Narrative Poems - Poems For Narrative

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  • 301.
    torquing torus

    It very rare for Richard Serra
    man of steel, to sculpt in error.
    The shapes that he creates evoke
    dunes, canyons and ravines. Baroque
    the influence of all these curves.
    Perhaps Borromini deserves
    some credit for the inspiration
    for their expressive undulation,
    although, ingratiating, lavish,
    his expertise inclines to ravish
    as, torquing torus with inversion,
    with parasexual perversion
    it transforms alchemistically steel
    into raw spaces where you feel
    the presence of a dying numen
    within the crevasse of the lumen
    where people walk and need not climb
    to sense a terror that’s sublime.

    Michael Kimmelman reviews a retrospective exhibition of Richard Serra of sculptures at the Museum of Modern Art in New York, “Man of Steel, ” NYT, June 1,2007) :
    That second floor at the Modern, by the way, is the show’s tour de force. A high, huge and like so much of this museum, totally unlovable space, it was conceived for housing Mr. Serra’s sculptures. Kirk Varnedoe, the Modern curator, came up with this idea, and the museum saw his plan through after his death. The resulting space is antiseptic, unfortunately, and too much of a barn for showing anything else, but it looks fantastic now. At one end is “Band, ” a 70-foot-long steel undulation, absent an inside or outside, forming four cavities. On the other end is “Sequence, ” which links two immense spirals. In between is “Torqued Torus Inversion, ” a pair of mirrored enclosures whose forms Mr. Serra has said may partly relate to his fondness for curvy Chinese bronzes…
    These shapes and experiences are new. That’s about the best, and the rarest, compliment you can give to any artist. Mr. Serra’s “Torqued Ellipses” and “Torqued Toruses” and other recent works like “Band” and “Sequence” have their origins in work he did 40 years ago in rubber and lead, as this retrospective handsomely affirms, but these are nonetheless unprecedented variations on the theme of dumbfounding spirals and loops. The public’s perception of Mr. Serra’s work has also obviously changed from the bad days of “Tilted Arc, ” a quarter-century or so ago. That same vocabulary of curved, giant metal walls, once vilified as art-world arrogance, is now better understood and broadly admired. This is how radical art operates. In Mr. Serra’s case you can also call it democratic art because it sticks to pure form that requires no previous expertise to grasp. There’s no coy narrative, no insider joke or historical allusion or meta-art theme. There’s none of what Mr. Serra disdainfully calls, in the show’s catalog, “post-Pop Surrealism, ” by which he lumps together all contemporary art that leans for a crutch on language and Duchamp. In that catalog interview he was talking with Kynaston McShine, one of the show’s two curators. (The other is Lynne Cooke.) Mr. Serra famously looked at Borromini churches in Rome before he started torquing steel, but his work is not “about” Baroque architecture any more than it’s about Jackson Pollock or Barnett Newman or Donald Judd, whom he also looked at and learned from early on. The art is about the basic stuff of sculpture, isolated and recast: mass, weight, volume, material. What matters in the end are your own reactions while moving through the sculptures, at a given moment, the works being Rorschachs of indeterminate meaning….
    A filmmaker I met in Bilbao, Spain, wandering through Mr. Serra’s sculptures there, likened the experience to movies. He thought the paths Mr. Serra devised within the works, between curving walls of steel, which suddenly jog, then arrive, unexpectedly, at cavities or enclosures, were like plot twists with surprise endings. Except there are no beginnings or endings in the sculptures. A novelist who has written about the Holocaust said the high, curving steel walls leaned over him threateningly, leading him until he became disoriented and lost, into what he felt were penned-in spaces, bringing to mind a concentration camp. The art scared him, he said, but he also loved it. Kant called this feeling “the terrifying sublime, ” which is “accompanied by a certain dread or melancholy.” Awe and fear mingle with pleasure. The concept was applied to mountain climbing, and Mr. Serra’s new works on the museum’s second floor, perhaps not coincidentally, evoke canyons, dunes, crevasses and ravines. The industrial steel walls, in uncalculated rusty orange and velvety brown, evoke natural terrains; the spaces through which the sculptures move people are akin to spaces in nature.


    6/1/07 read more »

  • 302.
    born in baryards

    Born in barnyards, see how roosters strut,
    searching for a hen that is a slut.
    Wherever men are born they do not care
    about most women till they see them bare. read more »

  • 303.
    boredom

    Boredom’s a corrosive force
    from which aggression may escape,
    not only fighting wars, of course,
    when it can even lead to rape, read more »

  • 304.
    Ichabod - The Story of Discontent (Narrative)

    This story's for the humble
    And I'll hide identities
    For it may make you stumble
    To know the realities. read more »

  • 305.
    The Death of Rebellion (Narrative)

    She was a sweet young girl
    The apple of her father's eyes
    Her long hair blessed with curls
    She was adored by all the guys. read more »

  • 306.
    a narrative of the war

    The soldiers are nearly all young men,
    and far more Filipino than is generally supposed -
    I should say nine-tenths are native-born. read more »

  • 307.
    Interlude narrative verse for M lady Ernestine

    The silent cello waits in vain.
    Her owner can no longer play,
    her twisted joints in so much pain
    Arthritis has now won the day. read more »

  • 308.
    narrative poetry: Learn more!

    different?

    Though
    his earliest poems read more »

  • 309.
    Sparrows

    The sparrows are out tonight
    In the expanse of the sky
    Dashing in different motions
    Like flames in several portions read more »

  • 310.
    Evocation & Imagination

    That Garden is fill'd
    With buds and roses
    Growing generously
    In beauty and care read more »

  • 311.
    The Bookworm

    This alien land is made of paper
    Its pages stay firmly stuck together
    Until this foreign creature slides them apart
    She ruins their land like she has no heart read more »

  • 312.
    Robert James “Bobby” Fischer world citizen despite USA

    Why, international chess master,
    why all magistrate ingenuity wasted on a puzzling game?
    What with the black king, what with the white,
    what secret passion with the duo femme read more »

New Narrative Poems

  1. Your face tells it all, Anu Shraddha
  2. A spy, Kenneth Maswabi
  3. Crossman, Edward Kofi Louis
  4. We should, hasmukh amathalal
  5. The Question! ?, Frank Okoth
  6. Girish Karnad, Your Nagamandala, Not You.., Bijay Kant Dubey
  7. HAPPY BORN DAY ALVIN, Alvin Word Speaker Tatlhego
  8. Dalit Literature, Let Them Write, You Wr.., Bijay Kant Dubey
  9. Dalit's Case, Why Are They Handling?, Bijay Kant Dubey
  10. Evocation & Imagination, Maria C. Pires Costa
  11. Touch not, gajanan mishra
  12. Narrative, Juliana Spahr
  13. A Sense of Sumptuousness: A Found Poem, Frank Avon
  14. art uncle jude, binod bastola
  15. Itinerary, Roberto Tejada
  16. I Boomerang, Michelle Claus
  17. Nameless, Charles Monroe
  18. Revelation's Finale' - So Close..., MoonBee Canady
  19. Living In Paradise, Lento Maez
  20. Respectful Narratives, RoseAnn V. Shawiak
  21. The Definition Of Poetry, Bijay Kant Dubey
  22. From This Bridge, michael oliver
  23. From the bridge revised version, michael oliver
  24. Portrait, of i, Owen Bittner
  25. Invent Colors, gajanan mishra
  26. élan vital, Tori Pleasent
  27. Horns of Hattin, Mason Maestro
  28. Alankar(Decor) -98, Indira Renganathan
  29. Muir Woods, William B. Deutscher
  30. Portrait of a Poet, Leaking Pen
  31. Terrestrial Trance, Mason Maestro
  32. Which Is; Which Is, Luis Estable
  33. Whoever Did It: Cruel!, Luis Estable
  34. Mimesis: Morphed Magnetic Disks, Terence George Craddock (Spe ..
  35. The Literal Pain, RIC S. BASTASA
  36. I Drown In Words, Cynthia BuhainBaello
  37. Leitmotif, Udaya Pant
  38. PANTHEON, Satish Verma
  39. God's Repentance On Yom Kippur, gershon hepner
  40. I once knew a girl, bill nye the science guy
  41. Sparrows, Chester Maynes
  42. Chells memory, michael oliver
  43. The Stories, Mohammed AlBalushi
  44. Mimesis: Morphed Magnetscheibe, Terence George Craddock (Spe ..
  45. Political Warriors, Buxton Shippy
  46. Search, C. P. Sharma
  47. Soil, Alexander Keli
  48. To a Wasted Life, David Blake
  49. An ode to Russ Ligtas’ butoh performance.., Liyo Denorte
  50. The Poems Bring Me Back To Myself, Shalom Freedman
  51. typhoon, RIC S. BASTASA
  52. envy, envy, sad eyes, RIC S. BASTASA
  53. i like the way you write, RIC S. BASTASA
  54. BEATING THE BUSH, RIC S. BASTASA
  55. It Seems the English, Patti Masterman
  56. something is wrong, adil khan
  57. memory warp, , fraud and freud, gershon hepner
  58. Dance of Life, Nirmal Kumar Mishra
  59. poetry, not prose, gershon hepner
  60. Felons and Talons, Naveed Akram
  61. The Letter (iii), Jacqui Thewless
  62. Maya, Ilham Ahmed
  63. Hymn of the Bonekeeper(minor), Joshua Lee
  64. The classics, Rm.Shanmugam Chettiar.
  65. Story of My Name, Naveed Akram
  66. The King's Summons, Herbert Nehrlich 2
  67. Ballet Rosette, Ahmad Shiddiqi
  68. Ballade d'amour, Ahmad Shiddiqi
  69. triptych, gershon hepner
  70. craft, faith and narrative, gershon hepner
  71. Most Fables, shimon weinroth
  72. Wayang Kulit, Ahmad Shiddiqi
  73. Kebyar Dance, Ahmad Shiddiqi
  74. Legong Dance, Ahmad Shiddiqi
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