FOUR SQUARE IN A GARDEN Lawrence Upton
for two voices slow throughout
senses
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senses
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scents
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senses
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self
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selves
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self
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self
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sense of
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sense of
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sense off --
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sense of
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selves --
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sent off
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selves
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a sense of my
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self
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a section of my
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selves --
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self
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standing
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standing self
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off the scent
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alone self
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sense of
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no sense of
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no sense in
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scents --
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self
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no self
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sense
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no sense --
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non-self
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selfishly
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non self --
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standing --
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violent
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inviolable
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violect --
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no sense of
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no sense in --
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labelled thus
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unable
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and voluble
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viable
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voluminous
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human
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self upon
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self
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up on
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selves upon
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standing
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left out
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¿left out?
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left out
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thieving its
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own space
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leaving
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no doubt
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no space
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blue light
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whole of the --
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sky of the
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sun in the --
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head over
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stone
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over head
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sun in the sky
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lick of blue
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flash of --
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light --
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green
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irregular
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indentations
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cross over
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regularity --
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regularity
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singularly
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singularly
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open
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ha!
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¿did you?
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see
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see!
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¿sea shells?
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¿and butterflies?
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delicacy
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as boulders rolling
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stilly
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mountain
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and crashing --
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in stillness
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thinness
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fastness
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see through
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perpendicularity
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whether
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clarity --
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weathering
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in
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ring in the --
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time to
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natural
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change
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trained to
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chained to --
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hands together
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linked
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linking
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clang of --
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silence!
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silence
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green burst out
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profusion
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starred sine
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sawn
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upright
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against
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wind
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bowed
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cello shaped
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tipped up --
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into the cavity
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it makes a
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cavity in an
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is singing --
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square and
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round it
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growing
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clamour
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of planted
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ideas
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eye steers
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the see of green
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a succoured space
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upright
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a bright
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dull
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stone
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upon
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stone
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interlacing
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spaces
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space is
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space is
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upon itself
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maintaining
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eyes circle
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squared
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circularity
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clear
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in a queer
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perspective
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perspective
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the nearer it seems
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the more
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it
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tilts
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away
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weighing
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the question
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the question
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its texture
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its manner
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of moving
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of eye and mind
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physically
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hand
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touching
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perhaps
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what one wants to say
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is
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dynamic and
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dignity a gaiety of stone
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cast
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cast
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Optional note. This
poem refers to or strikes off from FOUR SQUARE (WALK THROUGH) & OTHER
SCULPTURES BY BARBARA HEPWORTH IN THE BARBARA HEPWORTH MUSEUM AND SCULPTURE
GARDEN, ST IVES, CORNWALL. It was written in 1998, in a period when I often
visited that garden and sometimes stayed there hours; it was web published at
that time but that page has long since disappeared. This is a reworking,
largely matching the notation developed in my performances with Tina Bass and
used in my book Memory Fictions
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