a grammar we
have
not
mastered
photo: © 2009 Jason Riker, Riker Productions
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Our dance is an agitation.
We barely hear
the train
cannot be here
without
You know
your body
photo: © 2009 Bill Hayward
We cannot see the window.
By we we mean we.
By window.
The bruise
lengthens,
dark cloud
horizontal
We are coming open.
The song keeps us close.
We can forget or forgive
Not both.
We are not the same
Movement
We differ
each other
Because today
I decided on the next train
Same dance different
meaning we inflect
each other
We go into
The dance changes
our movement
This same dance
This grammar
we have
photo: © 2009 Jason Riker, Riker Productions
We grow into the dance[1].
This[2] is an
Untitled[3].
As[4]
Poem[5]
Is to poem[6].
We go into the dance.[7]
- photo: © 2009 Jason Riker, Riker Productions
[1] The dance is ours, we are each other’s, we compose the dance. The note goes next to the word it expands.
[2] “This” is this.
[3] or “Untitled”
[4] The dance between simile and metaphor.
[5] or “Poem”
[6] this poem, for example
[7] This dance. The note goes after punctuation if it has a more extensive field.
photo: © 2009 Jason Riker, Riker Productions
This is playing dead in someone’s arms, spiraling on one’s knees.
This is a series of moves. From every slat on the floor, arms outstretched clasp elbows.
This is how to mount one’s breastbone, static for a very long time.
Back to back with lean leg muscle, this is intertwining joints.
This is a series of poses called “balancing one’s calves atop abdominal muscles.”
And this is the extension of four arms. This is two hands clasping.
*
Foot rest on thigh muscle.
Foot rest on back muscle.
Foot rest on black floor.
*
This is backwards into someone else’s hamstring.
Now, a solo performance. Dirty from the room’s black floor.
Now one arm behind the neck then motion.
Some distance by contracting muscles clean wide line.
Pressing one’s hand through the ceiling.
Pressing one’s hand through the breath-colored box.
*
Mime pressing hand through invisible box.
Mime trembling floor with string of pearls.
Mime in white slip extending string of pearls.
Mime choking itself. Mime ties its wrists together.
Mime seduces left leg posing.
Mime pointed one foot tracing circles on black floor.
Mime beneath black curtain.
Mime flying extension with one wrist outstretched.
*
Dancing with dead face.
Dancing already dead.
Corpse in a music box.
*
Image of clean wide line extending toward ceiling.
Image pooling down from hair pooling down from cheekbone.
Image of two circular chapels, one clean wide line.
One clean wide line up ninety degrees.
photo: © 2009 Jason Riker, Riker Productions
We are at windows, we are in halls, we
see through glass. We pass the stair. We enter
a movement commitment. We pass inside
outside—touching on trains—this
close. Look in. This place. We
see together. This window. We
know how this goes. We goes.
Uncertainty
1.
Back up a little more. Drop your paper where
it was. Where you had it before. What I would do
I would flip it around. Spread your feet a little
more. Don’t blink. Hook your thumb in your
pants. Don’t blink. Spread your feet
a little more. Drop that paper. Stay right there
don’t blink drop your head drop your paper
a little bit flatter. Change
your arm position here. Spread your feet
a little more. Lean more
towards me. Lean straight
into me. Cross your
arms. Pull down your shirt. That’s more
chin up, don’t
blink. Drop the hand with paper down
don’t blink. Try the head
the other way a little. Drop your chin
spread your feet a little
more. Lean over your shoulder towards
me a little bit. Tilt your head
that way now.
Turn the other way and
try. Let the paper hang straight
down. Come back straight back
around. Don’t move
grab the paper. We can’t read it. Fix your shirt tilt
head a little more apart. Don’t
blink. Chin up a little. I need to find
something this camera wants to focus on.
photo: © 2009 Bill Hayward
2.
I’ve got gray, black, and white.
I’m on the top center point
close to the skin and the gray.
Move your hand.
Head straight up and down, chin up
a touch. Move your hand, let me
see a little finger. Break at the waist
towards me. Now
hold it, head
tilted. Relax a second looking
at the camera. Or
the paper wrapped around
her leg. Flat like that. Ninety
degrees. That looks a little too
opposite. You can barely
read what’s written.
[…]
“I was trying to feel uncertain.”
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