This poem is taken from PN Review 229, Volume 42 Number 5, May - June 2016.
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Drawing your attention to the number of frames
Per second, we turn the Muybridge-sequence each way,
Thinking of the difference between ‘metres’ and ‘metres-per-second’.
Like no faces you’ve ever seen before, the faces
In Jacques-Louis David’s unfinished Oath in the Tennis Court (1790–4)
Are torn on to their nudes, riffing on aspects of conjugation,
Of confluence. ‘Look at how the never-living differ
From the dead’, you said, ‘and this other fine mess
You were about to have gotten me into’. Bit by bit
We unmade sense, and all the other kinds of trouble
You were about to have gotten me into. ‘Bit by bit,
From the dead’, you said, ‘and this other fine mess
Of confluence.’ Look at how the never-living differ,
Are torn onto their nudes, riffing on aspects of conjugation,
In Jacques-Louis David’s unfinished Oath in the Tennis Court (1790–4),
Like no faces you’ve ever seen. Before the faces,
...
Per second, we turn the Muybridge-sequence each way,
Thinking of the difference between ‘metres’ and ‘metres-per-second’.
Like no faces you’ve ever seen before, the faces
In Jacques-Louis David’s unfinished Oath in the Tennis Court (1790–4)
Are torn on to their nudes, riffing on aspects of conjugation,
Of confluence. ‘Look at how the never-living differ
From the dead’, you said, ‘and this other fine mess
You were about to have gotten me into’. Bit by bit
We unmade sense, and all the other kinds of trouble
You were about to have gotten me into. ‘Bit by bit,
From the dead’, you said, ‘and this other fine mess
Of confluence.’ Look at how the never-living differ,
Are torn onto their nudes, riffing on aspects of conjugation,
In Jacques-Louis David’s unfinished Oath in the Tennis Court (1790–4),
Like no faces you’ve ever seen. Before the faces,
...
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