http://www.albany.edu/offcourse 
         http://offcourse.org
         ISSN 1556-4975

A journal for poetry, criticism, reviews, stories and essays published by Ricardo and Isabel Nirenberg since 1998.
It is the ultimate cosmic irony that recombination allows decoupling without which vision would be impossible so no one would know whether lilacs last in the dooryard bloomed or a rose is arose is eros whose arrows try to but never succeed in traversing the Eleatic solid filled with forests made invisible by the numerous trees and white-tailed deer without the wits to build a civilization up from the ruins of a disastrous war marked by explosions and diversions of life-sustaining caresses and multiple contusions confusions transgressions and the lessons of a history never remembered in the ensuing confusion electromagnetically displaced by experimeters and microbabblers analeyesd and disembered by wild haired sages grunting it's alive all alive oh and hauling test tube barbies off in a red wheel barrow through streets wide and sparrow droppings invisible on the crest of the new fallen snot-like volcanic ash smothering horny roman noir in their tracks like instant records of the trajectories of uncountable fragments of colliding strings of ultimate reality as ironic as that may seem in the beam of a super conducting super colliding dream machine sleeping under infertile westerly soil awaiting the final defense of angels and ministers of grace.
shrouds of green-grey hang across the face of an evening sun
    and rumbles in the west threaten quarter moon starlessness
while back lighting illuminates edges and spaces between banks
    while candle light from Cabaret Voltaire spills down to that curb
while watchers watch a body move as word or woman word
    while Lop Lop clucks through projector lamps and shadows lithe
while eyes follow puppet forms of Asia and the moon
    while doubled motion knocks socks off iff you can can can
until a neutron cat hisses disapproval at dada dancers motions
    anticipating joy at their failure to persuade lyric chanters
that her chant or dance her chanter dance her shaping song
    her opening openings like vowel shapers oval and dark
her neverness seething wet as morning threatens to astound
    an ending unseen in smoky lipstick and ordinary wine
no one knows if bark
    means the call of a dog
    under a bright moon
    perhaps over hunger
    perhaps about loneliness
    in the cold of a winter night
    along the bank of a frozen river
no one knows if bark
    means the covering of a tree
    old and riddled with burrows
    hiding insects gnawing through rings
    so the old elm or oak shivers
    ready to fall into undergrowth
    that had huddled in its shade
no one knows if bark
    means a sailing vessel
    with tattered canvas
    having served to catch wind
    to carry crews across a warm sea
    year after year as cargos dwindled
    and wherewithal for maintenance
    escaped in gentle breezes
    and in storms
no one even knows what is lost
    since bark is merely ink
    a set of marks
    upon a yellow page
    forgotten
    in an empty room
    its door closed
    since
            "Though he slay me, yet will I trust him."
                                                    King James Bible
            "He may slay me, I'll not quaver. I will 
                  defend my conduct to his face."
                                                    The Anchor Bible
Projectile alimentary evacuation hurts plus boils
    and who would have guessed that Seinfeld's ejaculation
  "Numen!" expressed revulsion at the spiritual presence of the wholly other
    seen only with second sight like clouds around doomed suitors of Molly Bloom
    or bloody perspiration oozing from temple walls of leverage and debt.
What have we come to accept of the wretch and flamous?
    Excess and insensitivity duped and driven by those numen daimons
    possibly inhabited by that popper numen and his element cardinal numen?
    Whether jjoist or not they remain abeam with self-importance except those
    who are never wrong because they're never right
and for the others nothing short of divine vision
    or a new cure for the clap will stay these couriers
    from their absorptive clowning soaking up applause
    as they keep those planks together with will power
    or tar recently bubbled up through bones and hats
while sun on an ancient sea sends messages of gleam
    about islands made of white white stone and powder beaches
    where fishermen dry and mend old nets and smoke pipes
    with strong sweet liquors standing by in clay cups
    fashioned lovingly by crafty widows with gnarled fingers.
Wrinkled skin weathered by salt spray and radiation
    tells a story no one knows for sure but guesses
    under moonlight and olive trees older than memory
    and twisted by the hot winds of summer
    offering no relief to those who know it's wrong to ask.
On the other hand perhaps fishing is just another game
    as Heraclitus suggests with bones that rattle on paving stones
    carved from inferior marble because the best is reserved
    for discus throwers and gracile statues of Aphrodite
    her robes tossed over her shoulder as she smiles upon us.
John Marvin is a teacher who retired and subsequently earned a Ph.D. in English at SUNY Buffalo. He has poems in scores of journals, and literary criticism in Hypermedia Joyce Studies, James Joyce Quarterly, Pennsylvania English, and Worchester Review. His book, Nietzsche and Transmodernism: Art and Science Beyond the Modern in Joyce, Stevens, Pynchon, and Kubrick, awaits a publisher. This is his first appearance in Offcourse.