Six Poems from I Look at My Body and See the Source of My Shame: ( We\u27ve arranged our lives, My soul, steeped in my pride, The world is a funny house, My joy from you lives free, Our hunger like a cockroach, and Nothing is ever clean in me )

Six Poems from I Look at My Body and See the Source of My Shame: ( We\u27ve arranged our lives, My soul, steeped in my pride, The world is a funny house, My joy from you lives free, Our hunger like a cockroach, and Nothing is ever clean in me

Poems from \u27I Look at My Body and See the Source of My Shame: Ecstasy Facsimile (\u27My favorite saint tells me I complain too often about my soul\u27s shortcomings\u27 and \u27We own none of it\u27)

The poems are part of a manuscript I\u27m currently working on, which is my attempt to project a mode of disclosure, even as the method of composition--which involves the liberal extraction and combination of passages from several intertexts--works against this seeming tonality. The poems contain passages from The Life of Saint Teresa of vila (1957) by herself, translated by J. M. Cohen

Motus animi continuus

The poem part of a manuscript I\u27m currently working on, which is my attempt to project a mode of disclosure, even as the method of composition, involving the liberal extraction and combination of passages from several urtexts, works against this seeming tonality. The poem loosely channels the consciousness of Gustav von Aschenbach. Among the intertexts I\u27ve used are Death in Venice by Thomas Mann, translated by Stanley Appelbaum

Poem from I Look at My Body and See the Source of My Shame: Ecstasy Facsimile ( Rescue me after the gangrenous limb\u27s been cut off )

The poem is part of a manuscript I\u27m currently working on, which is my attempt to project a mode of disclosure, even as the method of composition--which involves the liberal extraction and combination of passages from several intertexts--works against this seeming tonality. The poem contains passages from The Life of Saint Teresa of vila (1957) by herself, translated by J. M. Cohen

A Potted History of Fevers (The Just War Was Slow Weather)

The poem is a part of a sequence that loosely revolves around the Agoo apparitions in the early 1990s

As Aschenbach (\u27Who setting out to voyage must have imagined which shores to avoid\u27)

The poem is part of a manuscript I am currently working on, which is my attempt to project a mode of disclosure, even as the method of composition, involving the liberal extraction and combination of passages from several urtexts, works against this seeming tonality. The poem loosely channels the consciousness of Gustav von Aschenbach. Among the intertexts I\u27ve used are Death in Venice by Thomas Mann, translated by Stanley Appelbau

Poems from Ecstasy Facsimile

The poem is part of a sequence that textually draws from the biography of Teresa of Avila

\u27It\u27s you who are. What? / A hummingbird.\u27 and \u27No longer was he young and raw though the error remained young and raw\u27

The two poems belong to a lyric sequence that loosely tracks the emotive trajectory of Thomas Mann\u27s Death in Venice

Poems from I Look at My Body and See the Source of My Shame: Ecstasy Facsimile ( Canvasbacks will swim in the polluted river, Meanwhile, real life, and The river is a stadium )

The three poems are part of a manuscript I\u27m currently working on, which is my attempt to project a mode of disclosure, even as the method of composition--which involves the liberal extraction and combination of passages from several intertexts--works against this seeming tonality. All the poems contain passages from The Life of Saint Teresa of vila (1957) by herself, translated by J. M. Cohen