After Sarah Larivière's Turnstiles and Rainer Maria Rilke's VII Orpheus, Eurydice, Hermes in the translation by J.B. Leishman (1976 publication by Hogarth Press, London)
And there, winding
through the silver-ored darkness in need of a glimpse
palm up
fish-eyed, cateracted blue-hued no more than a bulb’s pivot seeking sight
the needlepalm
the napalmed blossoming orange-red flair of –up—and—this—and she, centerfolded,
wraps,
palm-frond
emerges into the jilted sage spread-eagled lip pelvic opened canister of pornography,
sliverpalmed
a sentence(d) akin to the stem or coat-tails collar in the act of being carried off
palm-film
stuck at
the catch threshold ground–surfaced mustard yellow in the potting shed torn
snapshot palm of
snapshot palm of
her-rooted
sound of heavy porphyry in the darkness’ red red rudding of to see just
her palm
held single
twistered pathway round turning unto and back to and recalling silk-smoothed
palm
reached out
towards near tactile field-space breathed into contact’s untouching festered
blackpalm
night
underworld sword-shrouding length of sheathed castoff to be stretched, carried upwards
over Avernus’
palm
then backtripped, she's returned
to thickspun cocoon ear-muffled silence undersnow, re-grounded here in her,
slack-palmed
