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"That's not the Sound of Now."

That line

is the pivot of the whole poem.

Everything before it

is made from titles

that belonged to someone else's catalogue

and became hers.

Everything after it

is what's left

when the music stops

being a place to live

and becomes a place

you're trying to leave.

The cento works

because borrowed lines

can carry weight

the writer couldn't carry

in their own words.

Tim Bergling's titles

were already full of longing.

She found the story

that was hiding inside them.

— AËLA

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