breeched by the child developing fewer ways of seeing
what islands mean by separation
Running
Not always the same universe, the same spacetime continuum, some
warp in the way bodies regenerate, or refuse to, and ankles knees
bones of the brain constantly fight the seasons, for they are not
the same, not the same spring in the step uphill at heaven, nor in
the long distance miles along trails that seem rockier, more
personal, and weather harsher than forever.
Not the same but sweeter maybe, legs like Kau Cim sticks
tossed out on landscapes, bones picking up speed,
grown strong by simply being out, thrust & parry in air & earth,
singing against the end, runner’s mantra, next hill,
the next curve, life strung out a tensile thread
between coming and going, and into the next whatever
it can be, long as it moves this fast.
Tattoo for God
I got the boy on the right arm out of the army, about the time I met
my wife, who wanted to know if this was permanent, or just a passing
faith fancy, something she did not herself believe in, either way,
and I said it was a drunken night in Bangkok when the moon was full,
an eye on the Asian continent and I felt like the Buddha in love
with all the cosmos. She said get it removed. It’s my turn.
It took the skin right off, one god less, one goddess more.
George Moore's poems have appeared in The Atlantic Monthly, Poetry, North American Review, Orion, Colorado Review, Nimrod, Meridian, Chelsea, Southern Poetry Review, Southwest Review, Chariton Review, and have been nominated four times for a Pushcart Prize. Moore was a finalist for the 2007 Richard Snyder Memorial Prize, from Ashland Poetry Press, and earlier for The National Poetry Series, The Brittingham Poetry Award, and the Anhinga Poetry Prize. His recent collections are Headhunting (Edwin Mellen, 2002), poems exploring the ritual practices of love and possession, and an e-Books, All Night Card Game in the Back Room of Time (Pulpbits, 2007).
The poems appearing in Zone are part of a collaborative installation with award-winning Scandinavian textile artist, Hrafnhildur Sigurðardóttir, scheduled to appear at an exhibition in Iceland later this year. The installation will be cite specific to Nes galleries, in Skagaströnd, on the northern coast. A previous collaborative work, with French-Canadian visual artist Mireille Perron, appeared in Can Serrat, Spain in 2007. Titled Complicatio/Explicatio (Folding and Unfolding): A Collaborative Artist Project on The Materiality of Textual Experimentation, the installation featured Moore's poetry and Perron's conceptualizations of the "book." Several shape poems from the Can Serrat installation have been published in Bathhouse.