Obsidian Aura

It is dark in the alley because we have removed the light from those things we would much rather not examine. But the desire to examine them, to bring them to light, to form the unformed thoughts into a logical presentation, is the desire to create art.
— David Mamet (David Mamet, “[Chapter 4.] The Lamppost and the Alley,” in Theatre, published at London by Faber and Faber in 2010; page 27.)
I’m happy enough not to want to kill myself.
— Cindy Sherman (Cindy Sherman, interviewed by Judy Rumbold for her article, “My vile bodies: Cindy Sherman interview – archive, 1991: 10 January 1991: No matter how horrible her spare part art, lenswoman Cindy Sherman sells,” in “Culture[:] Art & design” of The Guardian, published online at London by Guardian News & Media Limited on Tuesday, January 10th, 2017.)

                         i.

Echo was left empty in
payment for something not taken,
the way my throat loves

cancer, from the delicate toward
the analytic, pathetic the way
without the why he dresses
like a prostitute who works
funerals, to star in an
argument, beyond needing to be
understood, on the comeback trail,

your voice could fill my
throat, feel nice wrapped around

my chorus, hold out until
I almost choke, beauty enough
to embody a paradox, observed
more than I deserved, overwrought,
talked-of(f), a hymn to
the saffron-veiled goddess of ghosts,
you need the altared ego

to act as a grounded
wire or you would be

shattered, we are always at
the centre of our universe,
provided we draw the lines, an
education in keeping with keeping
my Self forsaken, god enough
for you, tarot is a
silent film that plays differently

every time you shuffle the
deck, the reader is the
projectionist, the alchemist of the

                         ii.

image, showing us how to
watch the movie of our
own lives, more electrical than

ethical, paraphrasing Didion, these moments
aren’t a movie, each instance
is a cutting room experience,
absence makes me believe you
need me, wide-ranging in my
gathering of experiences with men
whose names would erase them

if given to me after
exchanging our bodies for experiments,

a song to drown flowers,
hell is the fertile ground
from which everything grows, from
there our ancestors answer our
invitations to dinner, spittle in
the blood of dialect, tonguing
wounds of rubies, as the

seed of the sacred blooms
in the sewer of the

profane, it is the villain
who carries the pollen of
change, the ultimate spell isn’t
a curse or a wish,
it’s the hard reset of
a broken spirit, you make
love feel like punishment for

getting something I never wanted,
the empire designed for longevity,
thinking not in pounds, shillings,

                         iii.

or pence, dollars or bits,
but centuries, land ownership outlived
technology, training outlived paperwork, geometry

outlived guns, why is the
water bleeding gold? Within this
dizzying labyrinth of rituals, cinema
becomes an act of dreaming
the way King’s was just
Brideshead Regurgitated, the cost of
an education an exercise in

expense, aggregating time wasted, the
mystery persists not because there

is no answer, but because
the answer belongs to an
empire that no longer exists,
why the successor state inherited
a lie, under the doctrine
of Sovereign Immunity, state property
cannot be lost or abandoned,

title persists and can be
claimed in perpetuity, the racist

who takes his coffee black,
who takes nothing back, I’ve
a thing for tragic love,
I guess, longwindedness, and guys
I wish I could fix,
you hadn’t the balls to
explicitly reject, but the implication

the silence paints resonates just
as painful exiled to Paris
to die penniless and infamous…

Jono Borden

Jono Borden is a Canadian poet, novelist, lyricist, screenwriter, and filmmaker known for transgressive lyricism, occult symbolism, gothic æsthetics, dark eroticism, and experimental narrative forms.

https://jonoborden.com
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