What can you say? To think with the body as subject
and object at once change flows through the pattern.
In the push and pull of yes and no, word’s edge
is a body of thought, such way out feeds time back.
Okay to keep eye contact with myself in rehearsal,
to imagine a focus beyond audience. Your own ego would.
Judging other’s egoism to be shared as my own is exposed,
finding it hard to let go into levity. To whom did the
screams appeal? Still once a day is shorter in sound –
each phrase becoming an object hanging in space.
Let movement follow sound, track out up to the beam.
Increase the range of tone, pushing a volume between
hands, touching the limit of the moving imagination.
An impulse to touch a line now forgotten across our
Distance. Bringing too much effort toward meaning,
let me stay in my body’s direct gesture in
the alignment of the spine. I see you seeing me
stay closer to myself. From shape to gesture to expression,
a trialogue between thought, word and movement: the moving
thinker writes and having moved writes on.
Expressive beyond reason, our arms and heads go round
in a circle making internal connections: another sweat angel
on the floor. Purity. Objects that can’t object to what we
cannot bear: impulses and choices to follow, affects brought
forth as love in movement.
What are you doing with this poem? You take it all in,
make some choices, take some decisions, or you don’t. To split
your individuality from your self, from your ego dissolved in spirit.
Its particularity might lead to generality, or vice-versa, or not.
Waiting for the impulse to start, step on to the navigation
point as imagined witness, addressing what is prepared for you
as a present, trying to see the movement. Not enough time
in the world to wait for it: is it a choice or something
that comes unbidden into attention’s domain? Listening
for the sounds of the other moving in the room,
making my own sound to detect the shape of the space.
My lip touches the edge of a table. Touching the edge
of syncopated, harmonised reduction; conflict bodies
for the logoclast. All these things at once hook left
then right, twist and push away, turn and absorb
body to body. Try to be beautiful as you use the word
quiet at the window. Judgement stops movement.
Language fell away. Language fell to. Stop
movement. Get the language working again,
releasing out from the centre to the edges.
Trusting that you can follow your energy without
refusing others’ shape and disperse: trying something
to find it wrong also. I try to perceive this in relation
to the colours of different flowers in proximity, and,
going up to a rose, my perception of it has changed.
SCOTT THURSTON’S most recent book is Figure Detached Figure Impermanent (Oystercatcher, 2014). He co-organises The Other Room reading series in Manchester and co-edits the Journal of British and Irish Innovative Poetry. Scott lectures at the University of Salford and has published widely on innovative poetry, including a book of interviews entitled Talking Poetics (Shearsman, 2011). See his pages at www.archiveofthenow.com/