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



          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  










          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












      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











         Parity reflected            Blue shadows


      Remote familiarity           Habitable light


     Remains dominant            Fictional extent


      Painful asymmetry           Shell structure


              Fitful relief             And sullied


     Sharp resemblance           By contrast












                                  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












    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 













                 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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