The climate is pretty.
I wrote everything on it.
That’s the activity where it
gets relatively inauspicious.
***
And you were sitting there
in the night of life. It sure was good.
My favorite desserts were there.
And when they invite you, it’s like an important document
goes missing. I’ll give you an example:
a twelve-year struggle upstate, in
the slick atmosphere of the breakfast room.
It might have gotten stuck in her farthingale.
Otherwise no reply.
—John Ashbery (1927-), “As Someone Who Likes Travel,” fragments (New Yorker, 5/30/16)
To read Ashbery is to read English as a foreign language—which I mean as a compliment.
Lee Morgan (trumpet) with Wayne Shorter (tenor saxophone), Harold Mabern (piano), Bob Cranshaw (bass), Billy Higgins (drums), “Yes I Can, No You Can’t,” 1966
***
S. Mos, mash-up (Tupac Shakur, “Holler If Ya Hear Me” [1993]), 2011
**********
lagniappe
reading table
And everything turns and turns
and the unknown turns into the song
that is the known, but what in turn
becomes of the song is not for us to say
—Mark Strand (1934-2014), “The Webern Variations,” excerpt