The writing of poems
and the living of life
seem to require
paying hard attention
to any and everything,
and experiencing
a kind of mental orgasm.
Yikes! Do I
mean that?
Unfortunately, I’m afraid
I did, dipped to scoop
an idea from the roadside,
the mental roadside that runs
alongside the mental highway
that leads to a mental hospital.
I have never been a patient
in a mental hospital, because
I think it would be an extremely bad place to be.
So I stay out.
And stay home.
And go down the street,
looking intently at everything.
Sometimes the people in the street
laugh and turn into sheet music
torn from the sky and left to flutter down
into the metaphor that hides behind the deity,
and will not show itself,
and that is very peculiar indeed,
like a basement beneath the ocean,
with a tree that grew through a sheet of glass
on which your face was painted,
like a clown’s, in the early morning,
when it was just starting to rain
and the animals are moving, and the tents
are rippling in the breeze, and inside Glenda
the chimpanzee is completing a quadruple somersault
from shining bar to shining bar.
Aisha Sabatini Sloan
Episode 22: “Form and Formlessness”
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for Newsweek, and a glamorous woman who befriends them. In an excerpt from The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her “shape or identity or essence.” Next, Allan Gurganus’s reading of his story “It Had Wings,” about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with “Dear Someone,” a poem by Deborah Landau.
Rachel Cusk photo courtesy the author.
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