Issue 2.2
Summer 2022
Eric Acosta
los olvidados
0. un chevrolet noir
1. Given the Salon is cancelld
2. lit a match with thumb
struck a conceptual
partnrs in crime
bourbn
straight
3. diadewm
4. mouth
finishd er
on his
acolyte
he
10.
green
wurlitzr
egrex
undr cherbourg
umbrellas
bear weight absnce
fragile rain expose
late night street
loves promise alwys
aftr dancin
6. I beam
In Brooklyn–
oystrs hide poirls
​
*
​
solar pur–
*
Rita Hayworth's skin
8. in–
hail
​
9. brittle hat
whetherd
stale grass beneath
Eric Acosta lives and works in Seattle, Washington. His work has appeared in A Void #4, Clamor, NoMaterial and Hex Enduction Magazine. Work forthcoming by Really Serious Literature in 2023/24. See more of his work at www.printcopiesavailable.com or on Instagram @bottle_meat.
Eric's Book Recommendations
Cristina Rivera Garza—Taiga Syndrome
Cormac McCarthy—Border Trilogy
William Lindsay Gresham—Nightmare Alley
Emily Skillings—Fort Not
Ernest Becker—The Denial of Death
Reflection
Initially this seems to be only an experiment of space, but it's an exploration of the mechanics of a poem, what makes a poem live. A line/word is partially particle-like and partially wave-like, but is really something more complex that is neither a simple wave nor a simple particle. The line/word are described by a probabilistic quantum wavefunction, which spreads out through space and vibrates, but in such a way that it still has certain discrete properties such as mass. When bound in a stable state in a poem, the line/word wavefunction spreads out into a certain shape/space. The shape/space does not contain or describe the average location of a mass but rather, the shape/space is the line/word. (Yes—this is just a description of an electron inside an atom, where the word "electron" and "atom" are replaced.)
5. linguists view wrds so minimally
7. and the storm were palm