CANTO 44 I can touch the fabric

 

I can touch the fabric alive with the sun,

glowing and perceptible membrane,

vellum does it hum OM the sacred verse?

Is it chord, solid shape, or wall?

It’s the old slow birth upcOMing thereof

how "OM" is only half of "cOMe"

sensing the wall, partition, or is it parturition

if left undisguised,

stretch the multiphonic voice, actually act as ornamentation

proportional to daylight

cOMes the OM-pang or second cOMing.

Having cOMe twice who would not cOMe again?

On either side of OM is the ku- ku- ku- ku- ku- ku- ku- ku- ku-

of coming and the uh- uh- uh- uh- uh- uhmmm-

of going,

deep resonation, sacred words

are chanted, either rhythmically by

syllable, or intoned over long periods

the koan click "k" and the Within

quick lost "muh" of going,

whereas with OM is the and retied.

Entrance, how it slides

or elides as it glides up the world had finally been untangled

slope and the ends of

ringing g-g-g-g-g-g-g-g-ong inside ultimate rightness, as if

the m-m-m-m-m-m-m

that rings on frequency

on vibrations per second

on pitch

on periodicity

on a single performer’s cOMputer-processed voice

on a violin burning on a New York stage

on "The Intravenous Feeding of Charlotte Moorman"

on the twelve sacred tones

on residue pitch

on harmonic partial

on without ever leaving

and the ringing uhh ring- ring-g-g-g-g-g-g-g-g-ong inside

the OM and the ringing uhh ring- ring-g-g-g-g-g-g-g-g-ing inside

the OM-m-m-m-m-m-m-ah

that rings on on on on on on on on on on on ON ON ON ON

without ever leaving NO DON’T YOU EVER LEAVE ME

and the ringing uhh ring- ring-g-g-g-g-g-g-g-g-ing inside

the OM-m-m-m-m-m-m-ah

in k-k-k-k-k-kcOMing

you have the stakato of all the wheels and kams of Amerika

COMe again?) cOMings and goings-ings and goings-—

Who to keep track of

sektors and bytes, exits and entrances, digital diarrhea,

age of information

hemhorrage koded in plus and minus?

What happened to what’s in between the

"kuh" of the krummhorn

into unexpected chordal consonance?

What happened, yeah, what happened to what’s in between,

in between the "kuh" - and the - "uh,"

I mean the "ohh" and the "MMMMmmmm"

between the tones, semi-tones and demi-quavers?

Where the fuzzy fits between the plus and the minus?

I mean the uncOMmon gigue of

dissonance, they are already dissolving through minute shifts

"O" and the swell

"MM" between tones, semi-tones and demi-quavers?

Where between (the voices begin to rise)

child’s round O and the

Story of O

came in the oil of olay? Where between the mOM and the pop

came the kid?

Am I cOMing or going?