#8, Back 2 the StudiO

#8  Back 2 the StudiO 

Fish-earl and Picasso, all the books 

packed up, the cart piled high 

traveling down the road 

the paintings, bumpin' along

he mostly tried to stay in the center 

in the sacred center 

the tree out side, the prayer 

flags offering a flavor of--

at the height, when he felt off--

1.

the Outside world, what was out there

the window of his 

workshop, it would bring him back to

a center

the secondary realities--floated

Back 2 the StudiO, was 

what he was trying to say,

he would organize it all 

there so he could see it

place himself in the middle

in this, his story 

like with stars out there 

for walls 

no home, with no flowered couch 

but stars

no football game on Sundays  

just shapes 

and a palette of color

against or for the-- 

only comfort, in the stars!

the truth was he created them 

to suffice--

this fiction,

his structure of nature

his unbounded gods of metaphor

2.

The Road Movie 

was JUST LIKE LIVIN’

how he saw a everyday world

the wind blown mysteries

Nietzsche, in the desert--

train, coming home

beyond the land

there was a confidence 

in convention, of course

tired of the black and white slashing 

through still signaling --the flames

a possible

re enchantment of this self

a simple mysticism, reaching

of this man on a mission, 

a simple 

ease of arriving to-- 

Commanding  

“loose these bonds 

I tell thee”

the wall unmoved, 

like the aspens

still standing there

in sway--

the national myth 

3.

seen innocently 

in a dream of youth 

through Piero d-e-l-la Francesca

tumbling

through common belief

the old cracked wall

VILLA WALL

red reality

the color we copied in Pompeii

it was the endless evolving 

conventions

of realism that seemed 

valid or real in itself

with out it there was a gasp!

but like God in Russia

it went on, we went on 

and better for it

making it new

this distance, still, this 

always seeking, height

this sublime,

in the cycle, in it-- all

this height, maybe just

a part? no, that OCEANic depth 

death, the father

4.

the whole contained, 

in the the mother's face 

continued in that shape

that intensity

if, gaudy Sun

AN IMAGE TO ABSTRACT

EXPRESSION

out of the shadow to press forward

to extreme--

he was out making a ranch like gate

and the plans were coming along

going to meetings, at the bank

checking with the contractor,

he liked painting up 

there in the snow

a blue bird just flew out 

8.

just as he thought, "this was 

the extremist moment--" 

she said,

"flew by with the sky on it's back"

gliding free

exaggerating his feelings

that curious bird

wondering at

amazing clouds

zipping fast at that height

the wind began to howl, 

it always did

such beauty, 

makes one a bit anxious

and a bit of a weight 

to push against

or maybe just the amazing

beauty, at the breaking--

a fear felt at, 

most intense blue

and impossibility 

of capturing

ones just passing, through 

he made that  painting

IT DID seem to nail IT down 

9.

having been there!

in that ANXIETY

you know--that fear,

proximity to-- made it that more, 

BEAUTIFUL

a blue bird 

there the god is

flying through that formal 

moment in the sun 

the painting was coming 

out right, after all

everything just right

repeating it

those right moments

questioning?

This old rough, Walt--

enthralled--I had to stop 

to pick some flowers

I saw coreopsis it 

turned out to be--

11.

SOME called it COSMOS

poor purple clover 

besides 

it was summer and he was 

that character

in the painting, representing-- 

he was driving West 

into the transcendence, 

seemed in that elevation

he called it, justLY

the naming is decorative

he wasn't a poet, 

it didn't matter, Existence--?

that was the magic

what ever being WAS 

an artist WAS in those days

finding a flower

relating it to more

all beyond he guessed

but he was right here now

in the Poke weed

his descriptive plain air--

was seeing the change

the beginning of myth

the change