Five Poems by Stephen Guy Mallett

 

Iúwine Haibun IV

Sublate in the oak air inward need for focal note fleas breed

early this light alchemising light

well past fringed and pre-sent soft-broken of my own home

and crocus shoots pepper the emptied

field through meeting lowbrows he jumped you see my path

would that the concrete eidólon over arcane gravel here

as the red buds stir renders

its own memory father can only read the manual mother

hefts the plank’s weft shepherds the screws and he rifles

hands through thinning hair this unnamed man isn’t him

or russet maple’s elbow’s crook now-limnless furtive aspect

recalls no thing//proslogion of either                                         

drawer’s parietal shelf serves only as pecker-fodder and stays

seamless all of him now this now glides sinew as any milfoil

guest would posit this sky is a contemporary all my own floating

as if between word like worlding worlds their self redolent

as an Aufenthaltslosigkeit with gravel between the teeth sun dressed

in the nothing serving as protection spills over the frayed stump

 

geong iúwine, of ðære é 

kakure-ichō—

gin-clear dew coats world-new grass— 

 

 

Selection From The Illative Leaves XLIV

In Quartz and no known wit its disembodied finger

All over world-seeking, a lake deep enough to drown

Wholly intent re-joiners from the former age, fond

Gonfaloniers of wave whirling on the road blessing

Mind’s stars’ petals containing ordinary interpreters

Of historicity and herstoricity: its pointing finger

Is no basis for government. And so hovering under

The sur-face-glory and strained music unpunished

Is there any depth more precious to you than your

Self?—or so describes its farcical form in the heat.

A New Universal Theory of Heat and the wind under

Water about manipulated days, this day-auratic road. 

 

 

Iúwine Ephemera III

Grass withered. Rakούns peer past stone sewage enclaves’ anther and noun

classifiers in Hmong Daw. They generally ignore acorn offal and the squirrels’

acorn offal. Half the sky enchased and somehow, some why, as a series of emanations,

all were passing glad of him and his lyre stands alone, still. The They refers to rakούn.

Does this one rakούn note canopies within canopies?—note the large within the small?—

where goes rakούn-ipseity’s nuance-deity?—of choice or fanfare; of fiction or friction;

this rakούn, overstating.

Two right feet.

As though through consistencies in syntax and grammar the sewage stream is ever

new and re-new and newing itself and the sagacious stream wanes over and over

the willow witching grounds. The bed, for like a bed, gracing the graves of shelves

and neither leaving nor wishing to run diachronic on body-time in immiscible bodies,

the power of power of power overstates.

Who will listen?—loess from the quay and Spirit of Triune praise

rises from evening embouchure wafts. 

 

 

Iúwine Haibun XI

Common grebe as wheels of Galgallin—

wood-en-graver may wince from pin cete

of conscience or of finger or as pulque

as the mother vows, more or less distends

into the blind world, or participating in

some vague climax on its smoulder-round

metal, the lactescent steam rising even

as the tendrils in their oblonging etch arcridge

and stern and tune. Guile preaches set

perched and no cure with ululating

but a smear of oil on pavement bound

intrusively to ubiquity of visible structure

and ablates its self and a semblance of sky.

No thing upon a red horse among the myrtle trees

holds the molds and their codes

in a lively burst of notes

and the sense intrudes and strings

form from the foundation—it clamors in no known style.

A sincere re-turn to the equally sincere

grip on the plane in the mold

as ground gathers

every thing into its self∴to distinguish her

self vividly from

her mother involves a set∴

a degree of privacy∴

affords a non-analysis—itself frames

and it is self in dividing ingots by tethering re-sur-rect.

Untitled Iúwine Haibun

No glyph of holzwege wol

take off my time placed swarthy on two hearts on arm swarthy

when if infinity knocks evening answers proffers

only morals/morels with every meal what wol follow about: though—best rest

and the snow rained heavy that year—death swallowed/swallowed by life or

less with may dreams in its field of vision (of nominal value) or of re-search

or if it yearns if it (is it an “it?”) one more word will/wordwol

be enough/or two if delicate in

being its own protection if protection of delicacy through the things them

selves—hear the everywhere as many moments—a beginning of a different better tree.

I’m not curious about worlds/I’m curious about worlds you build/you’re to hold

hold smoke in-halation damage to mind’s body’s spirit’s body rude in

tension/superimposed in tensile shading

 

snow pea velvet 

blind hands bind orlop-lobe fronds

orchil-orris links.

Stephen Guy Mallett was born and raised. Former ennui siphon, current null wielder, and concurrent student of uxorial phenomenology, he enjoys watching birds with his plural cats and eating birds with his singular wife. His poems appear in various corners of the internet and his limbs appear in various corners of the forest floor.