Kenyatta Jean-Paul Garcia

Three Poems by KJP Garcia

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Three Poems

by

KJP Garcia

Stop By

Did you ring the doorbell?

This house is your house –

so to speak.

 

Open so long as you let yourself be heard.

But locks must be engaged, shutters closed

–there are some

that do harm –

 

Villains are not simply storylines, costumes, secret identities, powers

but will and win if not on guard

Feel free to come by, as (is) possible, you’ve come by before so unknown

So entrance was removed.

Time, this, as always will be different.

 

Afford

If on verge then do well to continue

Ceiling leaks, drops break in.

Mattress steals space from living.

 

And this teetering persists?

Make a go of it

– rest doesn’t go well

Fall, jump, get pushed

-expire-

afford a balance to repair’s value.

 

Which Side

Which side of the Hudson is for Verlaine

And which for Rimbaud after the break-up?

Not world enough / strong enough

to open petals

lay out

lyricism

illuminations

the way New York

can

with all the best pharmaceutical grade . . .

And two rivers and upstate to run to and Jersey

ready to back pocket

the written

on train out of here

to calm down.

 

So, Seine, which side is for Warhol and which for Basquiat

When done / decorated enough

to have back what is held close /

unwanted?

 

Poetic Statement: Experience is a plurality of convergences, interruptions, digressions, departures. These occurrences are the fragments which create larger memories and the narratives one attempts to convey to others. The closer one comes to examining the past, the more one notices how the present constantly interferes. The narratives one creates from the keepsakes of yesterday are shattered and forged again with new data – sensations, perceptions, insights, exemptions, the heard-words, the read-words, the thought-words, the dream-words, the images and ideas of having been inserted into a life of disturbances.

Bio: Kenyatta Jean-Paul Garcia is the author of This Sentimental Education, ROBOT and Yawning on the Sands.

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Faded by Matina L. Stamatakis (with KJP Garcia)

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Faded

by

Matina L. Stamatakis

(with KJP Garcia)

plancelled

– kept aside

while sweeping from cell

dispersions

driven back to center

-clarified edges exposed

as indefatigable limitations

* * *

envelope disorderliness

of infinite spaces

─ghost automatons

                                rapt in lush circuitry

─synapse

a refuge

                            in the tumult

* * *

for every longing

overdue

evolution             /              sin          /              violence

purity + deeds

(s)wearing

circumspect technology’s

                                introverted shame

* * *

                                                ─rising

through darkness

                                                                                                                                                 [a doomed conception]

of alien sentience ─

throat                                             spilling-out accursed

ejectamenta                        (im)pulse,  a quiver

* * *

                                over(t)ly

(e)motion

:all – foreign to imminent

                                                                                                                                                                                                                                                                             choke down

of thrust              –              throb                     –                              set

aside with missteps

of speech yet to attain (a)trophied silence

* * *

                                                incommunicable language ─ exasperating

shape of open

mouths─ illusion’s desperate

trigonometry //  a priori: as tongue,      refracted

by  birth’s
origin
[un]wavering crux, thus Being

* * *

humble rivets – know trivial confusion for slack of steel

.  time bends light with/in gravity’s tru(e)st

– accord.

stains are false brands stubborn – undisturbed by wash and play

= only age (befri)ends ultimate options

faded beyond

e                             +/-                          legibility

* * *
the mind’s errata,

                                cognition: a synaptic labyrinth                                    ─disappears between

oceans of membrane                                   [un]familiar portals  in a dream

mechanized & extraterrestrial

expresses incomprehensible
know/ledge

only exists            in/complete

* * *

nothing(ness) posesses an indisputable perfection

corridors are heavens between disconnective voids – space unto space

of emptiness is resemblance – in likeness is always an image cast

to describe is to steal details from abstract almosts

equal = equal – alone

all + one

together is own make up of parts formed from (a)maze[me(a)nt] to be

  * * *

     synthesis──  needs flesh                          expect no answer    ──depend on distances/instances
breathing tomorrow    comes knowledge

& question                     rearranging patterns   of usual places

displaced                               in con/text                   +    elements + soft texture
obscured [by]  teeth

sensors behind senses
sense[less] // structures                                                           set  up to collapse
* * *

what detach meant was to say – give it time.  and it is standing in for what?

it detache(s/d) from meaning, past occurrence, infinitives, speech

.  in future’s tutorials examples, systems, and designs are ennobled unseen gases kept under bell jars filling in for(eign) core responses of familiarity disjointed                                                                                                                                                                                                observed

insistent upon bonds                                                                                                                                                                                                  broken                                                                                                                 in death and half-life

* * *

a dimming beacon, this half-life, a cling to           improbable senses       wavelengths       bodies
endless exploration of dire conditions─                           volition, non-present  & all the wilder, studying it
through liquid air, its immortality                only a mortal mark on blue matter──dissolution, suddenly
emblazons it──aether disperses             corporeal space, the observed half-life radiates a permanent
dystopia,   detach//collapse:             organs     wild flowers      malfunctioning   & uncertain── wet
as nothing, nihil in its skin              calls to speech through the bell jar, hollowed-out ghost-air
abyssal  [ as endless]                 algorithms
* * *

inches                                                   gamed                                  –                                gained

askew – a slant measured in available degrees

–              misfired on demand                                                                         – on target                         insides out        –

by want – need – have – control is bought borrowed sold

echoes in chamber push other voices to sleep

phantoms sacrifice death in total for glimpse = mired in local conditions of

staying housed/coursed where curving bells contain deviations derived from models

(A portion of this poem originally appeared in Barzakh)

Two Poems by Kenyatta Jean-Paul Garcia

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Two Poems 

by

Kenyatta Jean-Paul Garcia

For

. . . it’s tight around here. nothing’s changed. what’s ever been easy to come by other than space and dead hours past memory’s reach to resurrect?

* * *

believe

in

M            I               R             R             O             R             S

W            I               N             D             O             W            S

one        same

in

sight

encompassing

in biggest picture – minor part – but a role – in thought/deed

* * *

feel more

/sense/

* * *

come, be light upon keys

play soft

deliver gentle notes

into air

-correspond-

.

pluck a drop from sky

for drum’s head lonely

-incomplete-

pining

for touch

.

* * *

give it a try. what it? which it? give what to it? give it what? to what? to try. to try it. try it. try what? give.

* * *

this is the best pane of glass in town.                                                      this corner is awake and daydreaming.

* * *

sell the world. two for one. everything’s got to go.

felt on the lake

suede on the pond

velvet eddies in leather streams

silk creaks

cotton inlets

polyester reservoirs

nylon canals

merino wool rivers

rayon fjord

woven ocean

canvas clouds

showroom models

best looks left on hangars

 

Blurred

no promise

in possibility

exists for daydreaming

 

fear clings with its name given

-irreality

 

even as it is

forgotten

and overcome

 

when truth returns

to vision

blurred

 

Bio: 

The author of What Do The Evergreens Know of Pining, Yawning on the Sands, This Sentimental Education and Distilled! and A Northern Elegy was raised in Brooklyn, NY and has a degree Linguistics. Kenyatta Jean-Paul Garcia was a cook for over a decade and has studied several living and dead languages. Garcia’s work has appeared in BlazeVOX, ditch, Eccolinguistics, Caliban Online, Boog City, Barzakh and many others. Currently, Garcia’s nights are occupied by putting boxes on shelves while days are spent writing, reading and editing kjpgarcia.wordpress.com. You can also follow KJP at @KJPGarcia on twitter.

 

Metawriting by KJP Garcia

Posted on

Deep Reflection

 

first:  deep song                                                                                                                                                     second:  deep image

currently:

deep reflection

.

lyricism                                                                                                                                                               confessionalism

everyday/mundane

POP!

.

sur                                                                                                                                                                                              hyper

realism

.

symbolism                                                                                                                                                                      futurism

DADA

.

expression                                                                                                                                                                commentary

.

VOICE/LANGUAGE

TALK/THOUGHT

* * *

pond is where Narcissus and Echo’s bond is completed.  surface is conduit and what is seen/heard is endless circuit of sensory.

* * *

reflection always contains more than merely what was presented for perception and surrounding frame is also more of picture.  ambience = experience.  atmosphere accounts for all that cannot be described.  what notes which were not played are for subconscious fairies to hear.

* * *

minutes can’t last long enough to be displayed in full.  sensation is always in translation.  heart to mind/brain to gut.

* * *

“one perception leads to another”

/

“work with mental ears”

(Olson/Prynne)

* * *

each poem dies for its own sins

its ‘withouts’

its omissions

its inabilities

which are

shut mouth                                                                                                                                                                 open eyes

/

open eyes                                                                                                                                                                   shut mouth

one foot fearing

to be in front

of another

one

* * *

if it is there it can be conveyed

if it occurs it can become

experience

if it is experience(d)                                                                                        it is shared

* * *

the glass                                                                              the eye                (5 senses)                                                 the memory

(mirror/window                                                               form one triad                                                          (thought, prediction

spectacles)                                                         upon that                                                                            fantasy)

is

camera

capturing

quick as can

        be movements in the midst

while also letting its own existence be understood not as observer but as observed

also

Misful Wishtake

Posted on

Misful Wishtake

by

Kenyatta Jean-Paul Garcia 

from there on in

the coming is rough

 

above all illuminations

of a doubt

 

on river of moonbeams

countdown of worries

too much

to know where to begin

largest numbers

return to zero

* * *

even weak storms

are missed

in droughts

* * *

wishes take form

from mutiny

at heart

* * *

mistakes

always seem

to go

before corrections

are understood

* * *

over thrown

kingdoms

of nervous mirrors

 

over rested

children

kissing first time

dark

and created

under daylight’s

eye

* * *

started ravenous

waves

ate ancient

 

saved modern

for tomorrow

 

held distance

in shadows

of nets

* * *

shallow lids

did best

they could

to shield vision

from feeling

second best

* * *

fugitive peeks rose to occasion

took mission

as destiny

* * *

conscious

attacked

itself

* * *

truth

was turned down

 

but truth

takes life

in stride

 

sees rejection

as its favorite

outfit

* * *

whispers tried not to

but cut through sleep

 

offset any sense

of a cure

* * *

brooding

began

when

the missing did

* * *

wish

took up

sentry

over breakfast

* * *

liberty

misplaced

wingspan

* * *

eager transformation

-sigh-

another weekend

* * *

neon gave signs

lessons in youth

and age

 

took out for a date

mistake

* * *

impatience

persisted

for serendipity

 

hoped in

jitters

 

prayed

in fashion

of moping

* * *

sublime

moments

remove

sails amiss

* * *

waking brings mist

* * *

full winds enter

wingspan

found

 

freedom

possible

matures

* * *

swift

close to dingy

filth

of sunlight

refused

welcome

 

heavy dust

of silence

fixes

 

at-hand world

 

overturns

with sleight

in mind

language

thawed

 

Bibliography:

Enter the After-Garde Selections from 1998-2010

This Sentimental Education

Back Pocket Book

Distilled! and A Northern Elegy

 

Aesthetics of Immersion Poetry

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Aesthetics of Immersion Poetry

by

Kenyatta Jean-Paul Garcia  

Literature is created through the usage of three devices – style, sentiment, substance.  Of these the device which separates prose from poetry is style.  Style is the single most important aspect of poetry.  Whether coming in the guise of paragraphs or in broken lines, style must be of the utmost concern to the poet.  Tone, meter, imagery must push the form into being, from there sentiment is established via metaphor.  A single image running through the three lines of a senryu or 21 syllables of landay can be in itself a notion of so much more than what is easily read.  This is what pushes poetry into distinction from prose.

The next important aspect of style is a question of story.  There may be some innate desire among some to feel the need to tell something and thus the narrative.  This is understood.  This is where style again must come through.  Here is where style disrupts, shatters or perhaps illumines story in a way unlike prose.

The poem is not a short story in broken lines.  The poem is a poem.  Poetry is the art of another way.  It is the art of different approach and perspective.  And perspective should be of serious thought to the poet.  Forget reliable and omniscient narrators.  Think of voice and participants and the act of being.  Understand time/space.  Let style adjust understanding.  As sentiment is established throughout the course of the poem, those events/ideas will create a sense of lyricism.  And form must comfort that.  Form has the responsibility of carrying sentiment.  Caring for sentiment.

Words (and their counter – space – and their complement – punctuation) need to be carefully chosen. Substance –the actual words, punctuation, and space are there also to convey sentiment in le mot juste.  even if it means forcing words to work in an unusual way.  Noun, verb, adjective are subject to change in poetry.  All can act.  All can be acted upon.  All add image.  All are image.  And image is everything.

The image is the poem.

A good story makes one read on.  A great poem makes one stop.  This stop is to let the mind fill in the image.  Or fulfill the image.  Or to let the metaphor be carried to its end on the other side of the poem’s conversation.

As all poetry is correspondence.  Exchange is the work of the poem via the combination of style, sentiment, substance.  Poetry talks to/answers to memory.  In such, Proust is poetic at its best.  But it is his style which disturbs his poetry.  Though he breaks story, time, hero, and creates a sense of perspective as none else other than Beckett (who obviously comes out of his shadow), he lacks a certain style in tone and meter.  And space.  He does not allow for the gap, the space, the time to examine – to fulfill the image.  Poetry enjoys its spasms and its sense of specific sparsity regardless of overall length.

To get into the technicalities of esthetics in poetic style, a poem must if not carry then deliver a sentiment via its conversation.  The poem should feel interactive.  The poem should have something to say.  Nonsense is an aspect.  It is not a totality of the poem.  If absurdity is to be used, it must serve a purpose.  (And there is a purpose to Dada and language poems.  There’s something to be said about questioning grammar itself.  And there’s something to removing communication from language which was created just for the purpose of communicating.  And of course, one should always challenge prescriptive linguistics.)

The poem after this, while maintaining/creating a style, must enter a reader into difference.  It must slow the reader into thought.  Into questions.  Into pause.  Poetry’s closest cousin may not be song but comedy which understands pause and not explaining itself.  After this is the comic book which allows each frame to act as a part of the context/text or to be its own individual pictorial representative of an else.  And oh, how the rules are meaningless in comics.  Anything can happen – see Arkham Asylum’s up and down versus left to right reading.  Let stanzas/movements be the rooms they are – filled with their own furniture.

The stanza is not nutmeg to complement the cream of a béchamel.  The stanza is root vegetable after root vegetable to create the stew within the overall broth of white space.

Some well chosen (well, all well-chosen) substance is the nutmeg and perhaps a freshly ground pepper and a secret ingredient or specialty perhaps.  Le mot juste is the mustard or thyme no non-saucier saw coming.

Through the careful interworking of style, sentiment and substance comes the poem.  The poem is work with language not play.  Words work.  And words employ. Words are at play as an athlete is at play knowing this game is a means by which a certain contract will come.  Language is the medium of all literature.  The poem must put this language to its use or give it a new job.

At the same time, poetry is a product and requires producers and raw material.

To conclude, image is the blood of the poem.  Image immersed in the words.  Immersion poetry.  Beyond expression, concept, process and out of focus/without focus should be the images running through.  Through shattered narrative, through spastic, through sparse, through conceptual – the image.  More to the point, the idea of the image.  The trigger to thought.  First the spark (of consciousness) in writer’s mind then spark in reader’s mind.  Poetry of unwriting – leaving space for completion elsewhere.

To read is to perceive.

To write is to convey realthought where realspeak was unable to.

Bio:

Kenyatta Jean-Paul Garcia is the author of This Sentimental Education and Enter the After-Garde along with two other collections of poetry. He was raised in Brooklyn, NY and has a degree in Linguistics.  He has studied several living and dead languages in addition to philosophy and poetry at SUNY Albany and Hudson Valley Community College.  He spent over ten years working in restaurants – cooking, washing dishes, etc.  Currently, he works overnights putting boxes on shelves.  By day, he runs kjpgarcia.wordpress.

The Poetics of Immersion

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Immersion Poetry

The Poetics of Immersion

out(be)come

be(in)ginnings

Sentiment and Sensibility

 by Kenyatta Jean-Paul Garcia

Withinside of experience is poetics

an unhidden poetry runs its course through occurrences

a further unhidden poetry has been handed down and lived in for centuries in myth, fable, folklore, philosophy, religion, worldview, and other notions often marked as ‘culture’

images have existed

images exist

images created are tangled with past images

ideas are images to be

images are ideas had

images are ideas being had

the image and idea (of the image) is the center of the poem

even when the poem has no center or focus, the image/idea is

a direction of a poem is an image

a whole piece can turn on a preposition

into (for example) is an image/idea immersed into the wordery of the poem

the wordery is the added imagery of words surrounding the essential image

a room described is often done so just to place in or out of it the agent or patient of the lines

….

a poem finds its place immersed into other poetry at all points

no words exist alone

there is no alone with words

a single word is a combination of concepts, idea, and (what) sensiment imag(in)es

sense is a two-way conduit for sentiment

sensiment(al) is the poet’s stock of ingredients, materials, detritus, etc for poetry

sensiment is found art

sensiment is art forced upon artist via life and the image/idea occurring and being processed

….

the poem occurs within the overall web of poetics/wordery/sensiment

poem as written/being written is an act of immersion (at times invasion)

poem inserts into web of myth and history and truth and wish and current events and the POP

the pop the today’s need for myth with truth being subjected to wish

….

the poem once inserted into the umbrella of wordery undergoes the next step which is to be immersed into the reader

the reader more properly defined is the perceiver of poetry

the perceiver once in contact with the poem is in the poem is withinside the occurrence of the piece

minimalism, distillation and small vocabulary further allow for an enmeshment with the poem once the perceiver is immersed in the poem

the poem immersed in the experience of the perceiver

….

immersion poetry is NOT conceptual poetry

concept is but an aspect of/step towards idea

immersion poetry is not found poetry

all poetry is found in the cosmic and psychic language of the real and irreal/subjunctive worlds

possibility is its own myth

wish is a pantheon governing the will

….

immersion poetry enters this world wrapped in other wordery

it comes through and with all art and all pop

it comes with myth attached

it comes via quote via reference naked but for the air it has relationship with

it comes knowing it itself is at times nothing  other than a paraphrase a para-image para-idea

it gives room for continuation

for communion

it gives

it is conversation

it hears

poems hear

it is called to respond

it responds to call

it calls for response

respond and correspond is immersion

….

it does by being allowed to do

to do is to be received

perception is reception where poetry is concerned

where poetry has flourished in its immersion

as but a petal coming from and returning to a mythic center