Barbara Guesst
from Fair Realism (1989)



Cloud fields change into furniture
furniture metamorphizes into fields
an emphasis falls on reality.

"It snowed toward morning," a barcarole
the words stretched severely

silhouettes they arrived in trenchant cut
the face of lilies...

I was envious of fair realism.

I desired sunrise to revise itself
as apparition, majestic in evocativeness,
two fountains traced nearby on a lawn....

you recall treatments
of 'being' and 'nothingness'
illuminations apt
to appear from variable directions -
they are orderly as motors
floating on the waterway,

so silence is pictorial
when silence is real.

The wall is more real than shadow
or that letter composed of calligraphy
each vowel replaces a wall

a costume taken from space
donated by walls....

These metaphors may be apprehended after
they have brought their dogs and cats
born on roads near willows,

willows are not real trees
they entangle us in looseness,
the natural world spins in green.

A column chosen from distance
mounts into the sky while the font
is classical,

they will destroy the disturbed font
as it enters modernity and is rare....

The necessary idealizing of you reality
is part of the search, the journey
where two figures embrace

This house was drawn for them
it looks like a real house
perhaps they will move in today

into ephemaral dusk and
move out of that into night
selective night with trees,

The darkened copies of all trees.

Wild Gardens Overlooked by Night Lights


Parking lot trucks overlooked by night lights. Buildings
with their escapes overlooked by lights.

They urge me to seek here on the heights
amid the electrical lighting that self who exists,
who witnesses light and fears its expunging,

I take from my wall the landscape with its water
of blue color, its gentle expression of rose,
pink, the sunset reaches outward in strokes as the west wind
rises, the sun sinks and color flees the delicate
skies it inherited,
I place there a scene from "The Tale of Genji."

An episode where Genji recognizes his son.
Each turns his face away from so much emotion,
so that the picture is one of profiles floating
elsewhere from their permanence,
a line of green displaces these relatives,
black also intervenes at correct distances,
the shapes of the hair are black.

Black describes the feeling,
black is recognized as remorse, sadness,
black is a headdress while lines slant swiftly,
the space is slanted vertically with its graduating
need for movement,

Thus the grip of realism has found
a picture chosen to cover the space
occupied by another picture
establishing a flexibility so we are not immobile
like a car that spends its night
outside a window, but mobile like a spirit.

I float over this dwelling, and when I choose
enter it. I have an ethnological interest
in this building, because I inhabit it
and upon me has been bestowed the decision of changing
an abstract picture of light into a ghost-like story
of a prince whose principality I now share,
into whose confidence I have wandered.

Screens were selected to prevent this intrusion
of exacting light and add a chiarascuro,
so that Genji may turn his face from his son,
from recognition which here is painful,
and he allows himself to be positioned on a screen,
this prince as noble as ever,
songs from the haunted distance
presenting themselves in silks.
The light of fiction and light of surface
sink into vision whose illumination
exacts its shades,

The Genji when they arose
strolled outside reality
their screen dismantled,
upon that modern wondering space
flash lights from the wild gardens.