ditch,

the poetry that matters

Matthew Hall

Matthew Hall has returned to University, this time in the Southern Hemisphere, and is working under the tutelage of one of Cambridge’s architects of modern language. His academic work will cover varying aspects of Russian Futurism as well as the more experimental aspects of the Cambridge School. His poetry has recently been featured in Forget Magazine, The Hudson Review of Poetry, Jones Av. and Fieldstone Review amongst others.

The Fulcrum Poems

I

 

          Elongated figures    Peripatetic dolls

     Precision of verbosity    Inventing false limbs

         Resemble answers    Peripheral tongues

          Fastened audibly     Striking succession

         Parables indirectly     Permitted grievances

   Functional entombment    Provoked evasions 

             Oblique sounds     Leafless immobility

             Clasped bodies     Natural resistance  

 

 

 

 

 

II

 

 

 

          Careful recital         Perfect zeal

 

  Thrust of conviction          Incomplete theory

 

     Manically aroused          Battalion chorus

 

       Villainous choice          Fierce vacancy

 

         Seasonal sepia          Translating punches

 

  Visceral opportunity          Bearable salience

 

             Wet breath           Sacred residue

 

 

 

 

 

 

 

III

 

 

 

      Prostrate majesty           Confined knowingly

 

              Vocal assay           Impending morning

 

                Bowing so           Narcissus reflected

 

             Crucial guide           Clumsily mobile

 

           Living abruptly           Elusive growth

 

          Crude imitation           Adversely so

 

   Dangerous inventions          Your minute touch

 

            Limitless grasp           Following motion

 

 

 

 

 

 

IV

 

 

 

         Parity reflected            Blue shadows

 

      Remote familiarity           Habitable light

 

     Remains dominant            Fictional extent

 

      Painful asymmetry           Shell structure

 

              Fitful relief             And sullied

 

     Sharp resemblance           By contrast

  

 

 

 

 

 

 

 

V

 

 

                                  Inexperience falls          Filial gestures

 

                                   Inviting moment           Disguising memory

 

                                 Certain relation             Subtle alchemy

 

                                  Which logarithms           Monstrous creations

 

Clandestine accomplishment           Profound harbour          Hissing winds     

 

                                    Confusing forms           Indulge specifically

 

                             Permanent implications         Refined experience

 

                                    The mute present          Comprised moment

 

                                 Precise existence            Divided phrases

 

                  Secret distortions              Lives codified            Weak instruments  

 

                              A sculpture’s portrait           Accumulating truth

 

 

 

 

 

 

 

 

VI

 

 

    Dumbly transparent           Nothing vertiginous

 

          A thin yearning           Delicate appetite

 

 Elongated the depths            The depths condensed

 

  Nocturnal abundance           Filters of light

 

             Inward tremor          Inspired quietus

 

        Variegated plume            Ebbed motion

 

        Usurping elasticity           Dome of flesh

 

                    A bell jar           An empty womb

 

       Cavernously hollow           Lantern in the sea 

 

 

 

 

 

 

 

 

VII

 

 

 

                 By comparison             Not conjecture

 

                   Forms appear            From ambiguous sentiment

 

               Exacting balance            Condition of bone

 

              Empty distraction            Though retained

 

       Communal indifference             Of the fulcrum

 

     Topographic distribution             Pathology of syntax

 

             Weighed meanings             Unfold immeasurably

 

 

 

 

Matthew Hall comments:

Within the series, The Fulcrum Poems, it is my intention to introduce a phantasmagoria, a shifting of illusions, without fixed form, yet from which a fixed form can be derived and brought into accord. The balance of each line is sometimes a dichotomy, sometimes a comparison and sometimes a representation of the weight given to each side of the line. The balance point is used here as a device by which to balance and measure the form and the structure that can be taken from within the ambiguous sentiment created by the division of two separate phrases, or two separate ideas. To loosely paraphrase Sartre’s comment in Saint Genet; there is a difference between that which I feel and that which I play at feeling, thus the ambiguity must constitute the sentiment. Therefore, in the presentation of these poems the image remains the central figure however vague it may seem at first inspection. When one is forced to balance that which is presented (or multiple aspects/characteristics of one thing as it is presented), ambiguously or axiomatically, the form, the idea, that fragmentary object should remain in the hands of the reader.

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