JEN HOFER









of deaths, dailies, speculations, nascence (shares)

 

“art is climax over conduct” on the tips of her feet, swaying to invoke

a rose, a box, not a rose, a boxy rosy color rising

to song, to anticipation, to generous crow caw, to parking lot, paved path

risks with the irresistible light, this delirious

what other way there might be, out of a sense of duty, out of it

a scorpion and a thumbtack on the wall

a wall and a piece of paper partitioning the between

to have time and time to be had and the timbre of the having

or wave form of being, being color, swell, sentry risen

ravished, 120,000 acres irreparably, the changes wrought by combustion, by arduous relation

in thus the friday of my jitterbug, i bequeath you one flaw and its accompanying verbs

one flavor and its accompanying hue, one tone and its color-coded accompaniment

the back-up singers to the scholarly, hips swung in time to a droning beat

to work via models not a mold not a voice a moment

in four movements or a single motion, the structure riveted

into lament or into attention, into the hills like proverbial wild-fire

indigestible contractual constituent parts or portions

whiling away a while not doing what i’m told or have told

to stack, to box, to rose, to be, to be shaped or shipped, unfit just in case

to be tardy and accepted to be uninformed, to propose a solution

thinking’s thought form undisclosed, twittering, positioned on the lathe, to bore into, an expanse









of deaths, days, futures, nations

 

 

at that hour that light that lights tremendously

tremendously light slant unpaid against the remains

unpaid variously by election and by omission purposeless unpaid reminder

don’t forget to remember

human behaviors alongside human behaviors

he ran his hand and sadly

joy in the double standard, in red vinyl

supposedly things had progressed and the future was upon us

barely a slit in the tremendous sky

the waitresses doubled as matronly table dancers

the tables as stages for shadow boxers and blind necessities

the frosted glass afforded a polluted view, no need to infect

impatiently, a pose of casual lack, a stylish stand-up

staked predators in full frontal view less demure

than dames on demerol demurring out from under religious upbringing

accounts culled from decades previous limped into the fray

the best intentions forgotten amidst the busy tasks of the master

bad manners, bad form, foreign currency, current affairs

baby jesus weeps fake tears of fake blood in real compassion for what’s forgot

the doors swing saucily open, then suck shut

it’s no use being shocked, yet shocking none less than tremendous

even the shameless think it’s a shame

unilateral world as if reproof to provide against swells

knowledge but a tender dream, teamsters welling up in it

the joy, which fled, could be measured in centimeters, ingots or not









of deaths, dailies, speculations, nascence (shares)

 

 

too little too late or too much too soon or “heaven forefend”

in repetition our allegiance adept alliance

lost among the amidst, no routine in sight nor touch

must recover, must remember, must remain, incidentally

the conversation had begun in slivers, splintering

the sunset not visible from the courtyard

there was a considered pause, then the explosion

“all this could be yours”

or “don’t stop” or “hold it right there, buddy”

an image of a trout, a trout, a tree-lined street, blown cotton

if we’re going to think, we might as well begin now

or give it up quietly on the receding broken sidewalk

broken alphabet, metal casing, torn bluejay wing, trapped

dear madam, if only you could know how much, cognition

dear mad, if only your cheekbone against these many shades of beige

dear m, to fold the map into ribbons or you in an unairconditioned moving vehicle

was stitched with x’s and unethnic, yet soft

unable to see the profit margin, while friendliness itself a potential

the view marred by the bountiful name outside precision

tattoo turning fifty or feathered falsely, purchasing things in two’s

dear, day’s variance and loose mortar notwithstanding we learn through repetition, and to please











Jen Hofer
moved to Los Angeles from Mexico City in 2002. Her forthcoming books are a translation of Laura Solórzano’s lobo de labio, (Action Books, 2006), a translation of Dolores DorantessexoPUROsexoVELOZ, (Kenning Editions 2007), a collaborative book of poetry and prose texts (with Patrick Durgin, Atelos, 2007), and a book-length series of anti-war poems, titled one (Palm Press, 2008). Her poems and translations can be found in recent issues of 1913, Aufgabe, Bomb, Bombay Gin, Damn the Caesars and Primary Writing. She is happily a founding member of the City of Angels Ladies’ Bicycle Association, also known as The Whirly Girls, and is a member of the Little Fakers, a collective which produces a neighborhood-based serial dreamworld drama that takes place in lost and abandoned spaces of Los Angeles, populated entirely by hand-made marionettes.

 




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