n_true-p by Franco Cortese

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Franco Cortese

A( )negative prefix is a( )n indefinite article taken’ a( )step back 2 look back a( )head. Thus not U or Mu or Me, but yus. Thus no chair is the chair, a( )nd e’erfore no chair a chair, for the particular is not the category a( )nd hence the category, in particular, isn’t.

Ent. Ropey.
No, tear.
No: Bare.
The re-?

is         canyon

next to the plane Butt
are sections of plane
within     canyon
and sections of canyon
along the plane.

What is this?

Cause a plane is both
wind-upping lane
and hand and
upstanding line with out-jut’d
face a sideways wayside and
profile in file filed under H this
face itself a more
concenterated flush
dashed—-strait a bit more
ahead than that 1irst.

What, the tuck?

Cause a canyon is more than that;
canyon the tin can yawning
and meat-manifestering yon then canned
in gross grocers abandon
refusing to re-fuse and or and
to not dom yon as in the jamming-in of
ur’s err butt rather don it and do on it, an a-ban
rather than strict(ur)e) banning
or constrict(ur)e) nabbing
canyon an open-can-do on yon
itself a yonness outfacing yon yon
nessness like like and
and every everything ishish or or or esquesque
a sort of done-douse mirror of scales
iting watchself with sprawling unhe’s
actually quite easy to uphilt
with t’his t’here resident stranger
whose eyes ownly eye can see
only when facing away from me
this seeing seeing without need
still in need of coursing need
itself of course
O – and course of course.
So face me the wanting wanting
all you want O cold kingly carn,
night sky of my eye
and starry breadth of mhind I
looking out onto itself
from the sideside into.
Turn to face me to your
art’s content, see if
the ware I ( – where?) wear
cares, or if I can, and if I am, or
if it matters and if cans can
can as such, and thus whether they am
as well as well, as as and as a
thing to can; whe’er voub or nern;
whe’er a( )n (in)bound(e(a)d) openness
or ability

Poetic Statement:

Poetic sensibility exists (at?) the boundless boundary of meaning and language. The inherent, inescapable ambiguity at the heart of language facilitates an ontogenic interplay that constitutes a new terrain for and topology of truth, one that defies truth-as-staticity, with its sickly want for clean cohesion and clear correspondence, for a more multiplicitous ground defined more by indefinity and else than anything else. Poetry can facilitate types of rhetoric that are unencapsulable by normative narrative or essay, and no less true for it. Poetry can break into the interstices of language and grope closer to the currently-ungraspable. That place, where things are never always what they appear to be, is the only place where truth has a chance, and that place is the place(holder) that poetry poiesizes.

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