Not Quite Symmetry
Print
Broke, I’d like to borrow your lower half,
Wear it for a day, make some coins. I’d
Love to enter you, snug, but not through
The usual channel. You can invade me,
Feel my convexity, as I’m ventilated
By your absence, there, in the crotch.
My eyes shaded by your eyelids, I’ll
Conform to your nose’s architecture,
Breathe this life though your nostrils.
Contributor
Linh DinhLINH DINH is the author of a collection of stories, Fake House (Seven Stories Press, 2000), and three chapbooks of poems. He is the editor and translator of Three Vietnamese Poets.
RECOMMENDED ARTICLES
Shifting and Symmetry of Time
by George WidenerJUL-AUG 2018 | Critics Page
Although my investigations and conceptions of time are certainly self-taught and personal, they are not necessarily outside the canon of human experience or destiny. They’re in fact juxtaposed to the future evolution of technology and human neurological development. This is to say that perhaps one day some of my pictures will awaken from their present hibernation. The question here is whether my calendric calculations and reference points are merely personal or whether they’re connected to a futuristic synergized public.
A User’s Guide to the Miracle
by Dave MorseFEB 2019 | Poetry
Dave Morse is a poet, musician, and bookseller living in Brooklyn, NY. He has published one full-length collection and a handful of chapbooks. He is currently at work on a second book which contains these poems and considers masculinity, illness, and ability. His other projects include being half of the Bushwick used bookstore Book Row, half of the poetry imprint IMP, and playing guitar in punk bands Nandas and Terrorist.
Double Vision: On Ryūsuke Hamaguchi’s Asako I & II
by Kazu WatanabeFEB 2019 | Film
With the release of Ryūsuke Hamaguchi’s 2015 independent film Happy Hour—a five-hour arthouse drama about the lives and divorces of four thirty-something women that received festival awards and overwhelming critical praise—the unheralded Japanese director (with about half a dozen feature films already under his belt at that point) suddenly emerged as a significant new voice in international cinema. Premiering in Competition at the 2018 Cannes Film Festival and adapted from a novel by Tomoka Shibasaki by Hamaguchi and Kiyoshi Kurosawa collaborator Sachiko Tanaka, his follow-up, Asako I & II, is a smaller yet no less perceptive work that is similarly preoccupied with mining existential ruminations on identity, survival, and personal growth, this time through the cinematic dissection of an idiosyncratic love triangle.
(IM)MORTALITY:
John Bruce and Pawel Wojtasik, with a performance by Matt Freedman
by Taney Roniger
JUNE 2018 | ArtSeen
It begins with a looming black screen. Inside a small room that has been fashioned into a theater, a crowd has gathered to immerse itself in a subject we spend most of our lives denying. For the first minute and a half of the film, we stare into the gaping abyss while a male voice tells a Groucho Marx joke, speculates about the metaphysics of card tricks, and recounts the persistence of the black hole motif in the Roadrunner cartoon.
RSS