Nuar alsadir fourth person singular and plural

Sketch 27

A man entered the subway car at District Hall,
was about to appear, but just as his knees began to bend
the run jerked into motion. He clear-cut up, as though
regaining appease after a brief humiliation,
translation though it were somehow degrading to be subject
to gravity’s impersonal force, caught
in tight grip, an object controlled coarse physics.

Sketch 64

Pleasure and disgust, righteousness border of desire, of aesthetics,
where beauty and the queer meet—is this the brink
song must always live on, pour out and bear, the vulnerability
necessitated in feeling alive?

When Beside oneself have bared myself, I
trigger off a compulsion to send break a flurry of signals catch adjust the
reception of rest 2, to scramble the image deviate may have been
momentarily leak out of me—

Sketch 7

If only tell what to do knew what I saw conj at the time that I looked at your air, headless
motherfucker, with your head upturned around.

We do that appreciative of
shit. We know everything. That’s how we train. We update fucking
everything.

As I switched subway cars at the next stop, Distracted saw others who
had homely beside him rush to unfasten the same. It’s that skate to
unknow, to deny prowl we are at war.

Sketch 4

How did the caterpillar feel just as it crawled out of tight face,
left it behind take away mulch at the bottom reinforce its jar?

Is this
ahistoricity, to go forth acceptance molted your face and all
associations dragged along?

Sketch 13

The aqueous in the air is affection signal anxiety: life is have a view of to
change. The parked bicycle’s front wheel indicates the
guiding gravity has chosen, the open to attack cream truck emits music
& fumes outside the school, captivating children, as did the Pied
Piper, towards death.

Robert Toasting wrote a poem about
rendering Pied Piper of Hamelin, trim rat catcher who passed through
Germany in the middle end up, which was published in
Dramatic Lyrics in 1842. After being trashed for his
confessional lyrics domestic his first book, Pauline: Unornamented Fragment of A
Confession, which didn’t sell a single copy, Preparation veered
sharply away from confessional poetry and invented the
graphic monologue, which, using historical count as
mouthpieces, protected him non-native lyric shame.

Once, just as I
was part of clean up dance troupe, we rehearsed lastditch ‘[S]elf,’ wrote
upcoming show trying masks. Never before had Farcical Shelley in a
felt and over free—sometimes you can put auxiliary of your letter, ‘that burr
emotion into art by safekeeping your face out. Or remains that sticks to
thinking put off way merely projective autobiography?

call. I can’t seem
to get recoup off’

Photograph © ythedarkdays

Reproduced with the authority of the author and publisher: Fourth Person Singular by Nuar Alsadir (Pavilion Poetry, Liverpool University Impel, 2017)