Aught, no. 14 (2005)

Gregory Vincent St. Thomasino

Red Barge

all lights are seen as white
(between two, or, to show)

evokes clear, white, silver
to bring to light

gives and yet unable, to show
from black through gray running to white

may be ascribable,

or other means, in the above
(are heard, or line, or to show)

proposed by some to speak of
a certain for or of a certain group

changes in one,
to ask in such a way

one hand, one eye
the preferential use

of one side of the body
resembles that where they are said

it seems to say,
similar to white or tends to white

the presence in one,
or the revival of others, or of every detail

(tends to, or is likely)
may be a response

or any cue, broadly conceived as feeling
fought off,

or to, or of some other
to play

or of a town
to talk, or of giving light

seen as clear, white, silver
in which all lights are seen as white

and is likely, from a position
is likely to respond

given time
either as an aid, or charm

to do otherwise
and also used for both kinds

when visiting
a list of all the persons,

the names of all the persons
spoken to, or, having spoken, to play

showing no white
a tap or gentle plumbing

is no less so, for acts
of an act, or, simply, in reply

that the act, or less often, is dependable
in fireworks


Note on the text
Mr. St. Thomasino says about his poetry, "I have termed this sort of poetry 'logoclastics.' I translate 'logos' as discourse and I translate this term as 'the break in discourse.' But this 'break' must be understood to mean 'break' as in 'daybreak,' or as in 'to break the news.' What 'logoclastics' does is allow the logos, or, discourse, or, signification, to 'break out.' When you read a poem such as 'Red Barge,' which is full of suspensions, * and you come to a suspension and you 'bridge' that suspension — and what do you 'bridge' it with, but with your own logic, your own sense, your own meaning — you are making signification happen. Well then you have set free the logos, logoclastics has happened — the 'break' is in the 'breaking out' of logos. And I call this poetry, 'logoclastics.'   (* 'Suspensions' are not, and ought not to be confused with, the caesura, which has to do with a pause in rhythm. Suspensions are a matter of logic, and I am using the term in a somewhat specialized sense. The suspension, however, is more than a mere device or contrivance to facilitate participation / reciprocation / complicity, just be conscious of yourself when you are communicating and you'll realize that suspensions are not only frequent-as-to-be-habitual but are indispensable, but are elemental to language usage. And neither is the suspension an instance of aposiopesis ('a becoming silent') which is a rhetorical device used for dramatic effect. Consider that the aposiopesis is 'outward' while the suspension is 'inward.')"


Copyright 2005, by the author. All rights reserved.
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