Postmodern Poetry – Xanax Pop by Lewis LaCook

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

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Monthly Archives: May 2009

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Empowerment

Posted on May 30, 2009 by Lewis LaCook

“Drama” is just a sound. Distant festivals diffuse across a wash of sunshine, birds, saxophone. The waves assault beaches, dragging garbled glazes to the bottom of the lake.

Posted in Postmodern Poetry | Tagged drama, festivals, saxophone | Leave a comment |

Dissolving

Posted on May 30, 2009 by Lewis LaCook

When you stagger into empty parking lots: this sky, cobalt-mauve, crawls over you.

Inattention resembles pauses between leaves. Streetlights aren’t hollow late May; they spill over with midges.

As you sprawl through squinted alleys, thought coughs and slurs.

Posted in Postmodern Poetry | Tagged empty parking lots | Leave a comment |

Balsa

Posted on May 28, 2009 by Lewis LaCook

The leaves of an evergreen veer like ribs bent into needles. Our shaggy gray cat, caught in the rain, involves carpet with burrs of water.

Posted in Postmodern Poetry | Tagged cat, evergreen, needles, water | Leave a comment |

Agriculture

Posted on May 27, 2009 by Lewis LaCook

Witchcraft, on screen, real time.

My talisman and my fetishes sink in this humid cascade of crackling showers. They fall to earth with quaking.

Our sisters live silently along the fault.

Posted in Postmodern Poetry | Tagged earthquake, fetish, witchcraft | Leave a comment |

Chironomidae

Posted on May 27, 2009 by Lewis LaCook

Soft muffleheads; they don’t bite, don’t sting. When I stand naked in the smudged incandescence of a room lit only by monitor, they playfully tickle over my skin.

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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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