Postmodern Poetry – Xanax Pop by Lewis LaCook

Postmodern, Post-Avant, Post-everything…Poetry after the deluge

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Monthly Archives: October 2008

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The history of sunshine is also the history of plastic

Posted on October 23, 2008 by Lewis LaCook

When I step outside to give my head
some sunshine raw and gathering on grass
We measure ripeness with our amphetamine flush
and have means to jackal silently through cities
as unclouded as a plastic’s history

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Whole sentence nerves

Posted on October 22, 2008 by Lewis LaCook

Giving my head to blueberry immunity
from sunshine ululating along window voices
I telephone fired with ripeness
I’m no messiah but I do know that this means
There are berries humming through unclouded dolls

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The humming sasquatch

Posted on October 20, 2008 by Lewis LaCook

My head can Along plastic silhouette scalped
with ululating burns The cars spilling shadows
across the wall My aching head in the telephone
Sasquatch messiah As bad as you oughta be can’t
cover it Stretched humming along a reversal of poles

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Translucent confluency

Posted on October 6, 2008 by Lewis LaCook

The meeting was supposed to start
thirteen minutes ago Today it’s cotton
sprawled above the houses straining
october light I can only see portions
Wonder where we’re specifically blending

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Beyond The Bother of Sunlight by Sheila E. Murphy and Lewis LaCook Now Available!

Beyond The Bother of Sunlight by Sheila E. Murphy and Lewis LaCook Now Available!
"Lewis LaCook and Sheila E. Murphy each make poetry that is based on a heightened sense of the swarming and proteic emotional and experiential – even historical – resonances of the events, processes, and situations of very keenly felt human lives. This means that they both over- and under-lay these processes/experiences with many other things from the complexities of any present moment, so the reader sees/thinks these many things simultaneously, like looking through many transparent layers of images, all superimposed. This is writing that is not so much concerned with presenting any kind of rhetorical moral “correctness” (the most visible – and tedious – mode of American poetry for some time now), as in creating a truly complete human world."
--John M. Bennett

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