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Writing As
stephanie pope
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..............................................................................................................the Willendorf Kostenkian
in the beginning
was the word –ef/aaay/tea...
......and then..........
...........the word as......
......made
........................flesh... |
Writing as
like an instrument the sun cut
and the god used the son
to write
in the beginning
was the word –ef/aaay/tea
and then
the word as
made flesh
.....................*********
something writes
in something gone
where a god kept right on using
the son to tell the difference
god used the son like a word to right with
“My son, the toolmaker, preys”, god said
god must’ve been a hunter
back then
and the light must’ve been
like a tool of god but not that good
and god was not that good
when in light god next made her
when light made her, it made her seem
she seemed good and angry, too
like she was preyed upon the same way light
made god angry when Prometheus preyed
in praying
to this day, this son or this light
I don’t know who was angrier
but it wasn’t her anger
it was what made her when it made her up
to follow the story of light
she was like that which stood in for
what it could not stand for... nor
stand against; and so, a little darker
represented in an other in light —she
even now she is something darker and
tempered; a temporized space for making
(did you catch it, that moment in subtraction?)
.....................*********
how is it she is only for and always for
undoing the anger in making flesh mortal
an intricate evasion in the argument:
going on, she goes between god and man:
she, the peace offering, she
the shadow-land, she, the dove
what about she, the female?
why is there
no know
....↓
meaning
...↕
...she
(did you catch that?)
Let me slow it down
...................... sssssss heeeeee
.......... she carries ajar
............ ......... possessed by liquid language
......never living any
..... never living where....her shades are never
....................................before themselves;
...................... they are snuffs and sniffs
..............................behind
...............themselves ...... fore
................... ..shadows::shadows
..............................shades
these pronoun a see a she a she’ll that will
not possess nor pronounce; a shell
to re present in; an in-known with "out" there
already in shades as none but she as 'she' is
as is without renown; nouned
.......and then, renounced
.......(ajar has no-soul)
ounce per ounce no is no thing
necessary yet feared; like no body —a fat
instead of “Getta load a fat! What a Body!”
you say, “she’s lost her shape” and now
where you desire what you hate you are
going to destroy what you cannot have
“If I could only lose fat!” you say (favoring a jar)
her difference is her own fat curve
shell not want & never crab
s/he maketh to in water, lie
.....................*********
in curving, fat re
presents no, meaning
abject body hides what
the promethean pretends
in clam; underneath her
there is a difference
in a body that reflects
that difference
but just try and bring that back
to life in three dimensions
.....................*********
when the animal adverts
to walk in nothing
a dolium, luminous(and dark)
her wild shadow hunts my skin:
my shell
shot through
lit up
dying
only meet re mains remaining
left and rot; the rest, burnt offering
and red, turns back and blackens, hiding
but, where the hide turns back
a metaphor hunts
..................
that’s what it’s like
behaving her and coming to presence
over and over no half shell story
in desire; it’s like living 'as' ...alone
.................*********
and so
alone
in some shadow
shot through the wrists
run all the way through
the battlefield
a vanity
with veinity
in wild weathered
not-to-mention vanery
spurts a dark blue, the way her blood drew
wild the way her inked no’s
in my blood ink and wit
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The prehistoric "Venus of Willendorf", circa 20,000 B.C., discovered in 1908, has always been an important image for artists. In Fall, 1990 the holographic artist Jonathan Ross created Venus Willendorf '91 for the cover of Sculpture magazine. To visit the image and learn more about it from the artist click on the artist's name. Pay particular attention to the various reactions to the image expressing both attraction and repulsion.
Regarding the 1908 Venus of Willendorf discovery and the reconstructional transformation, the Willendorf-Kostenkian shown just below the poem title: Already in the nineteenth century the world-renowned Venus of Willendorf was unearthed by the Danube River. The reconstructional transformation shows various arrangements of the head (different variants of the transformation) typical of the Gravettian culture of Moravia, Slovakia, northern Austria, southern Poland and Central Russia following the Pavlovian, approximately 27,500 - 24,000 years old (23,000 – 20,000 RCYBP), when long hair was rare. To learn more regarding The Willendorf-Kostenkian click link.
For more on Sheela-na-gig: male and female images of lust
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