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Sport 29: Spring 2002
Modern Times — (after Atget)
Modern Times
(after Atget)
Avenue des Gobelins, 1925
Mannequins à la mode, milk teeth
and moustaches, eyes made up in the style
of silent movies—these are individuals
whose knuckles never grazed a cheek.
Mise-en-scène, you join them by an act of will
in the quiet theatre of their gestures.
Messieurs, nearby are stalls piled with battered
top-hats, pews lined with cloth caps bowed
towards the sun. Mesdames, inspect the hair-
pieces and the dentures, the promise of satisfaction
guaranteed.
You'd like perhaps a hat like that
worn by the self-possessed girl, who neither
smiles nor reaches out. In every group it seems
there is one who remains untouched by desire,
who observes like an angel ready
to report to God.
Versailles, 1921
At this hour there's no one
but a soldier quitting a woman
with naked legs. She turns inside,
the doorway darkens; he walks
unsteadily off, his right hand
running over his buttons.
Au Lapin Agile
The Cabaret of Assassins folded,
its members shuffled into
a regular army. The new patrons shrug;
c'est la guerre. The painters paint,
their easels accumulating
body parts. The drinkers slug
long shots, small bores.
Rue des Saules, 1926
People elapse through the street, morning
mist. Someone is smoking coffee; Cuisine
Bourgeoise is not yet open for business
and the stall offering soda parisien in
sparkling sherry glasses is unattended.
At the heart of the traffic is arrested
intent, but desire goes on circulating,
gaining currency even as it's spent.