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Tim Roberts

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from 244 Passivity

by Tim Roberts

 

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I want this work to appear in the place where it says nothing will

break through. Where subject matter is the action of doing, what

you are given, the act of writing. We are going to be reciprocating.

The budget and bread of the day. But still, open water, as you

contemplate the happening, it is happening. So that if subject can

only be impossible, only that, then, in front of you. Because of our

motion.

 

*

 

The table makes us simplify. When we get to a question of anger.

When we move through the atemporal, we’re saying “must be,”

I think. That’s all. It’s no more than what you do to lay out the

questioning, which is taking that preeminent place of value, which

is the place of value, writing it out, that is, or are you dragging it

in, something about you that did not want you, to be touched by

you, to be remembered so that it forces you to forget, if you try,

writing it out, to put it down, memorialize it. It won’t be.

 

*

 

There’s fear related to thinking. In the box set on marginal

cities. There’s a right way to rhyme, so and so having chosen, the

element. You study and are not chosen. Why not? It’s the material,

which under certain conditions bends, or doesn’t bend but is

molten. Or then, time passing, you go back into the shade, an

attitude, colorless swamp. Is that you? I have stretched the motion

of contemplating. What I seem to be lifting is story itself. The best

of old behaviors, night birds, quiet flying roaming, and a perch,

one eating another one. There is also a bend in the rain. Forced.

 

 

 

BIO

Tim Roberts is a writer and editor living in Denver, Colorado. He is the author of Drizzle Pocket (BlazeVox, 2011) and the director of Counterpath.

 

The Writing Disorder is a quarterly literary journal. We publish exceptional new works of fiction, poetry, nonfiction and art. We also feature interviews with writers and artists, as well as reviews.

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