Dale Going & Marie Carbone

The Body Is Its Own Ambulance

Ephemeral what isn’t.
Ephemeral everything.
The beauty of the word season conjuring.
Tragedy.
Trance abstractions sans words.
Sans voice sans sound.
Venetian blind shadow stripes.
Dust motes.
Tomee Tippee Sippy Cup’s fabricated infinity.
Mirage reflections on the expressway ribbon road.
One is hard pressed to find the survival advantage offered by a solid grasp of reality.
Feral finite beauty.
Time.
We.
E’s photo as I open up to write this.

 

Deadscape

dark bruise of rain clouds
gold crown of dead leaves
the world is an indictment chamber
I was afraid I would swallow my tongue
someone suddenly died
that each of us is
between last night and now
the dazzlement of skill
inanity and insanity’s slack
the interesting authenticity of a life
speaking for & w/the dead
bare branches in white light
any day now they will be illegible
w/nothing like enough avail
and kept falling as into an abyss
slashed by the fragmentarity
what was I asking for
nothing ever goes back
then the accidental happens
an incantatory corrosion shunning
is there any enduring consolation
is the sound of a solo tête-à-tête

 
 

Somnolent Room

(I sometimes feel
the same way now ––

here’s my perfect

complete in its fullness

empty

room

& then you come in &
ruin it

tossing
a shirt
on the furniture

(poem or no
an ink blot

on a radiant page)) 

 

Assiduous Trees

for all their battered heft       you could quibble over their magnificent height
bountiful but oddly unnatural       alive in winter       they shed palpable light
an intensity that seems to bend the atmosphere around them
surprisingly serene citizens of a city on the brink of distinction
found in their wanderings an active almost luminous partner
yielding to a bewildering angularity       performed as a silent
yes but also lusciously precise graphically etched image
an electronic soundtrack of chirping birds is particularly noticeable
near the benches and fencing        the emotional tenderizing
of the human by means of relentless pounding
we work in epiphanies        walking while dissecting
there will be a little halo       moist forage in the feral ditches
in a corner of the white        guarded by a scrawled cardboard sign
don’t fucking touch        someone has written       I admire your project

 

Word Bird

All I am doing is reading all I can ever do is read
Reading black/white letters I’m a skein of grey
Why should I have to write gray just because I’m
American not Anglo
Grey’s more evocative descriptive of grey
Its vague lettered onomatopoeia
I want its lettered grey to be lettrix but that’s not a word it’s an app
I want lettrix in Latin to be a female reader but it’s not
I’m a libris dedita
A degendered librocubicularist reading in bed
There is however retrix in English although Jesus HC it is also an app
If I add a c– rectrix’s a boss lady girl birdy shaking her tail feather
One of those divinating quills guiding avian flight should I opt to wing it
This soaring verse wafting on updrafts w/feathered quill on recto & verso

 

Dale Going’s new books are The Beautiful Language of Our Disaster (Codhill Press Guest Editor Series selection) and For the Anniversaries of All Loving Kinds of Meetings (Albion Books). Sonnets of Succor and Sorrow, her collaboration with collage artist Marie Carbone, was a Fence Books 2025 Ottoline Prize finalist. She lives in Manhattan.

Marie Carbone is a multi-disciplinary artist living in Sausalito, CA. Her collage art has appeared in galleries, journals, books, broadsides, and projections for performance art. As a classical musician/educator, her particular interest is the music of women composers. She composes soundscapes for film, theater, museum exhibitions, modern dance, and ballet.
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About Posit Editor

Susan Lewis (susanlewis.net) is the Editor-in-chief and founder of Posit (positjournal.com) and the author of ten books and chapbooks, including Zoom (winner of the Washington Prize), Heisenberg's Salon, This Visit, and State of the Union. Her poetry has appeared in anthologies such as Walkers in the City (Rain Taxi), They Said (Black Lawrence Press), and Resist Much, Obey Little (Dispatches/Spuyten Duyvil), as well as in journals such as Agni, Boston Review, The Brooklyn Rail, Conjunctions online, Diode, Interim, New American Writing, and VOLT.