spuytenduyvil

Images are dia- as well as multi-lexical. They are chakras, or nāḍi of the subtle body. Points and meridians at which prāṇa flows—or is kept from flowing.

 

The love that seeks through Imaginal embodiment a furthering, a continuous encounter with the truth it touches, knows this and has faith. Nothing religious about this faith, rather it’s an abundance of belief in the future as a bridge from the present.

 

The overlap or merge with accepted and untried notions of what is true or false also plays in the equivocality of the Image just as sightedness, the unequivocality of the under-recognized Image, moves the surface of Image to block any deeper breath the poem might, and probably does, contain.

 

                                                             from (celerity.passage)

t thilleman is the author of Three Sea Monsters (Our History of Whose Image) in which journal entries and poetic sequences investigate the legacy of Pound’s redactions to Fenollosa’s original manuscript version of The Chinese Written Character as a Medium for Poetry; Onönyxa & Therseyn (opening for an extended work, Anatomical Sketches, of which Keystone Standstill is the eighth book); Snailhorn (fragments), a 360 poem cycle utilizing vedic transitions in celestial to allegorical articulation; and a novel Gowanus Canal, Hans Knudsen. His literary essay/memoir, Blasted Tower, was issued by Shakespeare & Co./Toad Suck in 2013. The Special Body, a second work of literary comment is available from Rain Mountain Press. Aura Lifetime (volume one), a selection of his poetry, is forthcoming. tt’s pastel drawings and readings are archived at conchwoman.com.