Concrete Music – Artificial Plant – October

 

Concrete Music

over six foot   lying
on its back
                                               
damp-worn sides
as souvenirs   of basement tenure

unmoved           to the top floor
a sun-bleached face now
that the upstairs       neighbours
are rubble           ears within

shouting
distance.

With shells, the BLOCK was returned
to itself                           though imprecisely
scythed;

concrete lines don’t demarcate
but are breached or bring in:

a cheek of a victim             forever pressed
This is some text! This is some text! to its flank,

a shoulder of an body       shuddered free
This is some text! This is some text!to dust.

As ranks of worms    swell
as they are divided

As the house cat         returns w/ a

missing eye        torn ear        jaw-clenched
missing eye torn ea jaw-cl mmouse,

the BLOCK          reconstitutes
its ruined self     by clutching
pieces     of     the     departed,

whether they were
once attached
or just near.

 

The Learned Pig

 

Artificial Plant

to the glass the flower
was not a lie —

the flat clear
wobbled, line wavered
stem traversed planes —

layered & beamed
or a collapsed lung & flesh punctured
through air to space.

 

The Learned Pig

 

October

– slipping – dammed
as a as a
weighty leaf-filled
droplet gutter
down a round a
surface cottage
– not porous – not cared for
like your face like autumn

 
 

Image credit: Dominic Alves, Uneven Hand Made Window Pane Glass Distortion – Brian Eno Speaker Flowers Sound Installation at Marlborough House, via Flickr

 

The Learned Pig

– slipping – dammed
as a as a
weighty leaf-filled
droplet gutter
down a round a
surface cottage
– not porous – not cared for
like your face like autumn

GS Smith

GS Smith is a writer from Edinburgh. From 2011 to 2015 he ran CAESURA, a reading series featuring experimental writing and sounds that featured the likes of Maggie O’Sullivan, Jow Lindsay and Tom Leonard. He co-produced European Literature Night 2015 in Edinburgh with SJ Fowler. His live work has included noisy absurdist lectures on abnormal psychology, egg-filled multimedia installations, Oulipean plays and sound poetry. He has been published in places such as 3:AM Magazine, The Island Review, Raum and Otoliths.