Jeremy Stewart: Three Obscurities

 I. country music

I got on the motorcycle I didn’t have

& rode out into the desert

beneath cold white lunar fasce

the warp of elongated night against the grain of hours

unroaded days

in unfixed durations

regard this as country music

swoop of high

tension wires

flowers woven into a beard

or weave bees

the salmon river bridge

a sleepless hootenanny

exploding cigars, rubber chickens

golden curtain to hide what a horse imagines

clamber up on the bar & kick all the bottles off

dance moves

glass drips down the window frame

forest fires die on their own

entombed with marbled end sheets

II. for obscurity

all the blood has run out of me

rests in fatal music

the line west of mown lawn—

its specificity is not to be

found within the circle

of its approximations

(architectonics of discrete instants

in cinderblock shed, locate

detectives reduced to pulp

people burning garbage

garbage burning people

no, that wasn’t the point

nothing was

nothing was the point I

ate for every meal

jostled pages spilling fat

tears & onions

shut in & poor

III. to obscurity

the family went in the lake

the end

arms & legs made of books

& record my songs

rotting leaves, Jeremy Stewart II: Country Music

asymptosis of sainthood—

we eat the same food as the resistance

or we don’t eat at all

& get full (on) communism

forked stick water witchery

all words underground

Europa rises & sets unseen

sounding blue heart

four-pointed star & the rosy unknown world

the hour (of) the star

followed by

a left-handed salute

the word love

ant

Jeremy Stewart is the winner of the 2014 Robert Kroetsch Award for Innovative Poetry for Hidden City (Snare Books/Invisible Publishing). Stewart is also the author of (flood basement (Caitlin Press 2009). His work has appeared in Geist, Open Letter, Lemon Hound, filling Station, and ditch,. Stewart is the General Manager of the Prince George Symphony Orchestra.

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