mirror brooch

“It is only shallow people who do not judge by appearances”
                --Oscar Wilde

mosaiced object
(a trinket objects, a humble
versailles fragments

a distortion and necessary
medusa’s shield
a shallow

wire coils upon its back
theater of artifice
von Liebig’s chemistry composes

fremantle glass a
convex copper refractor
the re
duction of silver salt

        objection demurs
decorative tool devil’s
accessory, black
runes formulate wire

    a shattered
glass a venetian industry

artifice justifies appearances
a separate codex
copper forms five-
sided iterations

there is no suggestion of illusion
five trajectories of glass
and metallic

an optical device
an ornament or objection

helixical balance of
surface and
reflection is no difference

untitled sculpture in copper, silver and cotton

against a meander length has no recourse but patience, bent hard upon itself a river, river form, sedimentation and erosion, a pattern replicating itself meanders, a tuft of smoke or a bluff, an unfelt wind presses white tendrils into the air, breath caught, air also meandering, its erosion another hypothesis, perfectly elliptical, a direction disguising itself as a digression, shallows forming create a pressure of resistance that length has no answer to, copper tolerates delay, a mutual duty and charity, the current nods in copper’s direction and continues its digression

A horse (1)

A horse or deer, an iron horse.  Steel bent to suggest a limb, half-lifted.  A curve posits the necessity of eyes, keeping an eye on things.  Limber foreleg lifted into air, horse.   An air of grace, a deer fleeing into dark.  Shadows of oaks stand in the wings.  Dear horse and dark night.  Her tail suggests otherwise, an impatience registers even in stillness.  Night horse a flight of iron over earth.  Even iron cannot defy gravity.  Any situation is lost without a map.  Steel bends necessarily, a bow or arc, an unwillingness to wait. Forest beckons like black earth and sun-soaked air.  Seen and seeing, grace depends on silence and the inevitability of motion.  A horse gambols over earth, a horse making light of air. 

A horse (2):  “Lost Coyote”

A horse and cousin of coyote, a horse and flower ritual.  Dogwood and redbud, wood refuses an arc.  Coyote laughs, his mouth full of red ochre and pollen.  Nevermind.  Wood has other permissions, his penis a flower omen.  Flower promise.   His penis long as his.  Body.  Coyote shakes his ochre-dusted legs and runs off, giggling.  His laughter another ritual.  Her brother-cousin, Coyote.  Sun to her moon.

Of brass encompassing and glass: murano choker

disk of earth or water
a compass of sky

lozenge of frozen
air caught between

midnight and noon
a litany or

circumference of light

spheroid forms translate themselves
take color

forsake color
embrace doubt hunger

soft edges of longing
reiterate one another

cartouche of dark

planetary disk

nomen in umber
bright orb pressed

to ellipse
allure of cinnamon or

henna arabesques, a spiral

forms its most

a meridian or

line bends
a bronze ecliptic

upon itself
suspends triple

weight of
murano :: oro and calcedonio

orb disk ellipse

cartouche of
earth and air

Copper bracer

An arrangement of vertices inform the cylinder, copper matrix defying horizon.  Her arm lazily awaits his gaze (can mere attribution define an absence of intention?).  A curl licks her ear, “Certainly,” she whispers sotto voce.  The rods of copper keep their distance.  Her arm is an attribution, willfully giving way to inattention.  Short white crescents tip the nail of each finger, intimations of the moon rising.  Should a gaze condescend to observe it, or any other, gestures at the margin beg her reflection.  But silver is better, bands and channels of silver.  Turquoise describes it, even the white crescents (another set of vertices in parallel).  Copper companions silver, awaits its gesture.  Her fingers push back one her (coppering) strand.  A moon smiles companionably.  Observing the necessary horizon, copper lights it, a surface scattering energy.  Bangles telegraph distance over a surface of wire and tubing.  Framed in whispers and rods, a gestural codex of desire.

«±  ±»

marthe reed  lives in Lafayette, Louisiana. Her poetry has recently appeared in Exquisite Corpse, Sugar Mule, New Orleans Review, and Golden Handcuffs Review. New work is forthcoming in aught and moria.