Ann Cotten

Ann Cotten Poems

I'll speak for you, so hush.
Shut up, I say. Come now,
come on, be calm, I say, I'll do the words
and when I'm done we can climb in together.
...

Your name is far and wide, and yet it was sometime,
I mean, not long ago you were a new lesion.
And now I hardly see a word before seeing
you in the place of everything I miss. Laughter
...

All swans are called Reinhard. Not really, I know
they just look like it. Like a certain look. And so
- - - - - - beep - - - crumbs and they are merely
what they might think (no no no). They wear glasses
...

They are not there for anyone to live on
and really, they can only do things wrong.
They swallow hooks with little pain
but monofilaments get them first.
...

Trade will always be the same, but you can always leave.
Hercules & Atlas

Bleed the Lily gently, palpitate the Thorny Rose,
The Tulip dreams, the sturdy one, upon her sweetened rows.
...

A terrible claw has hit me
it lives in the picture carpet
don't ask me I don't know
what it is but it is
...

Leap through the Styx, a quicksilver
curtain, an advance, a breakfast.
You close your eyes and pierce the surface of the water.
Now you are in another world. Like words,
...

Late clamours in and we spit on the fence, where
Mister Leach is banging Cary Grant, bunching their evening dresses
and a bird keeps saying 'Hobts ka Wohnung?'
...

Beds, lend me your ears! I did consider writing this in verse. For a while it seeded a good idea to me. Which disintegrated, of course (my opinion).
...

They're sputtering like motors with no clue,
the oil wants to get out and spits
words only to lose them
like dead good mousers.
...

The Oil must leak.
The tongue must toil.
Man must use
both tongue and oil.
...

The crop of this expanse is stubble, no, how do
you say, loops, simulation of fat land. Diplomats
walk on them and so do we. Every loop
rears its head once - ah fleeting youth! -
...

When I learned how you put my little half-sister to bed
and how in good moments I converse with my lover, I realized:

Did you talk with me in my early years
...

Rise up, swell illusions, cutoff cables,
tragic flowers, uneven equals. Oh you kiss,
you smouldering blooming kiss of bad
craftsmanship, and oh you human eyes.
...

The one in the corner / the woofs and the breezes / the noses / the goading / the needs and the freezes / the iconoclastics / the jeopards / the beatniks /
...

The palindrome is not palingenesis:
The latter would be more an anagram.
In search of erudite convivial theses
it has been done with rocks, nations, spam.
...

Take me. Take me well. And not enough,
withal, take others. Take my soul
and beat it soft upon a window pane,
that it might kool my face. It comes
...

I have bad feet
I practice verse
unmissed am I
where strange lands were
...

Pots!
At eye level - Shards!
All these dippers and ideals,
imagination healers, bigwigs of the world,
dried, ground, decorated protection,
...

Love, love will tear us apart
Ein deutscher Geist tritt an den Start
the devil never fails his mark
I am a man and you are a heart
...

Ann Cotten Biography

Ann Cotten is a poet, prose author, and translator. She was born in Iowa in 1982 and moved to Vienna in 1987. She studied Germanistics at the University of Vienna and has been living in Berlin since 2006. Since 2000, her poetry, prose, essays and illustrations have appeared in anthologies and journals such as Die Rampe, Kolik, Zwischen den Zeilen, and Schreibheft. Her first collection of poetry, Fremdwörterbuchsonette (Suhrkamp), came out in 2007. She also published a book on concrete poetry entitled Nach der Welt: Die Listen der Konkreten Poesie und ihre Folgen (Klever Verlag) in 2008; a collection of poetry called Florida-Räume (Suhrkamp) in 2010; and her first full length book of work in English, I, Coleoptile, (Broken Dimanche Press) in collaboration with the artist Kerstin Cmelka came out in 2010.)

The Best Poem Of Ann Cotten

Metonymy, us

I'll speak for you, so hush.
Shut up, I say. Come now,
come on, be calm, I say, I'll do the words
and when I'm done we can climb in together.

Writing, you say, it really tires you out.
I'm more exhausted just from saying 'I', say I.
Spread out your pronoun, it can mean us two
and then we'll have a picknick on it. Really.

The word has trouble passing through my teeth,
my jaws will tend to clamourously jar
when you mean me and I mean you, and grinning
in silence churns our bosoms into harmony,
we ask: shall we? You say: I would,
what about you? when our teeth meet.

Fill up the glasses! Merum will keep us
behind the bushes and out of harm's way
all afternoon, making wild passes
that spill tannin on what's inside our faces,

caught up until the trees begin to tip,
mixing the alphabet up in our eyes,
as we guess on, trying to figure out
whose name it is we're cutting in the tree

trunk, using my knife. 'Cause yours is much too small
and switches back when used at the wrong angle.
And as I grave the last letter of 'YOU',
you, seriously: 'Look!' You've written 'ELVIS'.

Right. So we make mistakes. But something's laughing
at our attempts, I think it is the tree.

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