.

The slam of a heavy door
and the containment of white walls,
a small black ball that echoes with each bounce,
rapid trajectories like words through thought
and stillness singing to the silence of an empty court
while thinking of more uplifting spaces,
of Chartres, Reims, Notre Dame,
and 80 French cathedrals erected between 1180 and 1270,
spectacles of the gothic soul built by numbers
of stone blessings rising from the ground up,
by sacred masonry and flying buttresses,
spires lifted with intricate complexity
like a text writ large
and illuminated in weightless walls of stone
that frame rose-windowed vaults to heaven,
streaming womb-like light,
and time "resting in the bowstring's blur"
as if language is a sanctuary
that shapes the opposite of reason,
its weightlessness as rich as the sacred geometries
that stand still for hundreds of years
to describe the compelling height of aesthetic value,
just like Niginsky, explaining his infamous leaps
while looking for equivalences in his expression,
"I just forget to come down."

"It's interesting to cut yourself
to pieces once in a while and wait
to see if the fragments will sprout."
(TS Eliot, 1922)

The slam of heavy doors,
white walls and one black ball
that echoes with each bounce,
trajectories, the slice of silence
in an empty court of words, through thought
uplifting (s)paces just like Chartres, Reims,
Notre Dame and 80 other French cathedrals
from 1180 to 1270 AD, spectacles of gothic souls
portrayed by numbers, of stone blessings
laid upon the ground of masonry
with flying-buttressed spires, texts writ large
on weightless walls of rosey vaults to heaven,
streaming womb-like light, and time
beyond the bow string's blur
by bouncing drops of ink
past sacred-Greek geometries
and the opposite of reason,
up, and up compelling heights
towards Niginsky's leaps
through self-expression,
claiming,
"I just forget to come down.".