kari edwards
kari edwards Poems
can I do this spiritual drag, collective agony wishful thinking, fearful peek-a-boo actuality about to be read in unapologetic disinterested participation against fantasy without benefit familiarity, remembering distortion,
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even when issues arise and obedience can not be secured by the bludgeon, the bludgeon remains; when we mention the people, we do not mean the confessional body of the people, we mean particularly itinerant bodies
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everyone's dying
everyone's dying to die
everyone's in my way
on my way to die
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in the general conservative cast, overcome by lack of suicidal tendencies, in the worried beyond reason shaking dense under-growth invasion of deliberately callous vertebrates, hotheaded newagers paint possible minds dirtier than can be produced in a real whereabouts nonlocation location, crumbling in darkness.
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ready to receive remains built for death, ready to receive the flatly desolate superficial deeply commissioned intellectual offer of suggestive actions, for the hunger assassin to fall back on and become forcefull psychological damage, bottled for drinkable agitation.
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the day shifts, we talk to each other the way we talk to each other, the luster fades, our bodies fill with sap, there is a shift, joy reappears before another personal narrative burns to a heap of citations,
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there is a shipwreck on each side of innuendo, tears gather around the collective shadow of shadows; none clearer than the last unshakable, anatomically inexplicably, never noticed, next time, please sir, more.
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again, playing with fire
unpleasant reminders burnt away
fumed extreme flat
again, playing
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kari edwards Biography
Active as an artist and a gender activist, kari edwards is the author of post/(pink) (2000), a diary of lies (2002), a day in the life of p (2002), iduna (2003), obedience (2005), and the posthumous Bharat jiva (2009). She received a New Langton Arts Bay Area Award in literature in 2002 and the Small Press Traffic’s book of the year award in 2004. edwards resists the idea of gender roles and conventional genre divisions; a day in the life of p has been described as both a novel and a form of poem. In a 2003 Rain Taxi interview with akilah oliver, edwards remarked: “for me language becomes a tool that can be used and then destroyed or reused again in a different way.” Describing her dyslexia, edwards added: “I may be fortunate or not to be dyslexic, so I have the ability to look at an object and lose its name; for a moment I’m in the presence of that object. I guess the same goes for gendered individuals […] it could be that they are a male or female but I never try to fix them to position.” Her own works often give the impression of not being fixed in position, while they capture the development and progression of thought. edwards has contributed work to Blood and Tears: Poems for Matthew Shepard (2000), Transgenderism: InterSEXions of the Others (2004), Civil Disobedience: Poetics and Politics in Action (2004), and the International Journal of Sexuality and Gender Studies. She is the subject of No Gender: Reflections on the Life & Work of kari edwards (2009).)
The Best Poem Of kari edwards
[can I do this spiritual drag . . .]
can I do this spiritual drag, collective agony wishful thinking, fearful peek-a-boo actuality about to be read in unapologetic disinterested participation against fantasy without benefit familiarity, remembering distortion, forgetting drudgery necessary to consume anything cement sorrow, surrounded by transfer credit surcharge immortal siege ideology, submissive to appliance bodyisms in doubt in the face of stupidity—oops—knowledge, derivative of skin, bones, eyes and the rest, opposite abrupt aggressive remoteness here to serve another ascendant say-so? I tremble in doubt, divided by multiple entry points and explosive content wrapped in rambling overlays sent to the council on commentary, and without exception the animation either frenetic or dull, shifts to no options left, recognizing useless hope in the face of bomb holes caused by numbering digits.
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