Let us begin with a simple line, Drawn as a child would draw it, To indicate the horizon, More real than the real horizon, Which is less than line, Which is visible abstraction, a ratio. The line ravishes the page with implications Of white earth, white sky! The horizon moves as we move, Making us feel central. But the horizon is an empty shell— Strange radius whose center is peripheral. As the horizon draws us on, withdrawing, The line draws us in, Requiring further lines, Engendering curves, verticals, diagonals, Urging shades, shapes, figures… What should we place, in all good faith, On the horizon? A stone? An empty chair? A submarine? Take your time. Take it easy. The horizon will not stop abstracting us.
Not many passions take your pants off—
painting with oils, reading in the afternoon,
other people’s bodies. I want to really
say something here. I want to be clear.
But just as no two people see the same
colors, what you hear is not what I’m
saying. Not conversations as much as
serial misunderstandings, proximate
in space. One considers the dictionary
definition of “man.” One considers
the definition of “woman.” One considers
arm hair, soft spaces on a hot body.
The obsessive heat-seeking quality of
attraction. The paint on my pinkie is for
you—a little poison, a little turpentine.
The snaggletooth I want to stick my
tongue into. This is pigment from a rock,
this is pigment from a bug, this is pigment
from a bleeding heart, and this is jeopardy.
Passion brought me here, but passion
cannot save me. To mix linseed and
varnish, to create something is to vanish
what was there before. Chroma for fastness,
chemistry tricks. Such bold strokes in
erasing and framing delicate beginnings.