this dissipationing OM (a tonal drawing written in poetic form)

this dissipationing OM

our burnishings and garnishings
are tarnishing most all every thing
and we’re just varnishing pains
through which we are wantonly staring
slumbering plunderinged morsel-lings
grabbing after gaudily painted what-nots
on dangling spangling bangling tables
over which we’re supposed to be caring
hoping they might swell-us-all-up
into sparkling little care-not-whats

they’re casting torn worn nets poured full
of porning midnight dancing shadowings
luring in patented promisory distortionings
of moldy-ing municipal adulterationings
loitering in jading charms of fading pastels
through which we’re militarily trompling on
patriotically flossing at bothersome notions
our prancing toothpic-ings are dis-sing
of a whom we’re always wanting
just ever barely barely only
always a little lessening
and never not so far

Copyright © 2017 Asili Ya Nadhiri

One thought on “this dissipationing OM (a tonal drawing written in poetic form)

  1. Among Nadhiri’s recent tonal drawings, “this dissipating OM” is noteworthy in illustrating how logic, rigor, and self-control are essential in the achievement of technical virtuosity. The poem that emerges from the act of reading is an OM (optical marker) that consolidates more than it dissipates; it, like the essential suffix —-the “ing” –which distinguishes Nadhiri’s conceptual innovation in poetry, obligates a reader to reflect on Nadhiri’s return as poet/artist/writer to the complex simplicity of tonal drawing. It is a noteworthy instance of a possible symbiosis of theory and practice, of a unifying mimesis. Here the poet responds to at least two primal questions: WHAT IS ART? and WHAT IS THE PURPOSE OF ART? The answers are existential, and they denote the equating of what is transcendent with what is decidedly time-bound. The balance of theme and images urges us not to fall into traps of easy assumptions as we struggle to make sense, as a famous Irish poet once suggested, of the dancer and the dance.

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