This poem is a selection from a redaction-based manuscript, titled <legend> </legend>, with drawings by interdisciplinary artist, Carla Gannis. The collaborative book for <legend> </legend> is currently available from Jaded Ibis Productions and the art from the project is on display at Transfer Gallery in Brooklyn, New York until the end of September 2013.
Orders of Occupation
[the disposition of the people]
mountains supplied with glacial water in which victims represent the yolk nevertheless windows don’t guarantee settlements but demonstrate a problematic thirst in a syntax somewhere between prose and prosthesis they think the souls raised themselves hunt a wide ditch of muddy water while on the other tongue the only means fir tree its bark slippery as the wish to cross is no help left
[subject to uniform proportions]
they are stagnant water or the sometimes buildings according to rumor the country of souls is underneath us toward the sunset narrow bridges tracks of people who last went and also tracks of their dogs trail painted ochre hollow enough to hold the piles of clothes brought to her from here letter by letter twilight stationed on each side of the river she was first violin but there were definitely passages she faked
[directions to deliver property]
a sweat where he spends most of his time it happens that she succeeds in being a great orator messages limestone or white clay extend ghosts a double row of talk about the newly arrived we use nuance like we say it’s my bone algorithm it’s not your bone or we say it’s our paradox it’s not their lighthouse he finds someone standing at the door to greet him call him by name
[the position the rifle is held after]
red fescue raspberry canes secure a fence roads obscured burning tires depending on the traveler’s legend it appears to have had nothing to do with a special study of the word he says to connote not the or an but simply investment nevertheless a siege or integuments dance from the mist compassing thinly off the lake language rents their bodies displaces its objects
moon glosses grape vines white swallows coding themselves into branches she binds his ankles with string literals in the space of flows allegories incorporated applied to a cedar his exported organs at dawn mentioned there described without being heard in the memory and the wind blows it does not blow but I heard it a composite of bodies pendant in the marginalia two birds at our feet release
[a particular economic system]
like a satellite a thistle language calculates above us arrives after we are imagined suspended raveling a path back towards a dragnet of makeshift tents it’s about evolution but they keep changing the formula for glue he sat on an elephant as it broke she caught them saw to his wonder hat gathering borders impounded footprints opium turnips uniformed rooftops sometimes when it’s quiet
Editor's note: Read a review of Petropoulos and Gannis's <legend> </legend> dynamic, participatory show, which took place over the summer in New York City.