Morgan Lucas Schuldt

 

Residuary

Bc the bodye—
lopsed,      scrawned,       convolved—

is ex-why.
As gape, is ex-thrall.

Bc the bodye—
so dullable,      so diminished—

is attentions—
the sweet steady stabwork

through layer-names—
                                     schema’s
stratal rather
for what’s 

a slabbish slopping ago-thing.

Rack-lines & rank-mess.
Raw-red lapidaria
                                  & redder dense

resistlessly skinned over
(w/ dayskin,      w/nightskin).

Bc the bodye is
gentleness
                  when rinsed to see

the blode’s rote under-runs.
Its skeins & valves

for O’s efferent momentums.

Pinktricate deeps
                              put to grind,

overwhelming their cause
(as willingness & unwillingness)

over who else is belonged to.

Bc bodye
no ampling word—

dims into grammar.

Is cubic contents dead-ending
at intending,
                   but as intend

love      (at least)
of being tried.

Bc bodye’s the affliction.

An otherbody
                          vivid

out of knowwhere slowing.

quick & brink we become
accompanied w/.

Lung ache.    Lang-ache.

(What’s prone
                              stranded

in mapblack in subreds.)

                                       My Indicatives,

when desire is weak be over, be done,

it will have seemed right
in this Unglish

to mean       to outlust.

 
Extantsy (Or The Long Night In Phrase)

The mere existence of emphasis
a tram    O     line   .

O      (that ‘ccurs) —
lust’s fed focus for the 

little louds
                   & outs

of yore’s
on-and-on eloqwhence.

Nounsense for this      sprent
This stelléd     else

disgathering night (its bulk

                                  flicker-heavied).

While succinct succulents
(salting down, green)
                                  teem as lean.

While—wike awade—we tend to
meaning to

too neateningly.

To language
                          & its many sudden lives.

                          As if we could make
                         —& w/ out awe—

the long night in a phrase.

Sounding
noose-rose & wormfence.

Sounding
fathomsuns & shivelight.

A l=u=n=g=u=a=g=e

violable—
hollow-bright.

 
Rescindence

What lasts      come after decades
hands’ approaches?

                             When the interdarks’
cordoned gores

listlessen      crescend      & want

is a room waves make move
no psalt
               can preserve or keep

preserve or keep.

                            This situation of meat,
this cut-short shut of mess stairs-slow—

in scants of fantasts       fears fucking;
it makes no promises back.

O Thenatos
even in its sensefulness of night & day

(years of hours of attentions
languaged w/  openings)

the sky always an a‘s shade of blue
like skin
               the a‘s shade of blue I cannot believe

my way out of.

Or whether we cld we
what’s breathed about

& how the mouth makes boundaries
                                                              hands test

again,
                   tending & re-tending
w/  the eloquence of blood-rush.

 
Plainsong (For Two)

Botch or not,
this body

(so troped for)—
how hapless

& hand-to-mouth
each day has it.

Botch or not (or
mess of fix),

how, marrow-casually,
you’ll’ve

loved it
most. Its lasting.

Its ravel-song
sung thew—O

butcher reds,
O offal proof

!   This
descript despite,

a half-riddance
slowing, now,

from purpose.
Slowing how

to dististances 

(up  | room |
|  down  |  room).

The lent relenting
merely to relate

merely.

Linen-long.
Under scar-lights.

 

 

Morgan Lucas Schuldt died of complications from cystic fibrosis on Jan. 30, 2012, twelve days before his 34th birthday. Morgan earned an MFA in Poetry and an MA in Literature at the University of Arizona. He completed two book-length collections, Erros (Parlor Press, forthcoming) and Verge (Parlor Press, 2007). He also published three chapbooks, (as vanish, unespecially) (Flying Guillotine Press, 2012), L=u=N=G=U=A=G=E (Scantily Clad Press, 2009) and Otherhow (Kitchen Press, 2007). A writer of criticism, reviews and interviews, he was a mentor to many poets and a dedicated enthusiast of the work he loved, co-founding and editing CUE (A Journal of Prose Poetry), as well as editing CUE Editions, a chapbook series. The poems in Free Verse were first published in (as vanish, unespecially) by Flying Guillotine Press.

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