[… ] Look at the
big blue water: it’s us, &
us alone, together, he
re, now [… ]
Here we are introduced to the possibility that the water (or whatever it
symbolises) and ‘us’ are either one, or else so closely entwined “symbiotically” that distinctions of subject and object become irrelevant.
Yet, again, we cannot be cer
tain of this as the “us” is qualified by ‘ [… ] alone, together, here [… ]’, which by the inclusion of “together”
reintroduces the notion of a subject/object divide, whereby the separate
“other” is able to potentially give ‘Micro hand
holds’ and ‘Micro lip
Incidentally, the use of the word “twists”, here, begins an extended allusion to two songs from Bob Dylan’s
Blood on the Tracks
: ‘A Simple Twist of Fate’ and ‘You’re a Big Girl Now’—
songs that both deal with
aspects of time, memory and a lover’s “absence”. In the poem, the appearance of the word “twists” immediately proceeding the word “Simple”, which in turn immediately proceeds ‘I’m learning it these days’ (a direct quote from ‘You’re a Big Girl Now’), connects both ‘A Simple Twist of Fate’ and ‘You’re a Big Girl Now’ to the poem’s concerns regarding memory and doubt. Similarly, the poem’s expression of doubt
is a quality redolent of some aspects of the better love poetry of Thomas Hardy, which also deals with aspects of memory, doubt, certitude, a
lover’s absence and their perceived “presence”.
In ‘Apartment Pizza Guy’ (p. 11), we see an inspired use of elliptical
phrasing to represent the totality of solipsist experience:
Apartment: I’m lost.
Here a bed, there a bed; no everywhere.
Here we have a language that partly takes on the appearance of descriptive observation, yet functions wholly as non-descriptive. The
descriptive elements (‘Here a bed, there a / bed’) could be termed “neo
descriptive utterances” which are formally similar to em
piricist modes of discourse but like all good poetry empty of empirical significance. The overall tenor of the lines quoted exudes an atmosphere of existential
confusion. The “bed” could be two beds, or just one bed that becomes
two alternately in the spea
ker’s mind as this confusion is experienced.
He has already acknowledged that he is lost, and is likely to be in something of a dissociative mind-
state, as reflected in: ‘no everywhere’, a word combination that simultaneously expresses “that which is” and