All: 25 x 25 cm. Ink on paper
nightly drawritings
// Author: admin
//drawing
//
4 drawings/4 tegninger
//
drawings/tegninger
//
poem 24.11.24/digt 24.11.24
//you take off
your reading glasses
meaning to put on
the normal specs
but you forget
and stumble through
winter-dark rooms
looking for something
you can’t quite see
which makes you
forget what it was
you were looking for
what was it?
why did you need
what you now
have forgotten?
what is it
you’ve forgotten?
and where
is it?
you end up
by the kitchen sink
and wash your hands
that’s the least
you can do
now you’re here
that’s a sinsible
thing to do
isn’t it?
…
shadows live longer now
…
outside ice falls
…
but
you have clean hands
now
at least
you have that
*
du tager
læsebrillerne af
for at tage
de normale briller på
men det
glemmer du
og vakler gennem
vintermørke værelser
mens du leder efter noget
du ikke rigtig kan se
hvilket får dig til
at glemme hvad et var
du ledte efter
hvad var det?
hvorfor havde du brug for
dét du nu har glemt?
hvad er det
du har glemt?
og hvor
er det?
du ender
ved køkkenvasken
og vasker dine hænder
det er det mindste
du kan gøre
nu du er her
det er en fornuftig
ting at gøre
er det ikke?
…
skygger lever længere nu
…
udenfor falder der is
…
men
du har rene hænder
nu
i det mindste
har du dét
Sleeping Food
//As a continuation of exploring counter-point/juxtapostion in poetry to create a kind of dialogue in the reader’s mind, these are experiments to find out whether a title – or what presents itself as a title typographically – could function as a first line in a poem. Normally we read the title as a more or less comprehensive catch-phrase of what the text below it will reveal, but in this case the following phrase/poem will be in juxtaposition to what the title proposes. The basic presumption is that “the space” between the two parts creates a room for the reader to enter. I hope it works.
MENTALLY AN OVERRIPE PLUM
suck
shoe
suck
.
SHE DOESN’T LIFT HER FEET
blackshirts taken
.
I’M SURE THE BEACH WON’T MIND
your eye’s a bridge swelling
.
CACOPHONY
easel
.
IT’S MY BRAIN IN YOUR NUTSHELL
one stone four falling with the sparrows
.
TIME SITS ON A BLUE 3-LEGGED STOOL
always she’s closer
.
IT’S A KIND OF MECHANICAL SLEEP
an omelet enters a now
.
ALL THOSE YELLOW HOUSES
someone else
with a parrot
.
MORNING DROP
bird black bird
.
I MEANT TO POST A CRYING EMOJI BUT IT CAME OUT A GOLFER
all that beach and no gulls
.
FOREIGN
[music]
in hand
.
DID SHE JUST SING THE WORD UMLAUT?
sausage cloud
.
RE SISTING
laces
.
YOU NEVER KNOW THIS TIME
mind gravel
.
PEAR
take this this
.
OH, HE MISSED!
a
finger
left
in
silence
.
FOOTPRINTS
but if the waters won’t
.
INTUITED TOMATO
the spellchecker doesn’t believe in Attenborough
.
EMPTY BUT FOR HATS
sleeping food
La Peñuela
//Left Index Finger/Venstre pegefinger
//Right Index Finger/Højre pegefinger
//phrase fragment/sætningsfragmenter
//bits of other people’s phone conversations in public
stykker af andre menneskers telefonsamtaler i det offentlige rum
.
“It’s too hot for rice pudding. Here’s the key”
“det er for varmt til risengrød. Her er nøglen”
.
“I said: I have never said that! Not D cups. TEA cups”
“Jeg sagde: dét har jeg aldrig sagt! Ikke D skåle. TEskåle”
.
“I don’t know. It feels different with people in it”
“Jeg véd ikke rigtigt. Den føles anderledes når der er mennesker i den”
.
“it’s like he never saw stucco before. No, Mark. Not Alex. He definitely has seen stucco”
“det’ som om han aldrig har set stuk før. Nej, Mark. Ikke Alex. Han har helt sikkert set stuk”
.
“no, that vase looks like a skull over there”
“nej, dén vase ligner et kranie derovre”
.
“Back in the day when people came into the house they were not offered a coffee, they were also offered a coffee. And a cigarette. Typical for Portugal”
“Dengang fik folk, når de kom på besøg, ikke tilbudt en kop kaffe, de blev også tilbudt en kop kaffe. Og en cigaret. Typisk for Portugal”
.
“no, not a banana. […] No, I said!”
“nej, ikke en banan. […] Nej, sagde jeg!”
.
“and then we have flowers and pictures of flowers. (Waving an index finger) No, that’s private”
“og så har vi blomster og billeder af blomster. (Vifter med en pegefinger) . Nej, det er privat”
.
““take this and eat” it is really quite sufficient”
“”tag dette og spis det” er i virkeligheden tilstrækkeligt”
.
“no, I never stop. I’m not like that”
“nej, jeg stopper aldrig. Sådan er jeg ikke”
.
“Oh, you don’t shave so you don’t need this”
“Åh, du barberer dig ikke. Så har du ikke brug for dette”
.
“Ah, but now I can say I have touched it as well”
“Ah, men nu kan jeg sige, at jeg også har rørt ved det”
.
“wow, this is not even written in French!”
“wow, det her er ikke engang skrevet på fransk!”
.
“you’re breaking up [taps w nails on the phone] can you hear me?”
“du falder ud [banker med neglene på telefonen] kan du høre mig?”
.
“no, I don’t want to go out, I’ve been out of it all day”
“nej, jeg har ikke lyst til at gå ud. Jeg har været ude af mig selv hele dagen”