Brooks Dierdorff

Series Entry 8.1


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.

In childhood games of hide and seek we left

our shoes as decoys at the foot of floor-

length drapes. It is an act of faith, beginning

.

feet-first, but is invention recklessness?

Is misdirection a lie? How easily

we fill in any blanks, as if shapelessness

.

and space are to be remedied. His silence

left me too much room to fill, inventing

versions of the truth, each word a pixel

.

tightening, image shifting into higher

resolution. Think of that baby picture,

your extended hand. The flash obscured your face.

.

Or the image of a plane emerging—

if not for the angle, upward-tilting nose,

you’d think the plane was going down in flames.

.

The mirror shows me I am not myself,

but who I am it can’t say. The aged look

of the just-born speaks volumes of this journey.


Elizabeth Hazen

Series Entry 8.2


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.


Brooks Dierdorff

Series Entry 8.3


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.

In childhood you believed that everything

was waiting to be found. Think of the rocks

your father led you to, the fossils inside.

Think of the basement boxes spilling secrets:

love letters, photographs, cracked china dolls,

scent of damp and your grandmother’s perfume.

Think of the stillness of your hiding place:

your body stretched so flat beneath the sheet,

a wrinkle alone betrayed you. Later you sought

invisibility. You grew so thin,

protruding bones became a shroud; no one

could see beyond your hunger. Even now

your low-cut dress, electric blue and shining,

reveals décolletage that obfuscates

your words. You spend whole seasons hiding out,

emerging just to check the mail, but part

of you still waits, ear cocked for “Olly olly

oxen free.” A part of you still wants

to be unveiled, translated, figured out.

You want a savior to cut you loose,

Rosetta stone to clarify your story

or even just a breath of air, a light

to help you see your way back to where you started.


Elizabeth Hazen

Series Entry 8.4


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.


Brooks Dierdorff

Series Entry 8.5


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.

Lucky Girl

.

Secrets unveil themselves at ill-timed moments

in terms of the stability of one’s

.

emotions, but for plot they intensify

rising action. Life must earn the denouement.

.

Everyone reassures her that she’s not

as bad as the worst thing she has done.

.

But how can they assess what they don’t know,

so as to calibrate the scale? Look: nothing

.

is ever black and white, and a clean slate

is a myth. Even the made bed is just

.

a precursor to disorder, so if

someone says that she is good or she is bad,

.

take note that good is just a word. It doesn’t

hold water; its substance filters as through

.

a sieve, a screen. Take a good look in the mirror

she tells herself. You are not above the mess

.

you’ve made. But what if no one sees the mess?

It is hard to resist the seduction of a lie,

.

the way it tastes like liquor, dark and heavy,

like the tongue of a working man after his shift.

.

These bodies hold a lot of things we need

and so much that we don’t. Sometimes a person

.

wakes up and decides to be different.

Sometimes maybe she is, and people look

.

at her and say, when the anesthesia

wears off, You know, you’re a very lucky girl.


Elizabeth Hazen

Series Entry 8.6


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.


Brooks Dierdorff

Series Entry 8.7


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.

Alignment

.

Planets align from time to time, and much

is made of the effects such cosmic chance

could have on Earth, though in fact the influence

is trivial; such coincidence can’t touch

.

the craft of carpenters with their dovetail

joints, welders with their pipes, mechanics

with their wheels and calibrations. There’s no trick

to their creations; precision must avail.

.

And what of the body? The chiropractor

tries to understand my pain, tries to adjust

my vertebrae, but the problem is my lust’s

incongruity with logic, a factor

.

that has no easy fix. I try to assuage

my desires by design, but now I find

myself off-kilter, haphazard, misaligned—

I fear I’ve gone too far to disengage.

.

These emotions don’t fit naturally in place.

I want to rearrange my heart, to alter

the facts, selectively recall—I falter,

fall out of line, think only of his face.


Elizabeth Hazen

Series Entry 8.8


Description

Series 8

Brooks Dierdorff and Elizabeth Hazen

In the exchange between Elizabeth and Brooks, the lack of distinction between notions of exposure and concealment finds resolution at the expense of logic. Each entry gives perspectives on ‘incongruous’ emotions and moments that both subvert and, ironically, find expression through the very systems meant to suppress volatile thought and action. Brook’s images fittingly provide orderly reels, grids, and coverings bellied by the subtle disturbances they reveal. Introducing an attuned and well-calibrated uncertainty, Elizabeth’s poems present decoys alongside the real in a constant irrational game where to seek is to hide, and vice versa.