avatarThe Doctor - Joanie Adams

Summary

"The Flux — Sightseer’s Poems" is a reflective and poignant piece exploring themes of change, memory, and the passage of time, particularly the transition from summer to September.

Abstract

The poem "The Flux — Sightseer’s Poems" delves into the emotional landscape of transition, where the summer's end is personified, and the arrival of September brings a sense of closure and rest. The narrative voice contemplates the end of a relationship, the pain of separation, and the act of moving on, while also embracing the beauty of memories and the cyclical nature of time. The poem is rich with imagery, drawing on the works of Malevich to evoke a sense of the abstract and profound changes occurring within the heart and mind. It speaks to the universality of change and the individual's journey through it, suggesting that even in solitude, there is a place for hope and the continuity of life's flux.

Opinions

  • The poem conveys a deep sense of nostalgia and acceptance of life's transient nature.
  • There is a reverence for the passage of time and the changes it brings, both welcome and challenging.
  • The author seems to find solace in the idea that change is a constant and that even the most personal of experiences is part of a larger, shared human experience.
  • The use of visual art references suggests an interplay between different forms of artistic expression and the depth they can add to the understanding of human emotions.
  • The poem reflects on the complexities of love and loss, acknowledging the pain while also appreciating the beauty of what once was.
  • There is an underlying optimism, as the speaker hopes for the continuation of love and life, even in the face of endings and absences.

The Flux — Sightseer’s Poems

Coming To A Timely Rest — The Summer Drags On Till September Is At The Breast

Malevich — Frau mit Harke anagoria

And now, the ending is clear;

It almost seems so perfect — And time, shan’t just abide me.

The assumptions of a marched—saint;

Brilliant Thy Morn with afters — Almost faint, to assume me.

To know, she is moving clearly on;

I turn to cloak and bless her — Thy perspiring breath;

No tally or folly underneath, That fixture to breathe

The wintered man, peels and stretches his Eyes — no further, does he winge to whine; For all has been halted.

No further-far, he doesn’t wager, As the youngin's play the rooftops —

Eyes don’t allow for that debt, To wager and topple his heart anymore —

No tally or folly underneath, That fixture to that —

Circles the eyes dark, And brooding —

Coming all to stage it — the days to abode the abidance, Never without its own queer hindrance.

Regardless of the tempered ones —

There will always be the ones in flux —

To constrain and stretch the ideals for imaginations and ideas —

Coming to a timely rest — the summer drags on till september is at the breast; when to wive, she can hardly beset.

I’m sure you knew —

The actors are best besotted —

I wondered if he continues to fragrantly dream;

Gladly, I hope he does. If the word is out —

I can rest just like him — All the same; for some are.

‘Twill array the flux, coming away —

Such brilliant boasters;

Tripartite cows my bronze booming,

Of lighting flares and cooling downs —

As a roundel of faired courses comes,

Just down for her;

In this roundel room, she rests to retire —

There she goes away from me,

Flaring in the smoothing grief,

Disquieting me to that fever, as she leaves —

Fluxing frow, stitching the fringe,

That bides the precious ring.

Solarity bathed in deepening rosin —

I am, hallowed but bared to thy nature;

Love — love, she goes further-far from me,

And I to remain forlorn and awaiting

Her call —I’m waiting, to hear her calling me.

Nary will it happen for the hope has gone,

Abiding me by and by.

I remain alone now,

To this room, of Orange conjectures —

Bronzed lighting — plastic screens and emptied notebooks in lunges and lounges.

Yet I can never really tell, all about her;

And that, my only friend,

I’m glad.

So glad.

So glad for her.

Now.

Now.

Now.

Hush my lights —

Hush my bounces —

Hush my tricks —

Hush my lips —

Now.

Now;

My love.

Thy precious hope.

Now.

Now.

Malevich — Badende

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JAR THAT TOMMYROT! — Katharine Hepburn — 1938

A POEM OF SIGHTSEER:

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