Aught, no. 14 (2005)
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,
indirectly,
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.')"