently appeared in The Kenyon Review and Denver Quarterly, and a chapbook of Kaplan's Excess-The Factory is available as a pdf from Commune Editions here. Think Tank (which includes the 4 "For Fred" poems presented here) is coming out with Solid Objects in 2015. Carr helps direct Counterpath Gallery and Counterpath Press in Denver and teaches at the University of Colorado in Boulder.