Four Poems by Brian Blanchfield
COMPANY EDITIONS is an independent publisher of poetry and visual art. The journal, Company, was founded in 2013 and is published three or four times per year. We will also be publishing chapbooks beginning in late 2016. Company Editions is based in Athens, GA, Iowa City, IA, and Cambridge, MA. You can contact the editors by emailing editors@companyeditions.com.
BRIAN BLANCHFIELD
ALIENATION
The History of Ideas,
1973-2012 In the
different forms of alienation some other entity had obtained what was proper
to man: in religion
it was God, in politics the State, in economics the market process and cash
nexus At the end of the capriccio we each reinvented
the last night of youth as we knew it, in which, so you wait, one
determines, there are no prerogatives but to return to the
car and fog up the windows with your socked feet and
sulking. If the old compunction in your mouth will not
now be voided, and you won’t outlast righteousness,
seal in the soda sound of your breathing, and then open
the door again on night, moonless more profitably, as to walk
off here from the commonplace porchlight has the benefit
of peril. Or, in her bed that night have the protagonist
ask, Is what I am the thing I can do? All her life, one
determines, she will mean never to forget the vocation’s imperative, as
the finer dancer remembers falling is better than
fashioning a fall. First, my body related me to others whom I did
not choose, and this was before I was a subject, so what I
am comprises that humiliation of my judgment in matters of love
and this attempt to recover ecstasy, volunteer for
pleasure. At least match waists with Evan. Rotate the trunk while
holding the arms fixed in a hoop shape. Polish your
elbow. Zero in on sympathetic laddering. Follow anyone’s
finger. Maybe at
the end head out into the movement field a final time with the company and the touchpoint actions a sideline of proctors listed to see you repeat.
Select pleasures made tasks, let my body find what to do besides,
please, because this familiarity is the one I leave with. Or, in the corner of the boat the tide turns
beneath a spider covers her territory. Tomorrow, the
long day’s sun. And you are he who carries her eggs in his
hair and needs his something slaked. Him in the mirror
tarnishing above the stoppered bottles. In that bay beyond the
bayside bar—around whose cool brass rail a boy disunites
his heel and sandal—she runs again the rim of the
rest of time. Since, why stop at youth, one determines. On your stomach, rear back high. Yes, this is my
well you’ve fallen in, and I need you now to remove
your shirt. The fire moss is crawling with why you came, and
say that in Portuguese, and again looking now into the
camera say it. Boa noite. Boa
noite, Vitor. Come out
from among the others and be ye separate. Starmint stuck in a dish of pennies. Or, you teach the child to spell his name in
sparkler light and feel you shouldn’t’ve. He autographs the night, but
it’s not hereditary. Light another. So who are we? We are the life force power of
the universe, with manual dexterity and two cognitive minds |
EDUCATION
The History of Ideas,
1973-2012
What
Heidi’s grandfather learned from the eagle he taught himself Aggregate is a pavement rough on the feet. We
spread it around the allotment gardens, where monuments are most
prone. At level grade, we introduce the churn, a
procedural masonry flocked with beak and shell and pattern after, a
deuteronomy all over the ground, much like that the maestri spotted on the monticule and derived, halfway down
again, of starshower.
Trueness to type is the objective in aggregate, and chalking it up, roughly, the signature
business of our internal audit, summarized over the
translator before the hearings of grievance. In truth the
gardeners are lucky to have us, and if their gratitude is
tactical it is no less affecting to have pressed into our
aprons the gentians indigenous to First Elevation. A blossom sometimes, in their parlance,
volunteers out of season, and it is not without precedent
we element the youth we find one morning at the
pour and pattern after. It seems an act of love
paradoxically, the expulsion they call going to seed—his kiss
curl twisted up and out in a manner we now recognize as
preparatory, fontwater wet. While we work his boredom brings to him one of our handtrucks
and a duet all day to choreograph, rock-tip-twisting into dervish a leverage of
himself until the beck he was assigned to search our faces for escapes him and we break silence. He yanks his
balance, wheels out, skids again. When we escort the
probate to the audition granted him and his hum among us in the melody of the closing prayer the
novitiates lead after grievances is resonant in our walk back,
we notice like nuns the march of our feet in its beat and
stagger, whereupon in testiness we huff and ditch the
stiffened batch, then mellow. We clap out dust from the
proving trays. Extraordinary achievement is less about talent
than it is about opportunity |
S APOSTROPHE S
The pelican cocks higher her wing for good get at. Nibbling the blister and siphoning the mud by bill to the brood. Hey, how did the consecration go? Aristophanes and Judas, but not Johns. Memphis’s (emphasis mine) on the Mississippi, but not on the Nile. Hey, how was the peroration? The bronzer devises a rapprochement, the mulcher, the parents, the host. She plans to rephotograph
the memorial bench. So, what was the beseechment
like? Bluing is a way to whiten, the bottle of bluing agent reads. It takes its place beside the finish. Or should I have said
solution? Hey, where will you be for Thanksgiving? Or else I were alone in
thinking something had been in the air, a frost phenomenon, a pestilence, the AM station’s affiliate switch. But, then, who gave the benediction? With a tail as big as a kite, for something that
by itself repeats. The windsock on the helipad and blame enough to go around. So, what was the turnout in the end? Two in a pew, one stressed, the turn down in the thread of her halo screwy. And whose little boy is he? |
NURSE MUSTN'T RUMMAGE
Even then and although a latecomer’s look around suggested I had confused the given with consent and my keep for comprehensive I burnished the tunic. It was disintegrating; I brought it on as once a gloss was brought out. Even then and however assiduous still I found my flagrancy and, david
of me, divulged. And, raising myself, soaked lip to chin in
compote, shot back a telling giant glance. What ordnance tore down, revealing, eaten hungry, from the looks of me: original insufficiency. If no one grew up of the integer—you know the one—I raised myself, and was to be a
man, in him grew a throat around the fear, once
around, to feel it rise and a valve to catch its olive taste and send it—person to personnel—below. A bete noir, a weak
suit, one that breathes. Never is it imperiling integrity that depresses the call button. Nothing so helped me more. Who may I say is leaving ill enough alone and what is all this antecedent pulling moreover on the fitted bedding of malingerers? What’ve I got here before I got here that isn’t—outpatient intake— there there
consolation? Him I found in the dative case thrown concussive on the very air, west
expectancy: he said I sat close enough to notice if I wanted his black eyes burgeon at cruising altitude and before descent he could, he believed, if I
wanted, taste it rocking back, like dialing a memory. |
Brian Blanchfield is the author of three books of poetry and prose, most recently Proxies, published by Nightboat Books in 2016. He was awarded a 2016 Whiting Award in Nonfiction. His two books of poetry are Not Even Then (University of California Press, 2004) and A Several World (Nightboat Books, 2014), which received the 2014 James Laughlin Award from the Academy of American Poets and was longlisted for the 2014 National Book Award for Poetry. Recent essays and poems have appeared in Harper’s, BOMB, Guernica, The Nation, Chicago Review, The Brooklyn Rail, A Public Space, The Paris Review, and The Awl. He has taught as core faculty in the graduate writing programs of Otis College of Art and Design in Los Angeles and at the University of Montana, Missoula, where he was the 2008 Richard Hugo Visiting Poet. Since 2010 he has been a poetry editor of Fence. He lives with his partner John in Tucson, where is the host of Speedway and Swan on KXCI 91.3.