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To the chairman having his way in the chair with the minutes.
To the motion he makes to suspend them.
To a hole in the sky like the eye in a needle,
wide enough to thread,
wide enough to see through.
Let's sew this up, says the chairman.
To the matter at hand
and the handle he has on it. To the hand he has in it.
And to the secretary, writing it down, taking the minutes.
The chair sits.
His face flushes like a sun gathering color
before the sky's won over and
the dark takes hold.
Then moistens. The chair loosens his tie.
To the consummate still life:
The conference table and the water glasses sweating
and the coat tossed over the back of the chair.
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How would I know / when I’m empty and quiet like breath?
Historian Gerald Horne has developed a grand theory of U.S. history as a series of devastating backlashes to progress—right down to the present day.
Reflecting on three monumental works of modernism—James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, and Ludwig Wittgenstein’s Tractatus Logico-Philosophicus—a hundred years on.