Ten flapping elbows mama

<p>have tried to be fully aware of</p><p>the legacy that we carry of poetry</p><p>on the page by being aware of</p><p>style and form all the time</p><p>especially when trying to make</p><p>language do new things. In what I</p><p>call psycho-narration I try to write</p><p>beyond the understanding that</p><p>the 'inside of one's head' and 'the</p><p>objective world' are really distinct</p><p>worlds. This is a form I have</p><p>grown to love more since I started</p><p>preferring the long poem format</p><p>that sits on a conversational tone.</p><p>It's a multi-vocal way of</p><p>writing or telling stories</p><p>in a less authoritative way</p><p>a kinda voice democracy in</p><p>the poem. If we let go beyond</p><p>rational thought - or even the idea</p><p>that rational thought is a</p><p>reflection of reality - then</p><p>anything can happen.</p><p>joy has no generation gaps</p><p>nor silences in between</p><p>like broken denture. No owls'</p><p>bleak eyes blinking</p><p>when the question in the air</p><p>stings in the eye</p><p>a grip the clasp of hands</p><p>is so strong</p><p>we're stitching the lesion to the rock</p><p>no empty klevaz</p><p>no one had become</p><p>hidden schisms victims or slow songs</p><p>simpering like a basket</p><p>under a leaking tap</p><p></p>