“Love came to my door
With a sleeping roll
And a madman’s soul
He thought for sure I’d seen him
Dancing up a river in the dark
Looking for a woman
To court and spark

He was playing on the sidewalk
For passing change
When something strange happened
Glory train passed through him
So he buried the coins he made
In People’s Park
And went looking for a woman
To court and spark

It seemed like he read my mind
He saw me mistrusting him
And still acting kind
He saw how I worried sometimes
I worry sometimes

“All the guilty people,” he said
They’ve all seen the stain-
On their daily bread
On their christian names
I cleared myself
I sacrificed my blues
And you could complete me
I’d complete you

His eyes were the color of the sand
And the sea
And the more he talked to me
The more he reached me
But I couldn’t let go of L.A.
City of the fallen angels”…’Court and Spark’ written by Joni Mitchell

How sweet word sounds—worlds—as every utterance touches rhyme and rhythm speak—unlike—gathered watches of waiting and watching—a sky-speak of whispers—into the air of night—another spot of raindrop flight—landing ‘gainst—warming sands and salty seas…Riches flow about the words of sound—tongues known and tasted—treasured—accepted and often heard in other spaces-places seen—felled or yelled against gloom—gathers where sunlight is wishing—spaces scattered among stars of reaches—stretches across skies of night and spaces between word sound—and light. Trilingual editions both same or exiled—silence long and the knowing word—of these places—away from the sounds—of her and the notions of—her quietude. Sand and Leaves—together speak—rustle—whisper—murmur and moan of death—not found—of life—not known. And! Still—now notions of her away sounds and her quietude. Feathers and Leaves and Sand and Ashes and Seas—silence see—and thunder be—peels across sky and rolls onto shoreline—and skylines—and time.

Touch now…And! Feel the intimacy of rhythm or rhyme as touch–speak hides deep— inside—the formality of syntax creep and syntax crawl—where ear-here—hears echoes buried—an idiom—not conveyed by any dictionary’s spaces between word-speak and why…The share of poet-touch and story-spin—of exile’s faith—of disaster’s private pain—as speech native—fails—creative spirit—often maims—creature-speak and often confuses the never-place-of-everywhere.

Word—whirl and shoulder-speak—between things and folks—now world twirled and swirled—communicated—debated and always—translated…Why? When silence of touch—the space of race—cross the beast—of peace—and whispers of dare—chance the softest face to love—gain—lost and gained again. Word whirl…The masters-of-idiomatic usage-of-etymological-implications-of-an untranslatable language-discovered-said-remembered-to-be-forgotten-translated and written another way at another day-in-time. Samuel Beckett’s—‘Waiting for Godot’, ‘Endgame’, ‘Molloy’, ‘Malone Dies’, ‘The Unnamable’ and ‘Tetes Mortes’—first in French…Were then translated by the writer…Did Beckett first thrill-to-the-spill—the conception of these writings in English?

And! Beautiful you are…

‘Court and Spark’…by Joni Mitchell

Joni Mitchell – Court and Spark