Planetary Death Is a Hopeless Drug Addict
Azad Ashim Sharma
Self-appointed judiciaries of counterculture
complain the twelve steps I take are cultish
& I should blame total administered society.

Well I'm not so sure but I know loving our
selves militantly from not-being grotesque,
misanthropic with self-sabotage. We found

that fourth dimension insightful to disavow
capital, its benthos. I pick up more resentments
from the unregulated newsreels.

I can communicate today and deep the pain
without a blind code, scabrous or rusticated.
You need to know how much I resent the world

for its beauty is right at my throat burning
away my tobacco skin. I am decayed in floods
held perishable by extraction's funk in the seas

as nuclear excrement defenestrates coevals
of contrarian data, all those staccatos of denial.
I reach out as worldliness ready to throw away

my dissolute self-turned hurricane to disaster's
manhandled future opened on the returned past.
I'm sick of fighting currents, toxic with our need

of currency & hope for revolution. It is too late
to be stuck at a party putting apathy to rights
or knelt at your altar praying for an easy day.

                                O this scene of death.
                                The clouds are full of lightning,
                                we are the wired.
from the book BOILED OWLS/ Nightboat Books
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This poem was born out of a disappointment with misguided leftist psychoanalytic critiques of the 12 steps popularized in the 1990s. It thinks with an acknowledgement at the core of Boiled Owls, that in active addiction the subject becomes a vessel for the commodity, that capitalism's systemic drive for infinite consumption and growth is internalized by humans enduring addiction as affliction. The register of this poem had to be ecological, thinking with the earth in a time of mass catastrophe and extinction as a result of these unregulated and extractive processes innate to primitive accumulation. The language thus embraces abjection, futility, and the quiet rage of apathy to find its rhythm and hold space for the immensity of this heavy pain of climate death. It is but an attempt to let out the cry of grief that accompanies our historical present.
 
Cover image of the book "Ditch Memory" by Todd Davis
"Interview With Todd Davis"

"Being in the woods or on a stream—which is a daily act for me because my home sits just to the east of 41,000 acres of forest—is akin to being in a church or synagogue or mosque for holy believers. I’m not the first to use such language, but I think of the places I go as forest churches, roofless churches, sacred and in need of no explanation. Their 'being' simply matters and feels miraculous. My walking and paying attention, noticing small changes, observing other-than-human lives is a form of prayer and a kind of poetry for me."

via GREEN LINDEN PRESS
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What Sparks Poetry:
Ian U Lockaby on Edward Salem's "Fullness"


"In Edward Salem’s poem “Fullness,” thought is derailed, not from the first instant but nearly, and in each subsequent instant the poem expands and contracts simultaneously in a dissent against time and space, as it leads us to a divine, non-existent anal inner mountain, where there is nothing (and everything) to be seen (at once). Operating intertextually with a Godhead in its poetics of negation, the poem manages, paradoxically, to build possibility through its persistent negations. Each time a line of argument becomes discernable, it’s quickly and forcefully wrought back around its own tail, creating coils of energy in refusal."
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