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Shaughnessy - Human Dark with Sugar

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Shaughnessy Human Dark with Sugar
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    Human Dark with Sugar
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Human Dark with Sugar: summary, description and annotation

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Brenda Shaughnessys Human Dark with Sugar revisits and modernizes the classic themes that have inspired generations of poets: Love. Loss. Sex. Rejection. Pain. Time. Exploring the strange wonder that is perception, Shaughnessy pressures language and holds nothing back; her poems encompass emotional states such as tenderness, devotion, resignation, bitterness, and rage.--Jacket.

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Note to the Reader Copper Canyon Press encourages you to calibrate your - photo 1
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Note to the Reader Copper Canyon Press encourages you to calibrate your settings by using the line of characters below, which optimizes the line length and character size: Lorem ipsum dolor sit amet, consectetur adipiscingelit. Pellentesque. Please take the time to adjust the size of the text on your viewer so that the line of characters above appears on one line, if possible. When this text appears on one line on your device, the resulting settings will most accurately reproduce the layout of the text on the page and the line length intended by the author. Viewing the title at a higher than optimal text size or on a device too small to accommodate the lines in the text will cause the reading experience to be altered considerably; single lines of some poems will be displayed as multiple lines of text. Thank you. Thank you.

We hope you enjoy these poems. This eBook edition was created through a special grant provided by the Paul G. Allen Family Foundation. Copper Canyon Press would like to thank Constellation Digital Services for their partnership in making this eBook possible.

I wish to thank the Radcliffe Institute for Advanced Study, the Japan-U.S. Friendship Commission, and the Corporation of Yaddo for their generous and varied gifts of time, funds, and travel. I am especially grateful to everyone connected with the amazing MacDowell colony, where much of this book was inspired and written.I am very grateful to my family and friends, colleagues, employers, and students.

In particular, I wish to thank my sister Lisa, my friends at Tin House, The Academy of American Poets, and Michael Wiegers at Copper Canyon Press. I will always be grateful to Bill Wadsworth, Dorothea Tanning, and Richard Howard for their friendship and kindness.This book is dedicated to my two great loves: my husband, Craig, and my son, Calvin.

Copyright 2008 by Brenda Shaughnessy
All rights reserved Cover art: Judith Linhares, Plenty, 2002. Oil on linen, 58 x 78 inches. Courtesy of Edward Thorp Gallery, New York. Support Copper Canyon Press: If you have enjoyed this title, please consider supporting Copper Canyon Press and our dedication to bringing the work of emerging, established, and world-renowned poets to an expanding audience through eBooks:
www.coppercanyonpress.org/pages/donation.asp Contact Copper Canyon Press: To contact us with feedback about this title send an e-mail to: Picture 3 The Chinese character for poetry is made up of two parts: word and temple. It also serves as pressmark for Copper Canyon Press.

Since 1972, Copper Canyon Press has fostered the work of emerging, established, and world-renowned poets for an expanding audience. The Press thrives with the generous patronage of readers, writers, booksellers, librarians, teachers, students, and funderseveryone who shares the belief that poetry is vital to language and living. ANODYNE

Im Over the Moon
I dont like what the moon is supposed to do. Confuse me, ovulate me, spoon-feed me longing. A kind of ancient date-rape drug. So Ill howl at you, moon, Im angry.

Ill take back the night. Using me to swoon at your questionable light, you had me chasing you, the worlds worst lover, over and over hoping for a mirror, a whisper, insight. But you disappear for nights on end with all my erotic mysteries and my entire unconscious mind. How long do I try to get water from a stone? Its like having a bad boyfriend in a good band. Better off alone. Im going to write hard and fast into you, moon, face-fucking.

Something you wouldnt understand. You with no swampy sexual promise but what we glue onto you. Thats not real. You have no begging cunt. No panties ripped off and the crotch sucked. No lacerating spasms sending electrical sparks through the toes.

Stars have those. What do you have? Youre a tool, moon. Now, noon. Theres a hero. The obvious sun, no bullshit, the enemy of poets and lovers, sleepers and creatures. But my lovers have never been able to read my mind.

Ive had to learn to be direct. Its hard to learn that, hard to do. The sun is worth ten of you. You dont hold a candle to that complexity, that solid craze. Like an animal carcass on the road at night, picked at by crows, haunting walkers and drivers. Your face regularly sliced up by the moving frames of car windows.

Your light is drawn, quartered, your dreams are stolen. You change shape and turn away, letting night solve all nights problems alone.

Magic Turns to Math and Back
If time were tellable, we wouldnt keep asking. Our faces would stop turning to face the faceless face. Enough with the hands meeting twice a day. Enough of expecting change at the same hour.

If a table bears many weights of items, the items also depress the upforce of the table. The notebook is equally ruined by the lost wine. The table is a platform on which to lose. Surface has no depth but all depth has this surface. Not on purpose. So math, not metaphor, works.

I cant charm it open, so charm is dropped: iftwerent love, then love werent it. Two Ls arranged as a square keep love outside the frame. When I came, I was half-coming You left, half-leaving. A formula. Its so even-steven, yet so fractal and Mbius. Yet hagborn.

Yet digital. Calculation is such subtraction, always figuring whats under whats under, to break the surface of the negative realm down where the wheels dont skid. Where they may or may not skid. Where we dont know. Where we look at signs, like Five of Cups, a sign of a set of four cups inside one big cup, which is a drain, which is why you are weak. Sourced.

Circled protractorlike, found will be our clock lock, our night watch, our clear sign. Its an invisible bend in the lightsticks, its a prophecy.

Why Is the Color of Snow?
Lets ask a poet with no way of knowing. Someone who can give us an answer, another duplicity to help double the world. What kind of poetry is all question, anyway? Each question leads to an iceburn, a snownova, a single bed spinning in space. Poet, decide! I am lonely with questions.

What is snow? What isnt? Do you see how it is for me. Melt yourself to make yourself more clear for the next observer. I could barely see you anyway. A blizzard I understand better, the secrets of many revealed as one, becoming another on my only head. Its true that snow takes on gold from sunset and red from rearlights. But thats occasional.

What is constant is white, or is that only sight, a reflection of eyewhites and light? Because snow reflects only itself, self upon self upon self, is a blanket used for smothering, for sleeping. For not seeing the naked, flawed body. Concealing it from the lover curious, ever curious! Who wont stop looking. White for privacy. Millions of privacies to bless us with snow. Dont we melt it? Arent we human dark with sugar hot to melt it? Anyway, the question if a dream is a construction, then what is not a construction? If a bank of snow is an obstruction, then what is not a bank of snow? A winter vault of valuable crystals convertible for use only by a zen sun laughing at us.

Oh Materialists! Thinking matter matters. If we dream of snow, of banks and blankets to keep our treasure safe forever, what world is made, that made us that we keep making and making to replace the dreaming at last. To stop the terrible dreaming.

Parthenogenesis
Its easy to make more of myself by eating, and sometimes easys the thing. To be double-me, half the trouble but not lonely. Making cakes to celebrate any old day.
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