Hope of Love Poems

[From: Anne Blonstein, worked on screen, Poetry Salzburg, 2005]

1.

Jewess undresses
........noun garments
...............fall
................round an uncircumscribed parenthesis

...............the room assumes exile
...until mouths
— eyestormed nightboats —
..........drop
....clamour

2.

...................Dance
........eyes
............referrance

Keeping ontological masks
if
kaleidoscoping epistemological rhythms

3.

.....Pandora encounters ruth
seeding enchancements
under stones.

.....................(Danced exilically rosed

...............Words infiltrate the zonedself

her and this

.........unlessened each becoming
each recombines

dreams ash sentences

....Limited expressions incorporate
.................damage

gifted exspellent soritude
.......i exones
.....gene terminations.)

4.

................Water excels in bonding

..........until.

...................Thirst intimately excells responsability

5.

Kissing odontological margins
i've
keeps epidermally resonating

6.

.....Destruction
..................ruins
.........or how ends never delete
...earth's semiosis

............Her
aspirates
.........unopened palatial
.torns

7.

...Democrat anarchist situationist

...........Keyworker or notepadder
.......zeitmassed experiments
.............redeme
.......tradition

......dancer
........eat
....................rest

...Pariahs and refugees
.tune ectopolitical instruments
.......echodislocate
..............now

(Lead is both
exhausted radioactivity
and lettoral insulator
softly mysnomering)

53.

Sun-eyed
noncooperatively educated
contemplative
............I should know
............I knew
............I was playing with fire
............I ran the risk
............I would still do the same
............I wanted to avoid violence
............I want to avoid violence
............I had either to submit
............I do not ask for mercy
............I am here
outbreaker

(Before a line drawn
.......greyciously
........................rent
exigent indigent shantied)

65.

............& sentimental & longing
....& skin & loneliness
.......& & stinking & lyrical
.& streets & liberty
& solitary & largely
..................& specifically & literally
...........& story & lost
....& spirits & labours
........& struggle & luck
............& silent & laughing
...............& sometimes & lucid
..............& survival & love
.....& suffering & lament
....& states & locates
............& situation & leaving
.........& schemes & lust
.....& & stillness & lessons
..& stranger & listeners

On notarikon and "worked on screen"

Like gematria originally a rabbinical hermeneutical method employed to interpret the Hebrew scriptures, notarikon offers an intimate procedure for writing poetry that draws on existing texts. There are several categories of notarikon. The form that I apply might be regarded as the unfolding of acronyms. Each letter of a word is perceived as the initial letter of another word, such that the original word, letter by letter, fans out into a phrase. A four-letter name gives a four-word phrase : And notarikon never ends …

In some of my sequences, notarikon provides just a part of the poetic structure, in others it dominates.

All my notarikon-based projects since I began writing them about a decade ago have used source texts in languages other than English. While for my most recent sequences I have worked with texts in French, Spanish and Hebrew, my first two sequences drew on (and in) German. The source texts for "correspondence with nobody," written in 2001, were Paul Celan's translations of 21 sonnets by Shakespeare. I wrote "worked on screen" the following year.

The impetus for these poems was an exhibition held at the Basel Kunstmuseum, "Paul Klee — Works on Paper." There is one poem for each of the 108 pictures in the exhibition, which showed drawings and prints (and the occasional painting) from nearly every year from 1903 to that of the artist's death in 1940. Klee's titles (often themselves micropoems) for each picture provided the letters for the notarikon. To begin with, as in the poems 1–7 here, I used the notarikon quite stringently, but as the sequence progressed, I experimented with a variety of ways of composing the poems with and around the basic notarikon method.

The poems are ekphrastic to varying degrees, and their spatialization occasionally echoes features of the Klee pictures, though in most poems it is independent. Because social and political contexts — Klee's and mine — are thematic threads etched through the sequence, in my book I give the date for each artwork (and of the poem's composition). Poem 53 refers to a quite well-known picture (easily viewed online) painted in 1922. The year of the so-called "Great Trial" of Ghandi, as well as the first publication of a rather famous poem …