from Reactor Red Shoes

that was the badger that was
     before human news sprays
     its dark prints into greased
and permanent nocturne: this
     marks the gene pool stern
     banks blown spore diffusion
how abstract is the spreadsheet
     liquidation of infected agents
     after the initial lag phases is
sore depletion membrane wars
     the data mined to spill cries
     saying here was the deadline
there is a crease fracture done
     to rivulets, the slickwaters
     will find ways in the bloods
the dusts so silting said pools
     even as space labs still fall
     among compromised oceans
to the sound of one trident
     fracking still, so ever stills
     the cull, the sorting out,
the levelling of all playing fields
     to maximise interest: plenary
     is as plenary does, address
to chest or ribcage, full-blown
     lungs to take the flash,
     a lustrous broccoli, bronchioles,
anterial clutch to pin all hopes
     of marathon elusiveness,
     pleural creativity, which
precedes the utterance or thought
     in damaged centres, mind
     gaps, computed tomography
ionizing cellular repair making best
     of what’s on offer, down
     the track, down the hatch,
light up pretty picture contrast
     resolutes what age expectation
     halved to infant variable: take
heed take hold take stock, weigh
     degradation’s lost morphemes
     and phrases, so little time
proffered for acquiring languages,
     for the good of, what alternatives,
     choice of two evils mark down
the hatch is just the start up
     rigged metaphor marking
     heeder is for stratifications
and heeded is one firm drool
     in the mashed value ladder
     for which sin is the going rate
but there’s no hatch to speak of
     and nothing but the takings
     saying on down in the mouth
is reason, here’s to the dumped
     and maudlin recycling plant
     in which song is but stains
among remaindered noodling
     with the curious orange of
     agent chemical factor and
its burnt ring of acidic in the
     virus plume, cross hatched
     something about cheapness
brings the fight back to livings
     with the table newly cleared
     for red shoes over dust bowls
how post-withdrawal tautologies
     accrue on production lines,
     shopfloor cleaning products
cleansweeping ballet de cour
     among brass shavings, depleted
     uranium, cartoon fixating
cultural cringe, co-pilot to ground
     control, weapons systems
     chaise longues reflexological
Hellfire air-to-surface translator:
     ‘it’s a joy it’s a joy it’s a joy’
     and: ‘love is PlayStation
love is Xbox love is all fingers
     and thumbs’, that Labanotation,
     that ballet d’action, that
contrast of freeze-frames, voids
     as snowbound passes are closed
     to ground traffic; rewatch
on your toes credits to rewrite
     hardware gift vouchers,
     lingering notation or weapon’s
signature, a specialism of absence,
     a sticking your nose in
     to our great choreodramma
that’s OUR with capital blazons
     the royal fighter leaving its
     contrails in media ambers
how the rose quartz lifts
     hears the thrill of bandits

    in the morning mushroom





[John Kinsella's recent works include Divine Comedy: Journeys through Regional Geography (2008), Shades of the Sublime and Beautiful (2008), and Jam Tree Gully (2011).

Drew Milne has been the Judith E. Wilson Lecturer in Drama & Poetry in the Faculty of English, University of Cambridge, since 1997. His books of poetry include The Damage: New and Selected Poems (Salt, 2001), and Go Figure (Salt, 2003)

Reactor Red Shoes, from which this extract is taken, is forthcoming with Veer Press.]

Copyright © 2013 by John Kinsella and Drew Milne, all rights reserved. This text may be used and shared in accordance with the fair-use provisions of Copyright law. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the notification of the journal and consent of the author.