In Loose Contort

In Loose Contort

From that which lies about us we construct
plausible solutions; scenarios
that help explain what life, by chance, has plucked
as this day’s harvest of ripe curios:
people, events, time and place alongside
those artefacts, those things that decorate
this impromptu muddle; unqualified
mess – by chance an entanglement of state.
What lies about us is about us strewn.
A momentary arrangement that becomes
itself revealed as a glimpse; and so soon
becomes the fresh source of infinite sums.
. We are in pieces, patched together, wrought
. of all things about us; in loose contort.

© Tim Grace, 14 January 2014

To the reader: I’m a constructivist; intrigued as I watch organic plasticity contend with constant adaptation to non-organic obstacles. Without adaptive agility, existence is a fragile and brittle proposition. At the centre of my own survival guide is a stoic statement of resilience: things change and people adapt. Every heart-beat, every breath, is designed to extend or improve engagement with time and place.

To the poet: Poetry and fluid mechanics have a lot in common. Both seek to understand and/or harness the nature of flow. Fluids, just like poems, derive their character from internal and external forces that influence their dynamic state. The 1960’s hit-song ‘Poetry in Motion’ is a great example of syllabically static lyrics interacting to create the effect of a constantly rolling wave.

In Loose Contort
In Loose Contort
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