may be meaning
something to keep
inside as a blind en
compasses the dark
refined crude oil
equity as light lacks
vision , vision its
feeling , feeling its
craft , craft a ciliary
muscle , muscles
decisions , decision
security , security
novalty , novalty
solidarity , solidarity
a solid body , solidity
change | drawn to the
light in the dark it is
easier to let go
residence as estate
does not need land to
…………be let on
we don't haver life but as we speak take it serenely in
biographical shapes , that is , steps onto our commoner
body what we need i-s for but eyes don't do heels
do need a detour in nonpersuit 't lease
curves lead anywhere and
from now here and hither as
ever and for either as maybe
and an out burst of perhapses
curves filter spaces from
wanton of light to shed
themselves onto oceanbeds to
syndicate or sin clandestine either
of both arsenic, noble choices
within theme postures at the latest
our spectrum that is — within our
synchronisation and that looped
quote about sacrifices and making
it — up
saying |: it has everything too
to do with its :|
'tis the thirst, most
peculiar privilege in itself
the numb errs a stray capacitance
a stance on you th' settlement ex-
empty on / cyclical. —
numbers are random
whether we anticipate
or are afraid of it
whether we are the
or any that is the
whether we do can
afford conversations like
these (or the ultimate pen
for the other tatter-
enchant their content, deliberat.
tending each others penchant
for honky-talks : instanza —
It is being utteringly in lo
/'ve with your pen mate
'til the latter with a photoe
to nail onto 'til
lunacy has everything
to do with the moon :
lady and gentlemen due too
people on the line
we had to wait
whether we call privileged to choose between
soaring sides or the front row — plane —
between huckle and blueberries
vinyl and mp3
or and and…………and between
the crack in our alphabet and what we hear
……………………/ whether we
call aviation public transport or grow up
believing homes are built in instalments or
living either on mortified or on mortgage or —
at that stage — no difference made
……………………really is……up to the milk price
Upton Sifter's Visions
why sand? had it wisened you? but how, where seeds are corrupted as seeds and stones weakened into a numbing slumber by sand? where its parts are, with encaved they are paralleled, lulled into each others uprighteousness that is. for fortitude and in furniture, first degree and second degree i — we are share men split infinitives. we are among our enemies referred to. as alway. why does possession collocate with god. why does possession horde so many s-es? does it mortify sense, silently? or does the latin alphabet provide for extensive praising? what is language dummy for? what is the world dummy for? for a high resolution scan — the world, second degree reproduction. what does that make of i? second degree light?
ogre and ogress have elected each other alike, jealous of the obscure. buttered are their rooms to facilitate smooth digression — digestion i mean. they made us wait, just in case — progression as the impregnated room in a briefcase, a brief case was. this said by the judge when he called it a day. knocked needlelessly.
what does my money act as dummy for?
same with mommy.
same with mummy.
it was two sheen, it was a meleé. it was down (odour). an extensive darkness of nothing around the thing. i remember longings that didn't accomplish anything. i remember phenomena when that was allowed — that is not sanctioned.
that is not penalised.
that is not substituted
by physical acceleration towards a face or a bottom. it was three sheen, cravings (cradle given) unthanked for.
i thank you.
i thank you now.
it was four sheen and i was enough to carry forests within my freckles for the sake of rest. what processed me had to turn forgotten.
i remember it was five sheen. i distinguished her movement — it hurt for the second of a pinch. like that. we ask declarations (interviewee). we answer in threats, a gunshort word: you are not talked to!
i remember it was six sheen so i commenced reading, picking letters, catching sounds
i make a black river on the assembly line. it was seven sheen you said into your headset — had i said the wrong flow? my body, assembled clay clogged in to spatial networks (generously), is deranged in rhythm
i remember — conscription — it was eight sheen, a looped roundabout long (aloof). don't you miss the call for papers, they tremored into my head, they that is echochardiographs.
i (university quite convinced of their shelves to grade themselves universe) remember it was nine sheen.
each lair is structured androgynously.
Franziska Füchsl writes poetry and prose in German, Upper-Austrian dialect and English. She studies German and English in Vienna and works in the Austrian Literary Archive for the Literature Museum Vienna. Füchsl is a member of the group Versatorium, translating l=a=n=g=u=a=g=e poetry and Georgian poetry and prose.