Poem. Arthur Coleman

Sick and tired of sucking blood from hearts as they pound
slowly down to a halt, the vampire retired himself in a tomb
overlaid with miserable images of Christ in agony and weeping
cherubim to lie appalled by the gruesome hallucinations
seen by undead fiends deprived of sustenance: hell
the black hole spreading out in waves, thunderous and colorless,
from an imperturbable center; the shiny luster of the devil’s eye.
Visited by recollections of numberless encounters, methods of
seduction
that led unfailingly to his tongue, now dusty with disuse, lapping
about
in hot sanguine baths as his throat convulsed to the rhythm of the
pulse
of his prey, quickened by the panic that settles in after the violent
thrashing subsides and the vampire glimpses through wide dilated eyes
what all mortals are to be seized by and look on unendingly.

Projective Verse 1950. Charles Olson

Charles Olson

Projective Verse

(projective (percussive (prospective

vs.

The NON-Projective

(or what a French critic calls “closed” verse, that verse which print bred and which is pretty much what we have had, in English & American, and have still got, despite the work of Pound & Williams:

it led Keats, already a hundred years ago, to see it (Wordsworth’s, Milton’s) in the light of “the Egotistical Sublime”; and it persists, at this latter day, as what you might call the private-soul-at-any-public-wall)

Verse now, 1950, if it is to go ahead, if it is to be of essential use, must, I take it, catch up and put into itself certain laws and possibilities of breath, of the breathing of the man who writes as well as of his listenings. (The revolution of the ear, 1910, the trochee’s heave, asks it of the younger poets.)

Map Of Terror. Luca Paci

Please keep your music down,
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average of £175
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Map of terror
map the terror
be dazzled
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