A MARIAN WOOD BOOK Published by G. P. Putnams Sons
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Library of Congress Cataloging-in-Publication Data Bierds, Linda. [Poems. Selections] Rogets Illusion / Linda Bierds. p. cm. Includes bibliographical references.
A Marian Wood Book. ISBN 978-1-101-62403-6 I. Title. PS3552.I357A6 2014 811'.54dc23 201303715 Version_1 Once again, for Sydney
ACKNOWLEDGMENTS
Grateful acknowledgment is made to the following magazines where these poems first appeared, some in a slightly earlier form:
American Poet: The Journal of the Academy of American Poets, Navigation;
The Atlantic Monthly, On Reflection, Simulacra, Sketchbook;
Bellingham Review, Exhibition of a Rhinoceros at Venice;
Blackbird, Meriwether and the Magpie;
Borderlands: Texas Poetry Review, Girl in a Dove-Gray Dress, Pavo;
Field, Salvage;
Fifth Wednesday Journal, Darwins Mirror;
Gulf Coast, Notes from Prehistory;
The Journal, Pierrots, Slightly Leaning: Brighton, 1915, Venice, 1903, Stellers Jay, Thoughts Toward the First Christmas Lecture;
The Laurel Review, Drer near Fifty;
New England Review, The Swifts;
Northwest Review, From the Sea of Tranquillity;
Poem-A-Day (Academy of American Poets), Incomplete Lioness;
Poetry, Accountancy: Drer in Antwerp, Flight;
Poetry Northwest, Correlation of the Physical Forces, Fragments from Venice: Albrecht Drer, From Campalto;
The Seattle Review, Enthusiasm;
TSR: The Southampton Review, The Moths;
Water~Stone Review, The Shepherds Horn. Accountancy: Drer in Antwerp and The Swifts were reprinted in
Poetry Daily; 1918 Huber Light Four was issued in a limited-edition broadside published by Brooding Heron Press, Waldron Island, Washington.
CONTENTS
PART ONE
Rogets Illusion: One
PETER MARK ROGET, 17791869 Best known for gradations of language and not for the carriage wheel spinning beyond a picket fence,
its curious optical deception.
CONTENTS
PART ONE
Rogets Illusion: One
PETER MARK ROGET, 17791869 Best known for gradations of language and not for the carriage wheel spinning beyond a picket fence,
its curious optical deception.
Best known for the word-on-word columns I follow, semblance to severance, biography to bracken, his synonyms, antonyms, metonyms, idioms, and not for his paper on wheel spokes glimpsed through vertical apertures.Remarkable, he wrote. Puzzling. Wondrous how carriage spokes rolling past fence slats seem to be still or turning backward, or, better still, completely gone. On his desk, near medical texts and a swan-neck lamp, a quarter-scale wooden human figure catches sunlight down its polished spine, the model best used for anatomy lessons and not as a paperweight keeping his entries on Time and Causation away from his entries on carriage wheels. Although paperweight is its purpose now, a sunlit, seated, boxwood shape slumped on the soft thesaurus, which, like history or yeast, swells with each passing hour. Uncontainable, the catalogue and turning wheel. Uncontainable, the catalogue and turning wheel.
Best seen through slats and apertures, columns and vacancies. The rotating illusion. Best visited in slanted light, when the parts are oblique on their shadows, and spokes and broken syllables send luminous, curved linesthat convey the impression of unbrokenness...
Simulacra
Before the beak of a tiny pipette dipped through a glisten of DNA and ewe quickened to ewe with exactly the simulacrum forty thousand years had worked toward, before Muybridges horses cantered and a ratchet-and-pawl-cast waltzing couple shuffled along a phasmatrope, before dime-size engines sparked in the torsos of toddler dolls and little bellows let them sing and the Unassisted Walking One Miss Autoperipatetikosstepped in her caterpillar gait across the New Worlds wide-plank floor, before motion moved the figures, and torsion moved the motionor steam, or sand, or candle flamebefore magnets and taut springs nudged Gustav the Climbing Miller up his mills retaining wall (and gravity retrieved him), before image, like sound, stroked through an outreach of crests and troughs, and corresponding apertures caught patterns in the waves, caught, like eels beneath ancestral ponds, radiance in the energy, before lamposcope and zograscope, fantascope and panorama, before lanterns re-cast human hands, or a dye-drop of beetle first fluttered across a flicker book of papyrus leaves, someone sketched a creature along the contours of a cave, its stippled, monochromatic shape tracing the vaults and hollows, shivers of flank and shoulder already drawing absence nearer, as torchlight set the motion and shadow set the rest.
Notes from Prehistory
FONT-DE-GAUME CAVE PAINTINGS, LES EYZIES, FRANCE At Font-de-Gaume, the bisoneighty bulge outward from their spindle legs and, quickened by candlelight, inch a half-step closer to flint-carved human hands and nineteen tectiforms. Across the cave, sketched to trace its contour lines, two dozen mammoths stir. And oxeneight.
Four capridae. One feline. (Two?) One bear. Not white, of course, although calcitic film, spawned across the centuries, has powdered it. Not violet-mouthed. Not iceberg-drawn, walking past the confluence of James and Hudson Bays, out and out, the ice too sparse, a thin, chivalric cape laid down on the endless water.
Six varied signs. Or five. Cone. Canopy. Headless ampersand, swirled by lichen and manganese. Not nebular, those swirls, not polychrome, not cast in sheets across a bay, solar-flared, electric, green on muted red.
One slender tri-forked cave, thin-branched as a sapling. One Rubicon. One terminal diverticulum. One bear, quickened in place, stopped on a lozenge of stone, a shrinking, fissure-crafted raft, above a canopy, beneath an ampersand. Hereand there the stone, like ice, is water-polished or scoured by flint to a silver sheen, scratch marks zigging this way and that. Like magic, a candles light would shape the markserratic, pin-thin lines drawn up to concentric rings.