I imagine riding a ghost-stallion, my hair in braids, pinned on top on my head, just like it was when I was seven, and sitting on the school bus, with yellow ribbon-bows on a comb, tucked under the braids to make a little crown.
I imagine that on the Ghost Ranch I will meet the Bluemoon Cowboy, his silver-toed boots, glinting under my bed. Read me a story. Read me one with poetry. Please.
[This is the third section of Rochelle Owens’ long work to appear on Poems and Poetics. For previous sections see here and here. This posting coincides with publication of her latest book, Out of Ur: New & Selected Poems 1961-2012 by Shearsman Books.]
[In advance of a projected publication of Jackson Mac Low’s The Light Poems (complete) by Chax Press with an introduction by Michael O’Driscoll, the following is an excerpt from O’Driscoll’s “By the Numbers: Jackson Mac Low's Light Poems and Algorithmic Digraphism” in Time in Time: Short Poems, Long Poems, and the Rhetoric of North American Avant-Gardism, 1963-2008. ed. J. Mark Smith (McGill-Queens University Press, Montreal, 2013).]
[In the 1990s I composed a series of thirty-three “Lorca Variations,” systematically drawing vocabulary, principally nouns, from my previously published translation of Lorca’s early gathering of poems, The Suites. I later made use of this method of composition for homages to Jackson Mac Low, Octavio Paz, & others as a step beyond translation but with an idea of translation – or what Haroldo de Campos called “transcreation” & I called “othering” – as one of the defining characteristics of poetry as a whole. The obvious difference in t
when all this first started my body broke out into real bad rashes my eyes my face my neck my chest my back my shoulders big giant holes on the back of my legs, holes the size of a #2 pencil looked just like the holes in the fish in the lab on the slab