from THE DAYLIGHT SECTIONS (11)

in the next room
you are splashing
in 4/4, the metro-
nom(e) de plume
shakes view from
side to side
it's late and I am moved
to ask what are you
good at

for if new light
could strain thinking
we might o.d. on
cataracts to come
then line the shore
of something constant
with intent

stamina refracts the kilter
one is out of in
the constant foreground
where you glide toward
vamonos and what
variosity comes naturally
to you and you and

when one sizes up
the length and width
of purposeful appearing
accidents one turns
predictable in one's
perspicacity as if
one falter were to turn
a faultline simmering

and what now what thin
reed comes close to being
taken for a mile-
stone in a random chapter
are you viable or
drawning in
with gestures factual
and braced to have alighted
on the cinders and that
prior trail we let guide us
to facets not our own

primary depth comes
naturally to actors
not onlookers, analysts
or chums of ones
performing in normed
roles primary openings
soon filled
any way but randomly