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