Visual Tone Poem #1 – Curious USA

To get there, you follow a passage, not like this sentence is a passage, but instead, like a line is a passage, and you know that the road is there because you can see the  houses,    and you look up and down the line and see the telephone poles with the telephone lines that snap in some breeze unfelt, at least by you, and listening, you hear the party lines hum with gossip and pig futures.

Do you see the eyes?    They’ve been there all this time, just staring at you, as if they’re waiting for their cue, and you think you know what this is all about, that you’ve seen this written down on scraps of paper that were crumbled up and tossed in a trash can, where you repeatedly dug them out and smoothed them on your knee while mumbling to yourself that, really, it’s ok to move on.

Well, the mouth,  you understand, it’s just a souvenir, picked up at a Stuckey’s store somewhere in West Texas, where afterwards, you pulled out of the parking lot and back onto the road, snapping your eyes up from the mesmerizing pull of the telephone lines as they stretch from pole to pole, rolling down into the curve and back up, click, and down, then back up, click, keeping time with the purr of the tires on the blacktop, and beyond that you see the flat darkness of the fields, corn rows  fanning  out in the curve of each line

 , and before long a house interrupts this flow and you see your own tired eyes reflecting back at you in the glass.
You quickly roll down the window just to feel the cool breeze and you stare straight ahead and somehow you know that this image is just a passage moving through this curious American landscape and that, if you look away now, you might just miss it.

(Apologies to RPW.)

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About Margaret Withers

Margaret Withers’ has shown her artwork in group and solo shows in New York City and nationwide, and internationally in Brussels, Australia, Berlin, China, Vienna and Russia. She has also exhibited at The Drawing Center in New York City, Monmouth Museum in New Jersey, MarinMOCA in California and Attleboro Museum in Massachusetts. Her art and art mashups have been featured in multiple journals including the New England Review, Alexandria Quarterly and the Library as Incubator Project. Her paintings range from the abstract to surreal, to expressionism and landscapes, to investigations of the culture and ideas surrounding ‘home’, communication, machinery, monsters and translation. Her work is included in numerous private and corporate collections, including Truninger AG in Zurich, Switzerland. She is represented by Arcilesi | Homberg Gallery in New York City, William Baczek Fine Art in Northampton, MA and C Emerson Fine Art in Tampa Florida. She lives and paints in Manhattan, New York.
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