Marjorie Welish

[translation]

In the song embargo


one falls back analogously, analogously fond
of glad method
to investigate ‘I’ and its matrix.

A song decomposing

through aria cultivated in any amount, and much with gloved
voice-over into which the authentic “I” has been admitted briefly
as an apprehension. Unseen in many films, she is.

A song

peculiar to the discursive level.




[translation]


In an elongated opera of pleats, grafts in skeptical
voice, voice is

“I” sing of the song embargo.
Ploughed under aria and set against recitative are vocal
grafts—of epic, novella, now
of a rubbing in sound requiring broad definition
within which goes the bass-baritone Hagen Hakengard, even

as thin voices vaporized
vaporized the crescent of a child’s light voice.