Poem and Painting by Marjorie Welish

BOMB 54 Winter 1996
Issue 54 054  Winter 1996
​Marjorie Welish 01

Marjorie Welish, Small Higher Valley 8, 1995, oil on canvas, 48 × 60 inches.

H is for Hat

Regrettably, you put it near me
It was as though an unstoppable fact had come between us
How appropriate, therefore, to be literature in a bereft
state,
unpaginated.

You were sorry at every level, perpetual, conceptual
You were sorry. No one speaks here. That we are speaking
the same
language oozing incomplete arithmetic
would be nice. Put it next.

“To throw with an overhand pushing motion”
to put the shot
to plant or imprison or formulate the shot—
“I am talking, by definition, about it.”

Putting a finger on Ecclesiastes
in other possible worlds, possibly your world of warmth
and cold
easily magnetized,
reclaims it, it and other assets up in the under-eave space.

Marjorie Welish is the author of several books of poetry, including The Windows Fly Open (Burning Deck) and Casting Sequences (The University of Georgia Press). She shows her paintings at the E.M. Donahue Gallery in New York.

Sound Over Sense by Marjorie Welish
Clark Coolidge 01
Related
Portfolio: Math Bass
Math Bass1

A poetics of form.

One Piece: Ken Jacobs
Ken Jacobs1

The artist talks about his film Joan Mitchell: Departures and its relation to Eternalism.

Saving Myself, and That Is Enough: A Conversation by t’ai freedom ford & Alexandria Smith
Portraits For Ford Smith Interview

The writer and visual artist discuss their work, experience as black creatives, and mutual love for Toni Morrison.

Originally published in

BOMB 54, Winter 1996

Featuring interviews with Patti Smith, Peter Carey, Mike Figgis, Lawrence Weiner, Sharon Olds, Kiki Smith, Ridge Theater, Oliver Herring, Adrienne Kennedy, and Shu Lea Cheang.

Read the issue
Issue 54 054  Winter 1996