Christy's Blog: Les Iles de Lérins

•

                A chance meeting...
Brief moments in space, where we cover more territory
   in the plane of our lives than all timed place.

Because   usually   we're   following   the   -
 gradients (which are always in the down-
       ward direction) and tra-
               velling
       within the 3rd, 4th, 5th
dimensional phase planes of our existence.

But in this "plane," there's no space-time rhyme.  With no change in position, you can 
reach infinite inkling; or before the 
blink of a watch, infi-
nite pain.

                                          For 
                    example, consider "sudden 
               awareness" when until then you 
             were inadvertently an actor, but 
after, it was you, your actions, your context.

Out on the dance floor, to the well-rounded social 
         individual, there comes a known 
          stretch of unconscious where 
                    the gre-
           garious partner dissolves,
      and only the beat, your body solves.

•

                Or when during 
sexual climax you realize it's prime, but prior 
 that second, you just thought it was rational?

How about glancing at eyes that belonged to a stranger but, then precisely, your 
every   fiber   recog-

nized your fellow doppel-

ganger?

In my hand,  the weather page for 
Cannes, printed from the internet 
more  than a year ago,  shows the 
existence of  sun drenched exits!

Christy Bergman,
July 26, 2000

Note on the Meter: Because this poem was about ways of covering space, I wanted to express it with different-shaped-and-sized meters. To design my meters, I took a sheet of graph paper. I let the x-axis be lines per stanza and the y-axis number of iambs per line. I then drew out some curves that seemed to fill the space and themselves had different shapes, keeping in mind that stanzas of iambic hexameter or more are very rare and bulky. Here's what my chart looked like:

Thus, the curve of •'s would make a stanza 2-7-5, ° 's would make a stanza 9-5-3-1, x's would make 6-5-3-1-3-5, || 's 4-4-4-4, * 's 1-3-4-5-6. I then cut out small pieces of paper, each with a •, °, x, ||, and *. I closed my eyes & drew a shape. The order in which I drew the shapes was the order in which I composed the stanzas.