Deborah Elliott Deutschman

SAM GILLIAM

This is the way he told the story:
One day in his studio when he was working
on his upcoming solo show at the Corcoran
(a rare event for an African American artist
at that time), there was an accident.
A section of his large new painting, Niagara,
hanging on the wall to dry, slipped down.

And as he looked
at the collapsed/crumpled heap/mass
of crestfallen splayed pigment-saturated canvas
lying there in ruins on the floor,
he suddenly realized
how this would be his groundbreaking work.

A painting that was also sculpture–
and installation.

This was in 1968, he said,
when everything seemed possible.

And so, he rigged his draped/beveled canvasses
up high on the wall, almost up to the ceiling,
and then would pull them down onto the floor–

And gravity led to where all maps disappeared
and whole new territories of pigments surfaced,
as he guided them along on this precarious voyage- –

And then let the colors coalesce on their own
across the folds of the landscape of the canvas–

Luminous images

Sumptuous Baroque Abstract
parts and forms

Illuminations of colors–

And a blaze against the night

HILMA AF KLINT

Blue is the green
that was
as red is the yellow
that could be
and black is
the gray that
was white that was
music in the
lower keys and
chords of
the lost psalms
and geometries of
other worlds

PALE PINK-GOLD SUMMER DUSK

She is looking at me–
I can feel her happiness.
She’s totally there in that moment on the beach–
Rilke said animals are the only ones
who are in the present, who don’t think about time:
They are simply there where they are.
He said it’s because they don’t think about death.
Is that what Rilke said?
It doesn’t sound right.

What I’m trying to say is the dog is looking at me
with such contentment–
in this photograph, where she’s lying on the beach,
head raised, in canine bliss, long front legs out,
basking in the moment:
in the intoxicating spell of the sea
and honeysuckle-sparked salt air, and vast
empty open space–
that I can feel what she is feeling.

The photo that I just brought up from an old file
while sitting here at my desk writing–
I’m not sure why,
except I guess because I still think about her–
often enough.
She looks so happy on that beach,
in the pale pink-gold summer dusk in Amagansett,
where we were with her back then,
when you and I were still more or less young–
not so long ago.

I keep looking at the photo on my computer screen:
her refined head, regal pose, beautiful coat.
This is wonderful here, she is telling me,
as she looks at me,
as I photograph her–
on the perfect, almost deserted beach
with its miles of flawless sand, at low tide,

some gulls in flight, glistening along,
a swirl of colors of a kite streaking by–
and the surf, with its glittering sounds,
its steady repetitive rush, breaking over and over
again, in an eternal present.
How that moment pulls back in.

Now with its wake of words–
where there is no end
to where we are not–

Deborah Elliott Deutschman has had poems and stories in a number of places over the years: Alaska Quarterly Review, Another Chicago Magazine, Carolina Quarterly, Gargoyle, The New Criterion, and The New Yorker, among others; a novel, Signals (Seaview Books/Simon & Schuster, and PEI paperbacks). She has also written and co-written feature-length screenplays. Currently, she just finished a science fiction novel she’d been working on for a long time.