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Poem
by Kay
Divant
Caffelinas
for the efternoon of our hazys (Cafè of Butterflies)
We see through the plate glass in which we also see ourselves
the mannequins in colours of asphaltum and iron, blotched
with yellow and gold, edged in sable. We see at the base
where an anus would be, the metal pins inserted in the rigid crustum.
Whereas we are rampant with soft skins and skeletons
of light bones, crisped by wind. We hail and differ!
Leaning over vials of our favoured distillates (vapours stirring
the air of harsh whispers Chez l'Alchimiste) we make our
selections.
Our bodies are with us relaxing on chair-point as we hear them spoken
in terms of force and reconstruction. From their latent positions
couchant they watch for cracks in the facades, listen
to the skull pans emptying bluish in the culverts beyond.(1)
A moment blonde with hands blurred down at them
which cast our blood, oh Lord, in stiffness too
our minds flit watchfully, and lip to lip
as on their One day swarms of Monarchs volant,
from bloom to bloom, with glasses of amontillado (2)
lift and sip the cuprous mutagen. (3)
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Colors:
(1) As in the color blue -- bluish, blush gush, blues, the music,
the mood, but also anticipatory of butterflies (the blues
of the lycaenidae family).
(2) Amontillado for its associations with Poe, aura of the twisting
mind and motives that go unspoken. But primarily for its meaning
montilla-like as in the process of making sherry
first maturing under a layer of flor (yeast cells), and then cycled
through the Solera system where older casks are refilled with younger
wine -- as the recycling of human mannequins in the alchemical cafe.
As they age, the amontillado sherries lose their covering of flor.
The resulting exposure to air turns them a darker amber.
(3) Copper...shimmering...the most seaworthy of metals, used in ship
building, in alchemical tradition associated with Venus, in its bivalent
form is used for etching, and has also been the instrumental chemical
for unlocking a recent experimental discovery about the origin of
life on the sea floor by Japanese scientists; cuprous, the monovalent
form, has been substituted.
Kay Divant's first book, Body
Velocity: Reproductions of Poems & Objects, appeared in
1989. Formerly she was a pianist and installation artist, and for 10
years a financial writer and editor for European investment banking
firms. She received a Wm Matthews Poetry Prize in 2003. She hails from
Tulsa, Los Angeles, New England and New York, and now lives in Kansas.
Recent poems appear in magazine minima
(issue 0.4), 11211, and Rivendell.
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