TRAFFIC . ORIGINAL INTENT SITS IN

           Straight over the precipice, arms flapping on the way
        down and here he is holding a press conference . which
        is what is clogging up our limb proceeds| even tree tower
        window leaners wave rags, cleaning as if already their air
        rights have vapored.

        The premise every one will eventfully move forward
        coasters the hour glass : whose bored child stick prods
        whose body inside ? sand grains jammed nanotight so,
        stomach turd curating . secrets that might out . run
        ruin everything.

        Thighs bidding for apple bites tempt hubris down; add
        the boot bendy luck of progress . banks rolling over
        rubble as dust inhaling lenders uncover well well
        Well ! ovary dark preserves . could be updatable; call.

                                                                                  That :
       
‘A day is like an hour; a week is like a day,’ inmate
        jellymen pray . praise the stars mobile with plight
        devices; though calendar / inward slash count / marks
        the sky . spark blue in extremis left raging.

                                                                            D’accord :
        So you ‘can’t continue like before’ . carpet ride ‘born
        this way’ home : the final movement, the only sin
        unscented set to bowel . swell millennium flower
        beds, sniffles You’re good \ too good! \ to leave.

                                                                         W.W.

     

         
                                [ In mem . João Gilberto . 1931 – 2019 ]
 

        

            LESSING

         *WHY did lower-level devils like him think
          In such cheap tropes like dead trees lining a rut?
          And he wondered how she managed to survive!
        It was only when she said, out of the blue, You can
          Flirt with me a little, you know that he could
          Begin to imagine a map of the maze
          Of hell she was inviting him to enter
            

            Which he perversely did, though it cost him Qat
          And lost him a lot of protein fucking up
          And down between cities and highway motels
       Before the exhausted lovebirds invented a fight
         So she could find herself a White-next-time knight
         Whose horizons bore more than mere hints of sails
         Abulge with spice-perfumes from exotic shores

           (from “Charon’s Anchors” by Brian Chan)

 

 

 

FATIMA ARTERRA : CONTRAFICTIONS

          

          NUDE SKETCH – 11


                                               through
telltale ‘Raimonde Winterkiss’
          Who awoke one frosty morning to a fleeing of bliss
          Rising out of his frowns like vapor from ice.    Happiness,
          Or the hint of, before it bore any fruit, was a threat
          To Winterkiss, a parannoyed sourpuss who wouldn’t let,
          On the best of days, anything close to a slime upset
          His Keatonesque mask which he favored like a fragile pet
          He was saving from some meddlesome nut-neutering vet.
          But today, looking in his mirreither, his eyes grew wet
          From his sense that life, that crappy joke, could prove happy yet.

 

 

                     SKETCH ‒ 12

          (And when those dried up, and since he couldn’t afford to pay
          For a real roll, there was always Mrs Frears, his landla-
          dy who once in a while would let her Raimonde ‘make her day’.)
          And so what if every now and then he woke ups creaming?
          The first thing he’d not ice was still moon- or sun-light beaming
          Through his room’s window, and he’d think -i was only dreaming,
          Who cares if some ghost was choking me?-     And, his eyes streaming
          With post-nightmare releaf and eagerness for the steaming
          Pile of manure called The Next Day, he wood get out of bed,
          Scratching his head and his crotch, and thank God he wasn’t dead

                            – 13

          Where's the story they promissed us?      Do they not realies
          That ‘Winterkiss’ up to now hasn’t done a single thing
          Worthy of ou rattention except to open his eyes
          And feel, despite his ingroined pissimessm, like singing?
          Alll right, so dunce in a while we all like a fuel lies
          About the Easy or Simper Life to take us winging
          On a reinbow over our whoreyesons of compromise,
          Boredom and despair and such, but christ, should our liars cling
          To their reignbows too long, we reeders wood dam their eyes
          For not reminding u show darned hard life is, how dooming-
          ly inescapable its routines

 


                            ‒ 14

          Readers want to be persuaded of tough heroes and things
          In their dencity.   Don’t try to convince us otherswise.
          The ‘facistnotion of what’s diffycult’ is the brass ring
          In the nose of our ‘suspender of disbelife’ that cries
          Out to be pulled into grazing fields of mouth-watering
          Cuds of consoiling gossip about life’s complexities
          – Which, in fictioff at least, are exemplifried as the swing
          Between positive/neggative poles given humon guise.
            Trubble is:     Winterkiss was far too plimsole a being
          To live the kind of life which can be sensationalised
          Enough to sitassfy formrulers of story-telling
          On which every guzzler of addictive gossip relies.

       (from *fatima solagua arterra’s nudes* by Brian Chan, 2015)

 

               

 

 

TRACKS OR TRAILS . BEGET THE BEGIN

 

          
       Tattoo arm strangers wade ashore, finger pointing, We
       can see your avocados, have you no shame?  No use
       explaining : winds vivarious lift . forced to run for cover
       leaves peel away. Hola.

                                       Earth appetizers ! think they know
       everything ! ambushy eye brows. Stop blowing on
       embers, conjure fiber plaits ! There will come take
       stock! a day.

       Strained / to live with hill or boor realty / crow cocks
       the view. On level groyne bald heads rake back; oil
       slick reptiles slither cross . foreshore divides. The Great
       Spirit rainbows ocean risk as carrion wings reset.

                                                                                Order
       in a bowl of ants ? surrender grain to sweet. Servers
       who’d rear . dare not face bare Imamons chest leap
       as wonder beeps; needing likes our kinder do not
       disappoint.
                                                                               Organ
       at loss we’re caught hand grippy with / the wilderness
       pipe / d’Meaning when our fasts in sole full burn ~
       there’s a heaven baboony furry for the fuss, up early
       turning must. 
           

                           Time short ties learn how Game / beast
       led, board run / stay On; why privately parts snitch
       enrich, east face on knees | how closed or open
       wounds wait spoon turn tables . south Olé.

                                                                      – W.W.

 

 

       

       

 

            LESSING


         Each
might have claimed, like fellow scrawler Pollock,
         I AM Nature and Nature would have been shocked ‒
         Not by the claim but by any need for it,
       For of course a dinosaur was, too, a walking tree
         And the cloud his head was caught in and the worm
         In his eye; and his Pollock scrawl was complete
         Though unfinishable, sublime, no tags yet

         On his bones by which we now rehearse our own.
         In bones ‒ Lessing felt in his ‒ memory is
         Stored

        (from “Charon’s Anchors” by Brian Chan)

 

 

FATIMA ARTERRA : CONTRAFICTIONS

 

           
       NUDE SKETCH – 07 

           Oui, c’est moi, con who has failed to forego love’s brouhaha
       And still riskily friskilly forgets his resolve not
       To postpone its transcendance, the moment he spots a face
       And/or figure that remind/s him of his long-dead mama,
      
His Mutter?     Meiner! ‒ given to and snatched from me by him,
      
Meine Vater, und nein, there’s nothing oedipussy there,
      
It’s a fact, not the fact of a myth, that the old man was
       There before me, tasting mia mamma’s capezzoli
       Before i could get my short-in-the-tooth chops around them
       (I still sense the lady’s pleisure at my intuitive
       Expertease which she herself allowed me to be born with

             SKETCH – 08

      Sì, mine’s but a case of infantilità banale,
      That commonplace retarded traumatic fascinotion
      Which the senses hold for thelmseves grabbing you long before
      You can get your first ass-slap to take you make your first gulp
      Of air and make your first bawl of protest against the fuss
      Of breath’s dense body which your own soul called for and helped form,
      Experimental opportunist, the soul, scientist
      Become artist of self-molding in one flash of marrage
      Between tail-wagging sperm and yoke-spreading egg ‒ always in
      For more trouble, the soul

 

             SKETCH – 09

              Well, i’ve decided i must write badly well (as you see):
       That seems to be the freest way to fail at being free
       Of Litricher’s avid leaning towards posterity
       – Of which i’ve been, tool long, too fatihful a devotee

 

                         – 10***
               

           But pay scant attention to my purple intensity
       (Not quite Yeats-passionate), one pathetic propencity
       Of a poetaster in love with the immensity

       Of pressuring meaning out of vises of verse and rhyme
       And being shocked by bliss in the midst of the flat Grand Time
       Being had by labell-spouters ‒ the standhard murderus
       Civil Servants of Common Sense & Correct Form that fuss
       To feed, like choked dragons, off/on their own smoke, while i cuss
       And grind my grey dentures – instead of shouting Hideous!

       ***    A last word on the form Arterra’s sketches took:   she thought
                 that, as a poetaster, she should at least try to fail
                 to overthrow the thudding thumb of the English iamb,
                 that bully with its colonising whip which not even
                 wildman Whitman tried to escape.     Nor do his descendants,
                 with their dry twitching twigs snapped off their bush of ambition
                 to be poets, know any need to court that poetry,
                 that impersonal siren animating the serpent
                 curling up and down the spine of breath anteceding all
                                                  – Lissana Cesare-Ábusem, PhD

            (from *fatima solagua arterra’s nudes* by Brian Chan, 2015)

 

THE CHINA SAUCER BREAK AGE *

 

         
      Mirror wall caves more exquisite than truth . once
      our route charged with unlimited minutes.
                                  Blood types can go shark tooth . bone
      formations open force . formulas guard anyone apart in
      tent nomadic
who dare screw found with.

      Stone buildings with double pane windows restyle the cold
      high castle . dungeon saves. Devices tap you text quick
      love ! scratch back finds a match : knot records kept
      string mystery loss.

      Bitch on any pledge . may your balls, ducks swear,
      into a thousand peck bits fall. The da-да! Endlike
      clutch, dinosaurs trying for a baby | Anyways.

      Over heard inside the kingdom ? as in sand serpent
      days crescendent blades behead \ An error occurred \
      melon slice red : And you thought, lip moisture
      rising, you’d never scarf anything like it.
                                                                   Where will you,
      Mon
Dieudonne ? shak-shak shake, Medium elect again.
      No . time is ever wasted.

      As for what some bad Papa forbid, dead wise once
      said, sons will swing light . sky sorcerers : cloud
      caught they wait till trop c’est trop! ~ spiral in
      exhume . brush S‘o’S skulls like Basquiat.
                                                                      *Bent . people
      poking at us, what were we taking . on life rails fugue
      fevers run ? who forks less more > lean in here
      round the horns . amazed again.
                     
                                           W.W.

       

         

 

         QAT

       Qat's shaking-off of negative influence
       From Charon’s bad vibes (she is an active fan
       Of Hippy and New Age shibbolethal jive)
     Was literalist: she would let her whole frame quiver
       Like a dog’s after a soak, or as when her
       Body’s heat lowers as she pees. Then she’d sign
       The Cross onto her still (half-)Catholique torse.

       Finishing an action with such a gesture
       Is key to Qat’s sense of balance, while Charon’s
       Main anchor was/is his reluctance to be
     Steady or pinned down like a still jerking butterfly.
       Yet sometimes Qat sensed the tâche of suicide
       Sweeping out from under his lazy eyelids,
       Pauvre vieux, rien qu’un homme ‒ et à peine.

      (from “Charon’s Anchors” by Brian Chan)

 

FATIMA ARTERRA : CONTRAFICTIONS

       

      NUDE SKETCH – 04 

                                 i'm now a plant bearing a disease
     That’s dying to kill me ‒ and i wish i could get away
     With tha told joke about the dizzies called living, but mine
     Is an actual heart-‘imbalance’ that, like Susan’s can’t
     Be re-centred – that simple, but hard for even this me
     ‒ Who swallows other ‘scientific’ fudge whole ‒ to digest,
    Or try to undersand.    I believe it’s complacated:
    Since a fellow doctor told me so, i must beleave her,
    ‒ More so since I pay her to service my more-or-less corpse
    Which continews to hurt up here and down there, yes there, ow,
    There, you got it

 

              SKETCH – 05


         But i'm healthy
enough to be lazy enough to not
      Take too seriously the Complain’t ‒ or anything else,
      Finally.    I confess:    at (flat) bottom, at (failty) heart,
      I’m a ‘hopeless case’ ‒ what’s new?:  When i was 9, i could see
      That the diffronts between 9 and 19 and 99
      Was a matter of days and hours made up of me reseconds.
      Now that Dr Wotzernutz tells me i have even less
      Seconds to look forward to, i sense a sigh of relief
      Undernearth the sporaddict stabbings of pain (here, there and,
      Yes, there, higher, down a bit, that’s it).   Call it layziness,
      If you like, but i no longer feel the need to man-age
      The rest of my seconds

 

                            – 06 ***


          But i
trust i’ll wake up in the morning and start again
      That business, this business of plotting that, preparing this
      And promissing or projechting the other ‒ all those plans
      Which, as the joke goes, make God laff ‒ with lafter not unlike
      My own when i look in a mirror at a skull dolled down
      To a joke of flagging skin that both cornfims the vision
      Of the boy of 9 ‒ and belies it, since what he could not
      Envisage was himself still breathing from behind the mask
      Of a 69-year-old grin more grossume than any
      Completely unmasked skull’s.     Yes, sagging flesh and thisease not-
      withstanding, the half-blind 9-year-old survives

 

           *** But, Arterra felt, the writer’s impulse as a ‘garden
                   of forking paths’, then became locked to the cage of Progress
                   with its opportunism stunted by Attention-span
                   as quik-fix resolutions from Hemingway for Dummies
                   to digital distractions, the bastards of the English
                   mistrust of ideas as empire-unfriendly – in contrast
                   with French or German ideationality as mid-
                   wifing the ongoing birth of breath rehearsing the stars.
     
                                                   – Lissana Cesare-Ábusem, PhD

        (from *fatima solagua arterra’s nudes* by Brian Chan, 2015)

 

 

NOW . LEFT OF CALL TIME

 

          
              Not even the driest humor could jook! make humour 

       shrink; über less in terra stages every last ‘n’ first
       time . act the beaver faith retriever.

                                             Runways at forest edge oblivion
       strips for our departure ? forgoing all the blood we let
       angels restart ~ Merci, cellTower ~ particles of odor vie fly
       here there encrypt in screen swipe nowadays.  

                 Some air shows like Sahel dust propel face
       touch infinitesimal; it matters you don’t think until
       solitary the viaducts choke . migraine shields mock Hope
       you’re happy now.

       Clam shellfish types set up mausoleum webs . in stuff
       their resumés ? like Egypt pyramid relic wraps to carry on
       over.
                          Who D’cries box burial ? grounds not fit
       for hair loss care; get the Premium Conditioning package
       all that permutation . closer to home Economics, don’t
       presume après the sky falls.

                                                                   Knowing nothing
       knocks to wake you for the gate sleep keepers, why
       bother ? schedule post Op ash Wednesdays.
                                                                                      Flat
       line order the Fin d’oeuvres : ask the Cloud play All
       Season standards / Dig in! / taste what the wiped plate
       rim secures . at which point ? what could go wrong.

                                                            – W.W.

  
     

        

        
        LESSING 

        Stepping out of bed, he yawns, stretches and bows
        In the Sun’s direction, ironically at first,
        But next, not so, his blood rushing to his head,
      Pressing him to transmute his gesture like base metal
        Into the gold of genuine surrender
        To the outer gold acknowledging its twin,
        Reaching off the varnished floor to his bare toes

        Whose feet are suddenly flooded with a need
        To affirm their actualness by springing
        To a rabbit-like hopping around the room,
      As though racing to a point of goodbye to themselves,
        And, hopping, Lessing feels the fascia under
        His latest skin flapping like a gusted flag
        Dying to be freed from its skeletal pole.

        (from “Charon’s Anchors” by Brian Chan)

 

 

 

FATIMA ARTERRA : CONTRAFICTIONS

 

        NUDE SKETCH – 01

     WE ARE TOLD that Wisdom helped to set the sought/foundations
     Of the Earth.   So why not invoke Wisdom to emerge here,
     At the start of this world, this odder dream?    Trouble is:   i
     Am no wisdom-wand god.     For one, i have no wisdom-teeth,
     Nor have ever had:   they never put in a twopairance,
     Never turned up, never sprouted, though I do remember
     Sore back-gums in my youth.   Susan, my last wife, consouled me
     that a lack of wisdumb-teeth did not necessarily
     (She liked staggering spanner-in-the-works words like that one,)
     Denote folly.   Would I rather be as long in the tooth
     As i was elsewhere short?     (Ouch!)   Often her words flagged themselves,
     Through her jestures of raised eyebows and a shrug, as a joke,
     A jovial javelin of revenge for all the pain
     I caused her by assuming we were both enjoying life.

        Another way of looking at our joking together
     (I was no better than Susan at not having to joke)
     Is that our jokes were like planks being nailed onto a frame
     Slowly that way becoming a bridge, one we more and more
     Needed between us ‒ before it turned into her caixão

 

      SKETCH – 02

        Will this record, of the kind of hajj i never dreamt i
      Would ever make, itself shrivel into a limping joke?
      But lame or not, as crutches, my jokes are a humorist’s,
      For l-imp-ing along the Serious Way, i tend to want
      To burst into laughter.    Or call me a mere absturdist
      Who can’t help seeing the vanity of all our buzzing
      Effarts ot climbing this or that molehill of ambition.

                   – 03 ***

       Should you, testy reader, need to tag such talk ‘pretentious’,
      I’d suggest you either throw out this book or, grinding your
      Wisdom-teeth, rip this page out and scrunch it up or mail it
      To the Onfire of the Minister of Forein Offears.
      But if you entertain these case-studies just as they are
      In your hands, they may dekidney a laugh or two, or more,
      Who can tell? – not only jokes but also less ambitious,
      Non-threatening notthings that have no pretentons to be
      Anything but what they are:    myrages (all records are
      Fictions) in a dessert with oases of detached smiles
      Here and there, even if only your smiles of indullgence
      Of the mush-rooms of my prolostly superfishy jokes
      Spored by an arrowgaunt childishness ever on the verge
      Of oblivion’s edge where the blindest child starts to see.

                                  
                                  
                            *** Behind that zigzagging 'style' loomed the polemical bent
                                   of a self-styled ‘Art-terror’ claiming her right to disrupt
                                   what she called the régime of too purrsuasive [sic] fictions
                                   with persuasionist detours of her own tangenital
                                   [sic] forays into angles and corners of reflection
                                   which the anglo-novel’s wayward seeds (like Fielding, Defoe,
                                   E. Brontë, Melville and Poe – and not excluding Milton,
                                   the Brownings and the Dante we know from bald translations)
                                   took not for granted but as a right of trust, an aspect
                                   of their relationship with their readers
                                                                         – Lissana Cesare-Ábusem, PhD 
                           

                 (from *fatima solagua arterra’s nudes* by Brian Chan, 2015)

 

 

MESSAGE IN THE BOTTLE : OCEANS WIDE TURN

 

              
          Earth seeded, desire sluices . mountains heave new
          lava flow . first time in years, more so. 
                                                                 Raise the water
          mark too high gondoliers glide elsewhere, leaving you
          measures of naked decency to take . ashore blame
          mix messaging; clean dry fountains instead.

          Just so you don’t feel always the inflatable one . hand
          reach back like run receivers / pivot, grip / sinews
          in curve sync you’re working together seam less
          at this . end to chase after.

          Not there yet doubt free limbs keep the beast . mobile
          that’s how time strips the argument down there ~ Non :
         
oui Intime ~ barnacles for the life of you; our freight
          break swept to sea viabilities.

          Floor to moon . shoot yearning ! like keyless
          entry, ‘long as you’re close enough ‘n’ firm, trust
          the spool / arc, send / mesh that passing Great night
          whale . the spout thing bottom feeds ~ mind whet
          mate folded ~ disappears.
                                                               – W.W.
                        

             

           

           

         
           LESSING 

           For there behind her, in profile beyond her
           Narrow cell's window suddenly grown wider,
         Is the shadow of the face of a man listening
          To the bliss of her tilling her own soul’s soil
          So that he, her man, might know how to tend it
          Whenever she’s ripe for a true husbandman.

          Or perhaps the man’s just waiting to become
          Her necessary nuisance, the disturber
          Of her fantastic powerful privacy,
       With his powerless facelessness insisting that she
          Sketch in its features as recognisably
          Human, and that she alone underwrite his
          Book of fabulous risks and resigned crossings.

           (from “Charon’s Anchors” by Brian Chan)

 

 

FATIMA ARTERRA : CONTRAFICTIONS

         
         
         UNTRODUCTION – 01


       I recall
her saying that her sketches would be ‘crude nudes
       for lewd prudes’, by which she meant to counter what she believed
       was a warp in written and graphic works of Western art,
       to cinemise or gossipise the force of womanhood
       with figurations of a flaccid femininity.
       (Such terms herein obliqued are lifted from her diaries.)

                                             

 

                                  – 02

       
                                                                 Hers was but one
         of many cases of delusio Caligaris
         identified in treatment-centres, and given import
         in professional journals and conferences, throughout
         the 1990s.    What was, till then, a rare condition
         (first drawn attention to by a Dr Fritz von Harbou
         in Berlin in 1927) seemed overnight
         to mushroom, along with an epidemic of rampant
         somnambulism, throughout immigrant populations
         of the unsettled and settled tribes of the entire world.

            Simply propounded, delusio Caligaris is
         a complaint which may assail a mental patient after
         immatisation in a therapy-facility.
         The condition involves her slowly coming to believe
         she is directing the functioning of the institute,
         rather than being but one of its inmates ‒ among which
         group she is likely to seem a kind of chameleon,
         or at best its most suggestible member, with leanings
         towards solacium potestatis (otherwise known
         as ‘consolation-controlitis’: vide Agressive
         Defense: Control-Freakery in an Age of Cowardice
         Codified, Berne & Hyde, Pentagoff Press, L.A.; p. 2)

            Such tiltings within the psyche may lead to the splitting
         or diverting or, in extreme cases, sheer postponement
         of personality as identity ‒ a syndrome
         indicated by Fatima’s anti-fiction sketches,
         as she termed them, that conjure two male stand-ins for her self

                                   – 03

 

          For all its extolling of the miracle of Woman,
          Fatima once scrawled after one session with me, Art shrinks
          the feminine principle to mere fuckability
          ‒ an outrageous but understandable claim by a ‘bitch’
          who had spent all her adult life as an overworked ‘whore’
          within what was then mainly a man’s field of faux-pursuit,
          that hunt-scent perverted (or ‘male cross-stitchery’, as she
          later called it) to Certifiable Accountancy.

                                   – 04

               Being put out to grass from their ‘field’ became her first stage
          of fertile depersonalization.   This I treated
          for eight years (before her suicide).    In treatment she seemed
          far from delusional:    mild-mannered and soft-spoken, her
          slightly ironic lazy-lidded gaze suggesting none
          of the incoherent anxiety usually
          displayed by depersonalized megalomaniacs.
          Yet it was the same Fatima (but was it?) who would mock
          our one-to-one sessions with hummed sentiments like With you
          I rule creation or I’m sitting on top of the world

         UNTRODUCTION – 05


                                   And once
, without a trace of irony,
         she offered to write me a ‘nice’ commendation towards
         my next job ‒ as an auto-mechanic or cleaning-maid
         (a ‘slip’ revealing her obsession with self-revision).

         Less kindly, she was once eve/adamant that very few
         women give a fuck for the minds of the men who fuck them
         and fuck them over ‒ and over (Fatima had no faith
         in the promises of the Sexual Revolution);
         that they are no different from men in not giving a damn
         for the different feeling-mind quiddity of their not us

 

                                   – 06


          Arterra
distrusted the cages of realism,
          with its verysilimitude [sic] the strangler of dreams.
          Thus, for example, her near-blind bookseller is given,
          in all his unlikelihood, as a presence in her ‘dream’,
          a figure of entry in her ledger of no account.

              We must also not forget that Fatima Arterra
          ‘sketched’ in a so-called foreign tongue, having picked up only
          English scraps while growing up in Angola and Macão.
          Those scraps, dismissible in a world of business-numbers,
          are less ignorable for their influence on the near-
          glossolalial utterances of her word-sketches
          – an idiomatic strain she called a distant cousin
          of the Pole Conrad’s trick of reviving great bad writing
          whose snakes of sentences undermined the ladders of Taste
          by empathically echoing the complexities
          threading the inner/outer magic-bag of consciousness.

 

                                  – 07

 

             A more detailed analysis of my patient’s complaint
          is not intended here:    these few lines are proffered only
          as a layperson’s guide into an orderly-seeming
          mind’s mazelike detours of which its unrevised ‘sketches’ are
          ample examples, evidence revealed only after
          Fatima’s sudden death.

                                      Lissana Cesare-Ábusem, PhD, ASPUC

          (from *fatima solagua arterra’s nudes* by Brian Chan, 2015)