By Scott Hightower
A global of background is an international of locations and percentages. In Tin Can vacationer Scott Hightower attracts from a legacy higher than the bounds of private historical past, physique, and model. From the cruel Protestant panorama of his local relevant Texas to the pageantry of the historic structure of St. Maria in Trastevere, Rome, he persues the restrict of the poet. the place precisely does one commence and the area commence? Hightower displays a global containing AIDS and melanoma, Caravaggio and van der Werff. Nature, interpersonal relationships, and the tradition of the world-from basic to extraordinary-are all reasonable video game. His participating, erotic self, looking for its personal truest and such a lot pressing expressions, takes heavily Blake's caution of blunders which could lessen the human middle to a lifeless cog of a desktop (Blake's specific phrases are a mill with complex wheels.) The breadth and mastery of this awaited debut quantity is matched by means of the poet's insistence at the therapeutic and remodeling strength of the human mind's eye. those are usually not notes from an artless heart-but observations from a simmering global
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Let surrender surround as an unarmed Moor awaits in his tent his enemy’s cadaver. Allow night to vault the fatal arrival of such passing glamour. Forgive my lag, my hoist. Raise your eyes. 31 ATTOLEDO From the balcony of our room,we watch languorously as someone’s untaken-in laundry hangs damp and limp in the foregroundof the light morning fog like an angel’s wing. Today we will not need the citadel, themartyrs’ crowns or palms, or any pair of green clad angels turning like an effortless wheel above a tireless executioner’s elegance.
20 BURGLED One feels the trail of clues is already cooling: the abandoned highway, the borrowed coach beyond its usefulness, several smoldering trestles and ruined boats. Everywhere the unexpected press and violation of our polite but unsecured borders, the helter-skelter of the plunder: surgery, chemotherapy and radiation. Still, the unstyrnied occupation, and the butchered and abducted for which not even love can pay ransom. Few who can handle the irascible deployment of hounds persist on to the edge of the narrow lake, the melting ease and difficulty of abstractions dutifully refined and transferred: will; the rugged, lamming to forgiveness and grace; the road, now strewn with the litter of someone else’s body-gone-saboteur.
And back. She leans; he lifts her. A random pair of classy words gleaned from the day drifts out andweaves across the stage: “disembogue” and “dogsbody,” as if someone had furniture to move or somethingto fetch-a picnic basket bulging with candlesticks, a tablecloth of lam& Jezebel painted her face and sat at her window. After her eunuchs and the dogs, a11 that was left were her skull, the palms of her hands, the soles of her feet. 22 Like the music, the dancers are fearless in their art. Before my friends and I head into town for drinks atthe Adelphi, a pair from the company-dressed down and scrubbed-and I exchange a kiss.