He wished to read directly off the pages of the book of nature. A word is what it does. A lighthouse of irregular habits advertised as an exercise in immediacy. His study of botany, monsters, and curiosities. Scientific tourists betray their creation as evidence. Spirits leaping from one embodied condition to another. Women as equipment to his thought.
The Whole Question of How Far it is Allowable to Depart from Actualities
Names according to the time of their coming. He who delves among books in various dead and living languages. He who works upon the skins of creatures. Foliage of such fragile character that a coyote might have some excuse for action. A case of parallel development that occurs in methods as well as in nature. And there assembled. A broad and graphic presentation of the conditions. A ghostly group of great-ground sloths.
Nature Serves to Cancel History
The Nature we feel for. Always bird bodies. Charms of wildlife. Evacuated recognition of pre–giveness. Of difficulties attaching to judgments. When a body is so near horizon. A single image of simplicity. To heart. Wilderness.
In the Department of Birds We Welcome the Possible
Accuracy is more–or–less proposition. Low down and close up. Architects impossible in need of work. During the next five years he painted African landscapes he had never seen. Truths rearranged into orderly progressions of interest. To create a message for the future. To prepare her for her coming tasks.
Sarah Mangold is the author of Giraffes of Devotion (Kore, 2016), Electrical Theories of Femininity (Black Radish Books, 2015), and Household Mechanics (New Issues, 2002). She was the founder and editor of Bird Dog, a print journal of innovative writing and art. In 2013, she received a National Endowment for the Arts Fellowship in Poetry. She lives near Seattle and works as a program manager for online learning at the University of Washington.
More from Vol. 34, Issue 4
Anna Akhmatova, trans. Donald Mager