10/21/2010

gesturalism is a quarter acre of haiku

there, island of eyes
static to the touch, collapse
like bridges and posts

post the letter, sealed
arch, inbound metres, red face
— which mentionables

ankh, series of charms
anchor and flagging jade discs
like kites, sundown waves

one broken button —
tomorrow's outfield, compass
an acute crescent


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a haiku is gianni dova looking on

tabernacle, still
after the years, yuzu drinks
bottled at the source

comedians seem sad
after the show, small applause
tears, the rain faster

all of your best things
sheepish grin, honest moorings
all of a sudden


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a haiku is an immediate september

malt and hops, soft mouth
to taste shelf clouds, late summer —
land meets ceram sea

not erotic knocks
— siamese fireback, wings —
just quiet green barn

peas in their place, plain
fork upturned, oil lamps filled, brims
clarified butter

meet me at st anne's —
body of water, abode
afloat, neat lily


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a haiku is an author in conception

pant leg in a flare
bell bottoms for homecoming
garage sleepover

safe passage through
leaves and city bustle
maned owl spreading wings

picture this mauve
ash from urn
your wrapping fingers

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Desmond Kon Zhicheng-Mingdé is an achingly shy recluse, a post-it-modernist-in-an-oast-house who loves butterscotch bread, broccoli masala, and buckets of theory for sensory overload in his late evenings. Based in Singapore, he has edited more than 10 books and co-produced 3 audio books, several pro bono for non-profit organizations, with recent or forthcoming work in Caper Literary Journal, Cricket Online Review, Dark Sky, Folly, Grey Sparrow, Nano Fiction, Notes from the Gean, Presence, Spilling Ink, Sugar Mule, and Walnut Literary Review. Also working in clay, Desmond sculpts commemorative ceramic pieces, these works housed in museums and private collections in India, the Netherlands, the UK and the US.