This one starts with the pines through the window, though I don’t know where it’s going yet. Maybe there’s a lesson, maybe the moon shows up. Maybe there’s nothing but the vamp, the one, the two, the old soft shoe. The wind is on its hind legs, and the sky is a gentle brushed blue, and the pines half shrug as they sway. I falter on without much else to go on, aimless efforts stranded in strays and eddies, a shuffle of loosely parked cars and gossip. The wind and the waving, and the obdurate stretch of daylight.
There’s a train wail, then the whole catfight raucoustra choreography with every hiss and yowl in the canon. The window is dark now so you know it’s night. The big empty yawning straight out into the air and localized effects. The empty on me all the time, then all at once. The fading of a pair of motorcycles, the keening of a far off siren, this feeling away from my aptitudes. Sometimes there are dogs barking and they aren’t my dogs. Other times, well, who’s to say?
Mostly it’s the scene you make of it, dead branches blown to life by gust and zephyr animated by the sameness of the background. A sense of mountain range or star spread amid the spider silk and deadfall. One or the other, then one for all. I begin, a flinch or a feint, then some is or ain’t. There’s no telling because I am out of things to say. So brick by brick and bird by bird, there is a shape inside the skull. The path made clear in absence and inference, the passage becomes the text. An open window, and on you go.