By John Wieners
San Francisco 1958-9, prefaces by means of L Warsh & F Howe
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He, it does not revolve on any one object that long. Lifting Bellyis a fiction. e. without will, on its own. Impelled by whatever order the mind imposes, on us now. Which is a creation of that we were before. Now does that make sense? I could clarify and rationalize. Make it clear. Shit. But something forbids it, in fact by dwelling on it I know I lose some powers of the present, allowing myself to doubt the authoriry. And stay away from subject matters. And be abstract. Deal with words as if they were hunks of letters without meaning.
And the bats return home to the roof of Stone House to sleep. And I was born then. And poets go to sleep then. Into a new birth. And we are lucky when we dream. Practicing containment. To adhere to the structures of my being. Itrhethr thqtfall away into the sea or not. brother and sister sit together on the step ofthis stone house. Lizard under the stone, Is I comin or is I goin is it somethin or is it nothin is I livin or is I dyin bees buzz around us in the morning the two trees fulI of canaries atd in the burnt grass is yellow poppies.
The candidate is to reahze and impersonate this attitude as the effective symbol of his supreme metaphysical reahzatton. Something similar would seem to be indicated by the divine bed of Sir Lancelot and the queen: the two lovers are one, and each is both. lization of this identity they embody and make manifest the singular Form of forms which is beyond all space and time; their love play is the dance of that Cosmic Hermaphrodite; and their reunion in the Castle of Death is symbolic of the renewing moment that restores the life of the wodds.
707 Scott Street: The Journal of John Wieners (Sun & Moon Classics) by John Wieners