FRAMING IT THIS

way worse the nerve endings at nothing to look at emerge some
thing impervious, but what? hot wind finances the fickle
turtle ulterior in shell to break from—break form the wind
fanning what cooks against the friction of a reel turning
the nerve loose, steaming ahead the motion. pictures flap
massive cloaks from the lens on flatness lanced where the
wherewithal of overcoming comes down to sitting with

FRAMING IT THIS

way off in the offing luffs an inch of linen on the line, deformed in moonlig-
ative arteries contaminative throughout its throbbing paunch. up

close: its hollow globes & woven jowls, its

oven wind piffing intravenous figments from the count. a common cold. burning through
the hole a hole. whole gale psychology

hanging on a line

FRAMING IT THIS

way induce confusedness or fusion between ions fussy for truth >. something’s
border omits perspective surrounding particles generous to prove; the framework is
fit for lists and fear lives between frame lines invisible to bluff [ ] when the frame holds

still on the corner of a room

millimeters flaps deep
in the skin

FRAMING IT THIS

way may wash behind the ears,, raw
fraught knowledge unknowing in the rash. cell. is
not obsolete but celluloid ratchets onward—thru red noise

heard from the obtuse tonsure lighting gout low around the cinema bend. doppler effect
warps not image. what negative ?

impulse driven anxious throbbing in the inner ear-eye hearing a soft interior

horror ? —enjoying this

cannot be the blot of unreason, but a reminder
of what it means to be reasonable

Cameron Lovejoy is a poet, translator, and book artist who operates the micro press, Tilted House. He prints and lives in New Orleans.