By Frank Kuppner
Allusive and funny, this unusual anthology is constituted of the 1st strains of a set of misplaced poems. Reportedly came across in a Latin American eating place in Glasgow, this immensely interesting compilation of verse is filled with intensity, perception, provocations, and astonishments, and spans quite a lot of writing kinds, from melodrama and sarcasm to bawdiness and outright absurdity.
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Additional resources for Arioflotga
27. Clearly a homopun on “be two” as well as a rhyme with “Me/You”: both obviously demonstrate the plasticity of the subjective skein. 1733 SWIFT Impossible! It can’t be me. Or may be I mistook the word. 28. Both the articles “a” and “the” conclude lines in this poem—selfconsciously signifying either the amateur status of the poet (the only rule in poetry being not to end a line on an article), or the poet’s insistence that every word (blurt) of the construction is equally significant to the whole.
I like what I like. I just like what I like. I like to say look: dissident anachronistics, shambolic stuff in master rows but look at me. I even early balded to enhance the interrogation. I meander in and form more order. I like to point with my pointer, to indicate. The most afraid I like to get is a little bit. I app my accounts and survey the advantage. I tower under. I oxiclean the ivory. I shower and shower. I dig on fonts. I wake up singing I say never start with that but one morning I wake up singing the Fat Boys.
The only line of more than two words tactically contains a word and two halves. Tempt: to try, make trial of, put to the test or proof, to try the quality, worth or truth of —OED. 4. Repeating “tempt” in so short a space generates additional scrutiny towards the connotations therein: temptation and its role in the Pandora effect of articulation. This broken echo simultaneously amplifies more distant, yet appropriate associations: seduction, crime, and even murder. One of more than one instance in the poem where the staccato line and vertical syntactic velocity places physical pressure on the idiomatic semaphore of kinetic conversational bewilderment.
Arioflotga by Frank Kuppner