poems/digte

no not yet cornflower

nej ikke endnu kornblomst

.

just like that the ear to the sea

bare sådan øret til havet

.

another bird chases another butterfly but white in this garden

en anden fugl jager en anden sommerfugl men hvid i denne have

.

while I breathe one summer cloud

mens jeg ånder én sommersky

.

in this shining night the wheat pretends to sleep

i denne skinnende nat lader hveden som om den sover

.

after the rain we wait for the rain

efter regnen venter vi på regnen

.

you never asked why they flew over water

du spurgte aldring om hvorfor de fløj over vand

.

I get the impression that my shoes feel abandoned

jeg får det indtryk at mine sko føler sig forladt

.

why? I cannot ignore the thistles in bloom

hvorfor? jeg kan ikke ignorere tidslerne i blomst
.

it only knows how to be a spider

alt den véd er kun at være en edderkop

Consider the ravens/Tænk på ravnene

the
ravens

con
sider

the
ravens

con
sider

the
ravens

con
sider

the
ravens

and
the
grass

gone

con
sider

the
grass

gone

to
day

gone

to
morrow

con
sider

the
ravens

and

the
grass

gone

to
day

and

to
morrow

gone

.

ravnene

tænk


ravnene

tænk


ravnene

tænk


ravnene

og
græsset

væk

tænk


græsset

væk

i
dag

væk

i
morgen

tænk


ravnene

og
græsset

væk

i
dag

og

i
morgen

væk

poem/question?

perhaps poems are more interesting when they’re “oblique” i.e. when they aren’t showing you something clearly but act a a sort of question into 1) what language is and can do (how inadequate it can be) 2) hints at a deeper connection between mind (spirit) and the physical world and 3) makes you question your everyday mind.

poems

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.

…*…

THE LONGEST DAY EVER RECORDED
when you turn your head the pain subsides

.

DEN LÆNGSTE DAG DER NOGENSINDE ER MÅLT

når du drejer hovedet aftager smerten

:

THE DENTIST ISN’T IN TODAY

I’ve only seen the Eiffel Tower

.

TANDLÆGEN ER HER IKKE I DAG

jeg har kun set Eiffeltårnet

:

FRIDAY

have you noticed the nails are bleeding?

.

FREDAG

har Du lagt mærke til at sømmene bløder?

:

YOU LOOK AT THE COBWEB IN THE CEILING AND SIGH

it’s no use
the pizza
sleeps

DU SER PÅ SPINDELVÆVET I LOFTET OG SUKKER

det nytter ikke noget
pizzaen
sover

:

ELEGY

she always tries to smile backwards

.

ELEGI

hun prøver altid at smile baglæns

:

NOT YOU, YOU CAN’T SHUT UP

every drop
’s full
of rain

.

IKKE DIG, DU KAN IKKE HOLDE KÆFT

enhver dråbe
r fuld
af regn