Neverending KnotBy Jodie Dalgleish
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Needlelace, needlepoint, ‘points in air’ are spun to the end of our lace
mesh dress, as the stitches of all the small spoken bones in the mouth
take a turn of where she’s pulling your mouth’s thread to her thread’s
mouth, like she has a language, turned by her, by you, to fibres spun in on
the outstretched surface of limbs, spun to a thigh just as a touch follicle turns
to lace on the skin; tongue to trace an oversewn body, lace to trace air’s body
in the ponto in aere* of all the small spoken bones in the mouth, air-pointed
honeycomb of carbonate bones, patterns of an aspirate net of chalked
bones, decorative net of air’s, regrettable, bones, of aspirate bones, cut to
lace on the skin; air’s crack of small bones like bird’s bones, honeycomb
of aspirate honeycomb bones, reticulate small-crack bones of air’s lace
spun in to the end of a limb’s skin,
like she has a language,
end falling like a touch of lace down your spine, all the small-laced vertebrae
touched to its air’s lace brace, an air-pointed honeycomb of mouth’s lace,
a mouth’s brace of its perforations and picks: net end of its honeycomb,
knot honeycombed to net; trace of a mouth’s small breaks spun to a lily’s
body, spun to a petaline touch on the skin, on a body like air’s lilies, skin’s
honeycombed bone of a lily stitch, in an arm, two arms, brace spun in on a thigh,
or a cheek, a white-cheeked brace of wings, in the wheeled turning aspirate bone
flesh of their lily, spun in on the skin, reticulate lily stitch spun to touch on bone-
laced lilies, white lilies of a lilied skin, spun to touch on a limb, end organ of a
skin’s bone surface noosed, pricked in the small aspirations of bones like bird’s
bones, a bone body’s air-strung brace of a lily’s body, stitch-strung bone lily’s
break, mouth’s brace of air’s iterate lily, net strung to bone’s brace of white
mouthed lilies, break to air’s mouthed stitch,
like she has this language,
stitching picks to the air’s meshed lace of her body, lilied bones to count
air’s boned bodies, oversewn cite of air’s honeycombed bones, on the skin,
looped to tally air’s lace of the small lilied bones of our bodies, reticulate net
to spin bone breaks to the air’s skin body, bone length lace of a text, to turn
an arm’s length of the skin’s boned body to the air’s turning bones spun of
white stitched lilies: How do you sound the turn of small bones aspirately
cracking, repeatedly, in the air a mouth nets? [Put your hand in front of your
lips and hear the mouth’s ‘Crack’ of air’s plosives on your skin.] Where do we
stitch lace to the bones’ break of our texts? [Reach a limb to the lip of the lily of
a mouth turning small broken bones to the spin of its laced thread?] Her laced
bones’, your bones’, mouth, spinning lilies as if bones aerate the picked end
of wings stitched to a document, dress of our aspirate body, in its air.
* Needlelace, needlepoint, or ‘ponto in aere’ became the practice of stitching
‘the slenderest circumlocutions of threads in a kind of architecture
with no foundations, floating in the air [over paper], almost intangibly,
with knots and nets’: Burano: The Lace Museum.
mesh dress, as the stitches of all the small spoken bones in the mouth
take a turn of where she’s pulling your mouth’s thread to her thread’s
mouth, like she has a language, turned by her, by you, to fibres spun in on
the outstretched surface of limbs, spun to a thigh just as a touch follicle turns
to lace on the skin; tongue to trace an oversewn body, lace to trace air’s body
in the ponto in aere* of all the small spoken bones in the mouth, air-pointed
honeycomb of carbonate bones, patterns of an aspirate net of chalked
bones, decorative net of air’s, regrettable, bones, of aspirate bones, cut to
lace on the skin; air’s crack of small bones like bird’s bones, honeycomb
of aspirate honeycomb bones, reticulate small-crack bones of air’s lace
spun in to the end of a limb’s skin,
like she has a language,
end falling like a touch of lace down your spine, all the small-laced vertebrae
touched to its air’s lace brace, an air-pointed honeycomb of mouth’s lace,
a mouth’s brace of its perforations and picks: net end of its honeycomb,
knot honeycombed to net; trace of a mouth’s small breaks spun to a lily’s
body, spun to a petaline touch on the skin, on a body like air’s lilies, skin’s
honeycombed bone of a lily stitch, in an arm, two arms, brace spun in on a thigh,
or a cheek, a white-cheeked brace of wings, in the wheeled turning aspirate bone
flesh of their lily, spun in on the skin, reticulate lily stitch spun to touch on bone-
laced lilies, white lilies of a lilied skin, spun to touch on a limb, end organ of a
skin’s bone surface noosed, pricked in the small aspirations of bones like bird’s
bones, a bone body’s air-strung brace of a lily’s body, stitch-strung bone lily’s
break, mouth’s brace of air’s iterate lily, net strung to bone’s brace of white
mouthed lilies, break to air’s mouthed stitch,
like she has this language,
stitching picks to the air’s meshed lace of her body, lilied bones to count
air’s boned bodies, oversewn cite of air’s honeycombed bones, on the skin,
looped to tally air’s lace of the small lilied bones of our bodies, reticulate net
to spin bone breaks to the air’s skin body, bone length lace of a text, to turn
an arm’s length of the skin’s boned body to the air’s turning bones spun of
white stitched lilies: How do you sound the turn of small bones aspirately
cracking, repeatedly, in the air a mouth nets? [Put your hand in front of your
lips and hear the mouth’s ‘Crack’ of air’s plosives on your skin.] Where do we
stitch lace to the bones’ break of our texts? [Reach a limb to the lip of the lily of
a mouth turning small broken bones to the spin of its laced thread?] Her laced
bones’, your bones’, mouth, spinning lilies as if bones aerate the picked end
of wings stitched to a document, dress of our aspirate body, in its air.
* Needlelace, needlepoint, or ‘ponto in aere’ became the practice of stitching
‘the slenderest circumlocutions of threads in a kind of architecture
with no foundations, floating in the air [over paper], almost intangibly,
with knots and nets’: Burano: The Lace Museum.
Jodie Dalgleish is an itinerant writer, curator and sound artist living in Luxembourg. After ten years of creating exhibitions for New Zealand's Art Museums, she is now focused on exploring the possibilities and constraints of language, especially as it (hopefully) relates to lived, sensorial, experience. Moving between countries (NZ; U.S.A; France; Italy; and Luxembourg), has been germane to her (multilingual) practice. Most recently, her poems have been published in Landfall (NZ); Shearsman Magazine (UK); Salzburg Poetry Review (Austria); and Les Cahiers Luxembourgeois.