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    • Mnemes
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    • zI SHA
    • Lady Ljutomer
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    • Peshtigo
    • THE ART OF ROSA KORbin
    • Omilteme Cottontails
    • Violet Twice Golden Light
    • Acrobat In The Waterfall
    • Rosa Nitida
    • Allonge In Lace
    • 1/2 O=C
    • Lyrical Poetry
    • Trompe L’oeil
    • Contact
  • Home
  • Ambient Friction
  • Pochette
  • Gallery
  • Matriarch Tree
  • Mnemes
  • Papier-mâché
  • Bonairian Oleander
  • Tea Dance or Folklorico?
  • zI SHA
  • Lady Ljutomer
  • Skua, Aftermath and Cello
  • Peshtigo
  • THE ART OF ROSA KORbin
  • Omilteme Cottontails
  • Violet Twice Golden Light
  • Acrobat In The Waterfall
  • Rosa Nitida
  • Allonge In Lace
  • 1/2 O=C
  • Lyrical Poetry
  • Trompe L’oeil
  • Contact

Kristin Ryling

Lapin Press

Kristin Ryling Lapin PressKristin Ryling Lapin PressKristin Ryling Lapin Press

The Art of Rosa KORbin

Quizzing glass from finders sheld, opera glasses 

from leaf sight observing, hot, cold condensation 

glazing toric lens, until the weight issued rinsing, 

dense enough, that a tear rolled down. Images 

orthicon, allowing one sided views, kindnesses 

greater watchtower, inspects gravure microscope, 

her ceilings unlimited, carefully touching wounds

prospect, narratives to misfortunes heart of aught

visibilities. Spread wide for the cloud behind the 

shutters, channeling book for the reader who will

not name the title. The beholden, the ever naked,

lady of ultraviolet, squinting for the scene’s singlet, 

red star eternally behind the curtains. It was love, 

softer caroling, such I have no doubt! I’d would 

change nothing, as I longed to be seen, inside her 

point of view. Yet until, winter brought it’s cold

frost, fern ice, pallid once, her view of feelings. 




Praxis swing, upharsin, foreboding of the runes,

transition’s gesticulating script, on the stuntman’s 

cue. There in by, cry havoc, or fair warning, I

was sulphur heart, Ivalace ivy, quintessence in

self-annihilation, ultimatums climbing walls.


I saw you watching me, tapping on the window,

dispatches operational, friend among my leaves,

keeping the sideliner conscious. A watchman’s 

rattle in dormancies, reminders before the retinas

stagnant, as visceral plums fled trembles tree.


The pennant stems I idled by, carelessly removing

fledges from their grasping stones, a child who 

took the greenery from contemplative life. A sweet

vine forgiving exasperations, signaling buttresses 

to the cakewalk of fright, tomorrow you will fly.




Parcels of flowers, charge’ d’ affaires, adding 

silver strings to supple conversation, trembling

Suffragettes, sine qua non. 


Amenities of jute, broadcloth dreams of lace

making, in caprice capes of Lamiales shelter,

umbelliferous of Bignonia.


Stags of Dutchman’s breeches, burgeon below,

the headlong trees, woadwaxen tress, as ushers 

thrush, in grass of Parnassus. 




Asterisk by thread of sable, patience agrimony

of asters settled, in small toques or straw sailors,

abetting graces of theatre movements, alcoves in

fingertips, framing flyable archives, in churches 

of feminine architects, Aktie Tomaat. 


Ships of conveyance, water birds of Albatross,

sails of ahimsa, pacificatory offshores, abettors

aiming, the saints of memoirists and aiguillettes.

Sateens the key locks, seal beside her folds for 

legging forbidden shores, syntaxes of affinities, 

according only, charities of faint consent.




Thespians of timber, in de Stijl lines of the meadows,

straw hat theater, where the hares of harlequinade,

are the improvisers summer stock. Ornamental art

of shelter, I, o in rounds of river rock, a home of

consummations, of stone and earth.


To study and rest beneath domes of heated glass,

ceilings of liberal commentaries, sorting the skies

of Grand Guignol. Retractable fabric, of subtle

fauna, on backgrounds of deep purple, risers of

privacy, at placings of fingertips.


I’m cushioning certain walls in embroidered 

damasks, nestled leaves, pillowing summers

rosettes. A vast prism in the greenhouses 

and the entryway, repertoires divertissements

bayadere in dialogues of light.


                                                            …my home.

 



Nombril point, illusory underscores of bannering 

brow, thoughts padding tiles, gauze guard, the 

atlases of stone. Types of swallows without the

pause of feet, migrations mark of cadences, where

wingers withdraw, neither dart, nor cords of fleet.

Marlet which shall never roost, from felled birth

until shadow, sojourns ungenial alters, below the 

seatings of kingfisher blue to purple gallinule. Be

Octofoil, eight lobes of leaf till flower, thatcher of 

the attic, dreary douse to napery pearls, self ends, 

Jane letters of mangroves, downing beds scribing

cloister, drop plumes, of closing grief.




Blushes of movement, nonetheless to tauter,

compliant flocculent, in heat treat ossifications

of vulcanites. It is my acre of long grass, bice

where the chandler layers the rye, fruiterers I

batten, barkers of the copper leaf of autumn.

October’s vintners emptor, final brass chosen,

of ha-penny apricots.


Organ collars collateral, beauty in wedged 

wed filling, should the rain fall slant, tiller

the leads of rest water, along it’s chase of

sullen shoulders. Ring ribs of fuchsine beets,

I madder joy red, Catholic songs of cordial,

as meadow larks walk in burnt umber, praise

from the roan stones nearby.




Winds in centrifugal force, exhale only, as attendants

of the fifes condition, poignant songs repulsing, myrrh

to enchant, artisans which may not breathe in. Lady 

of Ceili, motioning response, mellifluous as the wild 

lily’s insularities, she tucks inside her glove. Perhaps 

Diascia or Dietes, twin spurs of two daughters, in 

felt cartographer of palms, shield safe in satins buffer,

pollens in clasp petals or closures character of fronds.                    




I

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Kristin Ryling

Copyright © 2022

Kristin Ryling - Lapin Press


All rights reserved. No part of this publication, be it written, art or images, may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing, from Kristin Ryling or Lapin Press.






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