Virtual invents nostalgia.
Typically one begins in a cave,
lyric, and minimum.
Ultimately, landscape quietly flowing,
not rushing, but drawn there,
There, he is savage and everywhere.
Structure is still pastoral, screen is still pastoral, a
prophylactic for time.
Always reuses economy, a theory, an ecology,
an aspect becomes propaganda for never, then independently never.
The bought labor, and a good window.
He lists economists, enumerates the dream, modern, improvised,
how much. We need.
In flux. The relaxation
of freedom to the shape of our ornamentation.
Our most primitive bark, street cred, stones, open air,
and in more senses than we think,
a natural liberty in shock, original, the minimum, the moved.
The unexpected spiritual.
A modification of politics into supplies.
A list of toaster, light-bulb, light-bed, an ex-, for
combat, and two more beds, and a kettle for
two knives, oil, and interiorities.
The diminutive mirrors, uncarpeted.
To shake the sad.
Cut down huts, cut down houses and offices, hospitals;
What we experience solely for the expense.
The original disposition sought possession
of the same place, for
different uses, bodily habit.
In this sense, classical nature or naturalism,
the identification of course (soup, mains, etc.) & of the body.
In his first gathering, and its precursor of bodies of leaves,
their social generosity (but engaging a creature, mimetic)
amidst the commons.
It adds to our neighbors’ wishes,
inflictions, service, insecurity, erotic insecurity.
The cadence of browsing contrary shapes, attractive strangers, distributions of living or thinking.
We would like to remain silent in the threshold.
They were composed by social historians,
photographs rearranged the reams.
Or, more male, the empire sets.
Between the glass bell and the poignant sloppy diary.
Gross domestic general habits, trade of personalities, etc.
The tradition gathered in workers and wealthy.
Binary and consistency,
although method only contrasts in furnished corporal habit.
so pleading, such agency.
Form is ethos and ethos is hygiene.
Haptic desire of an alternating sequence
within the frame of the album.
In picturing the sale, for inclusion,
As a matter of vanity, the economy of emotion. He reflects, pre-war.
What is the necessity of delight?
Our furnishing of received gesture, intuition as a kind of club,
a household god.
The fear of traitoring your own household god.
Functional present, of devotion, of love, entered shapely, absent, silent. So much of memory doesn’t exist.
We cannot scribble grooming, groom scribbles into cuts, etc.
The lines of garments, in this way, into speech.
The house of houses of houses of homes.
We are the face you revolutionary, an ortolan bunting, or vinyl,
molded our face into pronoun.
Perception is a second hand. The rack of light.
A mirror recedes from branding,
A sequin is departmentalized shame.
The relation of randomizers to the erotic.
Inspirational death and luck.
The first store was such a good idea
and useful, but
abandoned for emanating desire, and thus,
Innocence worn-out enjoyably into recognition,
untwirled into mended, the product
of new time, folded art, silk for a face,
neither stance nor nation.
Donald Dunbar lives in Portland, Oregon, where he helps run If Not For Kidnap and edits poetry for draft: The Journal of Process. His book Eyelid Lick won the 2012 Fence Modern Poets Series prize, and a chapbook, Slow Motion German Adjectives, is available from Mammoth Editions.