Andrew Cantrell
DUSK OF CLEARING
Andrew Cantrell has recent work appearing or forthcoming in SPECS, Arsenic Lobster, Beecher's Magazine, Emergency INDEX, Heavy Feather Review, Posit, Lana Turner, Upstairs at Duroc, AlteredScale, Pocket Litter, and Anomalous. He lives in Chicago where he works as a union organizer, does things with words, and co-curates PSA Projects, an itinerant, experimental screening series. He recently completed a residency in Literary Arts at the Banff Centre.
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DUSK OF CLEARING
The room what's more took on (what's) more
Took on a darker and it in its displacement
In imagined disguises in alluring glances
In atmospheric rudiments held a like or a double
Hope alone of a desired image along/among
A daemon simultaneity of influence and
Standing by less lured than barely bound by any
One else a diminished expression (submerged)
Disguising itself costumed experience accustomed
To root to thoughts (dry rot in a dry room) as it wills
Despite hunger and through sluggish bends present or
Pre-sent the fickleness or the indifference it has to have
Involuntary to itself to save an examined day: difficult
Long frequent
STARS AND SLANTING
Not lost but becoming although also
Of being or tense this translation
Itself a mannequin sense immensely longer
Immediately and lingering still strewn upon
The present minutes like the last
How it has that increase of the new How
It longer rather believes alone along a mile or less
Across a relief unannounced and especially
               [Despite anything of new concerning now]
To us who are actually or (as before) gladly
And painfully no longer ourselves among years no
stronger alike or our selves at all Our sculptural
Life-like contemplation time-like of this experience
Of a minute longer is no longer forsaken in instants
No longer hostile if nonetheless not elated
EXTENSION WAS A RIDDLE
Compared by exotic passages
               [satanic] [accidentally]
Motion before the next breath left
Beneath the quick the thick glance
This dosage depressive of this yielding
And across an/d entirely spatial itself
And they themselves formulated they
Themselves certain of already perceived
Moments now come to hand and to any
Number of things a climax underlying
This radically exclusively immediately
Is nonetheless a confirmation a doubt a
Sense quiet amiable that here that (any
how) There's an adapting profoundly more
To recall entirely spatial themselves already
Perceived moments.
PROXIMITY
Passages haunt tones of although glowing
Of although oneself or an operation
               [In one play a double possibility]
A noteworthy a proximity
To a first difficulty to a relation
               [Certainly it's somewhere]
To that insensibly endlessly intensified
immensity that's yet to be lost or
With displacement to be seated Or in
Traveling its motion a feeling first out of
This yielding to An elated or an elevated doubt
Within mental a suspension within ornamental
A proximity to our first to our difficult relation
HUSKS THE HUSH
A factory for sense for a murder banal
And hardly self-absorbed (still) a certain
Friendliness or altogether a silence between
One and another Just as first just as restive
A memory of oneself arrested in well-known
Figures forms gently in figures forming
constellations and in suddenly and in still gently
A sensation now perceived now understood
Now abrupt from ages which had first perceived -
I said to myself – really, I seconded it – as that duration
Once meant to be subject to (everything) to a
Andrew Cantrell has recent work appearing or forthcoming in SPECS, Arsenic Lobster, Beecher's Magazine, Emergency INDEX, Heavy Feather Review, Posit, Lana Turner, Upstairs at Duroc, AlteredScale, Pocket Litter, and Anomalous. He lives in Chicago where he works as a union organizer, does things with words, and co-curates PSA Projects, an itinerant, experimental screening series. He recently completed a residency in Literary Arts at the Banff Centre.