Neil Ellman
A monstrous flash of pink lightning rip-zipped across the sky (after the painting by Nathan Carter) Across the sky across my eyes and now rip-zipping across the sky and how it zips it rips it whips in monstrous pink in the wink of an eye across a Zip-a-Dee-Doo-Dah sky and now, even now, and how it winks hot pink at you and I the monster of my evening sky without a reason why it blinks pink light across my eyes. Very Rare Picture of Earth (after the painting by Francis Picabia) From out here the first time it has been seen in a millennium or more like a photograph from an album of old friends it seems more like a blue machine than a planet inhabited by people we knew more like the cylinders and drums flywheels and dynamos that it has become we are estranged like flesh and blood from pistons and wheels it goes its way we go ours to a home where we belong among others of our kind. Self-Portrait Between Clock and Bed (after the painting by Edvard Munch) It was as it was supposed to be this syzygy of a grandfather clock, myself and the bed in which I was born a prophetic alignment of my stars I am caught between the ticks of a clock and the bed in which I will surely die myself by myself alone in a room where I exist in the clutter of my past a piece of furniture no more alive than they. The morning after the Blue Northern there was a calm that settled over the Seven Summits (after the painting by Nathan Carter) On the seven summits of the mind each a mind unto itself each with a soul of a different color each speaking a language of its own from the seven corners of the earth blue mockingbirds gather and swirl in tornadic rings with a single thought in the language of blue awakening- but in the morning a calm with nothing changed on the seven summits of the mind as if the birds had never come. Anthropometry of the Blue Period (after the painting by Yves Klein) After blue in the spectrum green blue comes and goes like an old man's memory becoming green becomes a man the measure of a man in the graveyard of his thoughts it says: I am allegorically speaking blue it says: some things green are sometimes blue. Rupture Frénétique (after the painting by Georges Mathieu) Between daylight and daybreak and the night before it breaks into a billion particles of light between the rupture of the sky and the glow in your eyes and the thought within and between two worlds between opposite ends of the universe the mirror between them splinters into a billion minds between the mourning and the resurrection in the afterglow. Night Subway (after the painting by Jimmy Ernst) Darkness an open mouth offers me its solitude I am Jonah in the belly of a whale at 3:00 am the stations of my life pass by, time-blurred, sightless on a train going somewhere if anywhere at all I am swallowed by my past the present in its gut it feeds on memories eats the light as if it were and I its food I am alone in my way to the end of the promised line. Author's statement:
I always begin with a visual image that appeals to me on some intellectual and/or visceral level, but I also consider the title of the image, and how it works with the image, because it is my belief that the title of a painting, even an abstract one, reveals the thoughts of the artist, whether as a prior plan for the work or a personal response after the fact. With a figurative or quasi-figurative painting, I feel bound to the image, even if only slightly; but with an abstract work, there are no limits to the associations that I may make, and the response itself becomes more abstract. Still, I feel that it is important to reference the original image in some way that makes some sort of sense. From there, it is matter of turning my response into words in the form of a story, dialogue, interpretation or, most often, as a parallel-metaphor with particular attention to the sounds and rhythms that are most appropriate to the piece. Neil Ellman, a retired educator, writes from New Jersey. More than 1000 of his poems, many of which are ekphrastic and written in response to works of modern and contemporary art, appear in numerous print and online journals, anthologies and chapbooks throughout the world. In addition, his first full-length collection, Parallels: Selected Ekphrastic Poetry, 2009-2012, brings together more than 200 of his previously published works.
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