Survivor Gene
The islands we create are enemies
we reach
breech perhaps
our mitochondrial rate
mutations of mutations
in what we hate
then love
then hate again
sub-Saharan beauty rests
in its place
the tip of the extreme
inflection, reflection
but language morphs
or mutates
depending
even as a gene survives
we live in polymorphisms
so does speech
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.
The islands we create are enemies
we reach
breech perhaps
our mitochondrial rate
mutations of mutations
in what we hate
then love
then hate again
sub-Saharan beauty rests
in its place
the tip of the extreme
inflection, reflection
but language morphs
or mutates
depending
even as a gene survives
we live in polymorphisms
so does speech
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.
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