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Control Bird Alt Delete by Alexandria Peary

By Alexandria Peary

“‘Go play!’ advises Peary in her 3rd assortment, and we do, with ‘a tassel of rain,’ with ‘dove-colored sounds’ and ‘starter castles.’ The topos is New England archaeology; it’s Colorforms and Legos; Charley Harper landscapes turn into interiors; we're thrilled to already locate ourselves the place we couldn’t probably get to.”—Caroline Knox, writer, Flemish: Poems
 
In regulate chicken Alt Delete, the reader is invited to discover unusual landscapes: a few in keeping with the ruins of latest England and others following the architectural prints of the subconscious. The reader walks via woods packed with cellar holes, rock partitions, and lilac trees, and is made to consider humans long past lacking. Robert Frost meets occasions sq.. Nature intrudes in unforeseen methods on household settings—and vice versa—domestic and commercial settings seem in bits contained in the pastoral. Birds, one-dimensional yet surprisingly clever, flit backward and forward and rebelliously tape up their songs. The senses are completely mixed, resulting in unusual mixtures and sensory reviews, to states of mindfulness and snow fall distraction.

the entire whereas, the subconscious threatens to interfere, with its underlined areas, its catch doorways inside of usual conversations, the mazes it hangs up like “welcome domestic” banners subsequent to people’s mouths whereas they converse. The reader follows the first-person I through mazes, place of work areas, and coils of road site visitors, hoping for a few redemption, a few kind of resolution to all of the deletion.

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Extra info for Control Bird Alt Delete

Example text

44 Bird Finder The song that comes through the window is a LONG WHITE TUBE big enough for a full-grown man to stand up inside. It joins the other pipes at the top of the room, a culvert, an air duct, a fitted number 7 pipe, a song big enough for a full-grown man to stand up inside crossing the room like an overpass over the gray area between about and like and the brilliantly yellow taped-up shadow. IN TRANSIT is the long white song, searching for another window to leave by, it follows the other pipes around the room like a decoy and could go on like this for days over upholstered hills, piles covered in stars, flowers and in fact it does for two more stanzas but the next line rises like a drawbridge the whole room is tilting upward like a ramp (the warning sound of an arm chair backing up) (to get closer to piles of stars, gravel, road salt, extra fill).

It was like being asked to wash down a Paul Klee To steam-clean carpets from my in-laws’ travels: Times Square, Red Square, Town Oval, Leaning Tower. My daughter is running ahead in squares of two years, then three. For $25, I can pick up the cuticle of the moon, the pointed feet Dashing into the scene, my tall daughter says, A city on the floor! It was like being asked to wash down a Paul Klee. . and the pointed feet, the rush to the hospital, the travail. This rainbow city that starts with an inflatable funhouse A, My daughter, missing, in a watercolor city for two years, then three Until I find her in an A-frame house in Seraph font.

His patient 5 mph course through the loops of the room down a braided hallway gets him sometimes to Hal Darger, longshoreman, where clouds are written on overhead for little girls at war and rooms are stanzaic (this is said for my benefit). R. takes a go-cart inside the hot plate, a riding lawnmower in the pattern on a dish rag, stands with his burro to pose beneath each π symbol planted like grape arbors on a hill where he pauses, looks back at A hill covered with spikes, A hill covered with other hills.

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