Not from this anger, anticlimax after Refusal struck her loin and the lame flower Bent like a beast to lap the singular floods In a land strapped by hunger Shall she receive a bellyful of weeds And bear those tendril hands I touch across The agonized, two seas.
Behind my head a square of sky sags over The circular smile tossed from lover to lover And the golden ball spins out of the skies; Not from this anger after Refusal struck like a bell under water Shall her smile breed that mouth, behind the mirror, That burns along my eyes.
A stranger has come To share my room in the house not right in the head, A girl mad as birds
Bolting the night of the door with her arm her plume. Strait in the mazed bed She deludes the heaven—proof house with entering clouds
Yet she deludes with walking the nightmarish room, At large as the dead, Or rides the imagined oceans of the male wards.
She has come possessed Who admits the delusive light through the bouncing wall, Possessed by the skies
She sleeps in the narrow trough yet she walks the dust Yet raves at her will On the madhouse boards worn thin by my walking tears.
And taken by light in her arms at long and dear last I may without fail Suffer the first vision that set fire to the stars.
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Track 1
How this picture is made
What a fractal is
A fractal is a shape that keeps its pattern when you look closer. Coastlines, trees, shells, and weather do this. The large form and the small form are the same kind of thing. A poem can be drawn that way. The shape of the whole comes from the shape of the lines.
Primunia is the name for the source of that order: the pattern under the pattern, already there in a tree, a shell, and a verse.
How the boundary is drawn
The number under the picture is the poem constant. It is read from the build of the lines: their length, how uneven they are, the size of the stanzas, the share of vowels, and the way the lines end. A new word moves the number when it changes that build. The same poem always gives the same number.
Drawn on its own, that number sits in a quiet part of the plane, and most poems would look like the same soft disk. So the number is carried outward along its own direction until it meets the edge of the Mandelbrot set, where the shape turns sharp. The picture is the Julia set of that meeting place.
Each point on the canvas is folded again and again by one small rule. Points that stay near the rule form the dark interior. Points that rush away become the coloured bands. The hue comes from the poem constant, and the brightest bands turn toward gold. Change the length of a line, the stanza, or the vowel share, and both the number and the picture move.
What the branching signifies
Branching draws the poem as a tree. Each turn follows a line, and every smaller branch repeats that pattern. A longer line reaches farther. The letters at the start of a line bend the next turn. A higher share of vowels opens the branches wider.
The trunk takes its colour from the poem constant and warms toward gold at the tips. When the poem has more than one stanza, gold forks leave the trunk. Each fork is a stanza beyond the first, up to three. The tree divides where the poem divides. One stanza remains a single trunk.