52 lines
2.4 KiB
Plaintext
52 lines
2.4 KiB
Plaintext
ooooooooooooooooooooooooooooooooooooooooooooooooooooo
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o o
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o WHAT FOLLOWS EVENING o
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o o
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o by BARBARA EINZIG o
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o o
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ooooooooooooooooooooooooooooooooooooooooooooooooooooo
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Night suspends color in its turning away, in its
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bringing up of whiteness in darkness. Daisies
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are iridescent in moonlight. This heightening
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is not rising of blood or an expression to a face.
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This is the way dream people become sensible.
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Sleep suspends a daytime body, giving the weightless
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weight, by stealing from a daytime body its daytime
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gravity. This is not the enlivening of ghosts.
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A shadow moves this way with a hand over paper,
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with a body over pavement. This is a dream house
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with clear wide windows. If these windows are
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opened, they open into bright day. A dreamer
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becomes a sensation of falling, and having entered
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day by mistake, awakes suddenly.
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Now I remember the Memling portraits -- face of
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a woman or a man close up, study in steady character
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occurring as a flower in the face -- and, framed
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by a window without glass, in a space equal, or
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existing equally through proportion, fields roads
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hills beyond. This is not a memory going backwards.
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This is a painting you may or may not know.
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Night paints the face of a dreamer the way a loved
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one sleeping looks. Night turns away from that
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which the sleeper turns, as she turns her head
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on a pillow. This is the way dream people become
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sensible. In busy streets, noticing, they brush
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past each other, and may or may not recognize each
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other. A dreamer becomes a sensation of falling,
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and having entered day by accident, awakes suddenly.
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In one stroke, spell or die is cast and broken.
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This is a painting you may or may not know.
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ooooooooooooooooooooooooooooooooooooooooooooooooooooo
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o o
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o Copyright (C) 1979 and 1994 by Barbara Einzig o
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o o
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ooooooooooooooooooooooooooooooooooooooooooooooooooooo
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