1 poem
Ludic Loop
Everyone showed up as a representation of themselves,
the hour underlit against a stark white screen,
inside the photograph, night was falling.
I texted myself, the discursive moment’s eating itself,
got back, “the discursive moment’s eating itself,”
got a text from an ex, “I love the shadow world more than thee,”
the shantytown up the street roared toward the end of history.
Make your senses not be mimetic,
“Make your senses not be mimetic,” ok!
Heav’nly Venus, illustrious, laughter-loving queen,
sea-born, night-loving, of an awesome mien,
pray prevent confusions,
ridiculously besot with their full meanings,
with cemeteries that exceed themselves.
In Paris, on screen, a of row women filmed one by one
appear dancing simultaneously.
Got back, “Words are markers with shifting occupants
in their corresponding graves,”
no reference,
lost reference.
Anne Lesley Selcer works in the expanded field of language. Their writing on, with, around, and underneath art has created a book of essays called Blank Sign Book, a book of poems called Sun Cycle, and a multitude of multiform publications, performances, and moving pictures. Most recently they have collaborated with artists to make off-page works based on their poetry. Girl is Presence, The Mouth is Still a Wild Door, and The Sadness of the Supermarket: A Lament for Certain Girls have shown at International Short Film Festival Oberhausen, The Moscow International Experimental Film Festival, Cork International Film Festival, The Berkeley Art Museum, Crossroads Film Festival, and ProArts, in addition to other places. Their poetry and art writing is in Prelude, Jacket2, Hyperallergic, Fence, The Chicago Review, and GaussPDF, and other publications, as well as several anthologies and exhibition catalogs. Sun Cycle won the Cleveland State University Poetry Center Book Prize, and their work also won the Gazing Grain Prize.