From the Archive: ‘Large Large White Flowers’, by Eileen Myles

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Image by Michael Tapp. Reproduced under the Creative Commons Attribution-NonCommercial 2.0 Generic License.

I’m using this

it’s large

it could leave it could

change

inside of changing

is hanging

everyone crossing the street

was talking to some

one; “alone”

to be with people

sending off

their rays

I’m sticking with you

even less

nuanced. Less smell

maybe

a blue pigeon

unlocks the

door to

the slabs

of wood

on Delancey

white planks &

then really beautiful

planks of artificial

wood leaning

against a tree

why is this pithy

to me. I’m re

lieved to be living

one day

without camera

or pen or

watch

I felt totally un

watched

alone w this

non assignment

this deliberation

to be glad

for New York

that contains

dogs & statements

experimental

art; art of yore

and that blue

pigeon that

followed the wood

but has

a pigeon ever been blue

before or the

night in such

stripes

go out

without your phone

call no one

Honey’s hunching on

the rug

the intactness of

all experience

deserves our wavering

but eventual

respect. Call me after

everything

I have some

love. Rather

than apologizing

I’m doing

well

rather than letting

you go

I’m letting you

leave

blue pigeon

I’ve got your

back

and the vista

that surrounds

you is magnificent

I’m leaving

it there!

This piece appears in The Lifted Brow #25. Get your copy here.

Eileen Myles has published twenty books of poetry, art journalism, and fiction and libretti. She’s a Guggenheim Fellow, has received the Shelley Prize from the Poetry Society of America and a Lambda Award for lesbian fiction, and was named to the Whiting/Slate Second Novel List. She also received an arts writers grant from Creative Capital/ the Warhol Foundation and a Foundation for Contemporary Arts grant. She lives in Marfa, Texas, and New York.