Table of Contents



Angie Lee


The bouncing future opera singer
un-muffs her hands
at the site of rooty ooze, her arms
outstretched like pear trees in Paris strap-lashed to fencing
with green stretchy tape, translucent
the way alien contact is beautiful.
Into her arm she sets her teeth for a thousand seconds
and this action is performed twice,
and then once more, in response:
since effort is
required to keep the mouth open.



Offer me an off camber violet
When the heart is an open closed curve,
canted plastic horse,
merle wool blend,
an inclination (untended) in
the slope of longing plus a constant  /  somehow we listened to a minor key
mass is insufficient to affect the cadence of spasms  /  left me with no force just an indentation.
Has the back of the thigh become known to you?



The armadillo would like to do a back bend,
its anterior spine receiving the sun as a unit,
             in the same
             plane as
St. Francis' chest or
his hut's desk,
in Bellini's painting. Scholars note     :      , 
there is a shape
a biscuit makes, partially draped onto liquid.
This topiary tension
from bent beam to crumb
asks questions of lipids and
questions gallantry
due to the time dimension and sub-surface night
where no cosmoid scale has gone before. The armadillo's
keratin is see-through and creaks, an un-wild breezeway upon an
un-wild diaphragm. In the creamy sand it trods,
claws tucked inward to keep from stabbing itself. Claws
angled obtusely like flip flops. Flung
while thinking how all the blood is rushing to its head.





Specific language can behave as a line that looks like wire, a precipice, or permitted action, while other words allow the line to be just a line. Titles are especially this way, they are trying so hard. The abstract is always pulled toward representation, like words can be diagrams, well, HA!