Removing the mirror leaves two spaces empty:
The space before, a space behind,
And yet a third: the space between
What is seen and what is there to be seen.

Behind the wall that stood behind the mirror
Another absent mirror stands implied.

Before the wall that stands disclosed
Where once a mirror tossed transverted vistas
Back to its observer in its obverse world
Essay it as you saw once in a film:
Extend a gloved hand or hesitant finger
To probe through absences of images of what was where to find a way to there
By a push and a press
At the melting emptiness
With palms and inner knuckles then a wrist
A sleeve an elbow soon enough a shoulder and
In one membranous pop perhaps yourself.

Be still as limpid sheer reflective water
Be sure as you are still as you approach
The tensing surface of that vacancy
In transit toward
Another side an other side aside
Astride a sliding shine of faceted glass
And as
Silvered glass may pass for mercury
Hermetic ceilings lower in suspense
A wingèd heel extends its healing wing
And then is flown.
Persistent vision’s memory insists
Though silvered glass might pass that you will not.

The mirror would not yield if it was there
Its emptied place yields less
The vacant wall yields least of all


© 2017 George M. Wallace; all rights reserved.

Photo by the blogger.



A lens of air and vapor held in air
shaped by air
suspended in air
Perceived from earth by way of light
through air
through albumen

through surging ions and shifting envelopes
Earth and æther
Auroral order overboard
A cloud

Wand'ring lonely
An unhoused king of importunate space
Faded finery
Adherent arcing tortoise carapace

Wing of swift, wing of swallow
Your shining copper shield, Achille
Nothing strikes right
In this striking light

A lens of air and vapor
held in air
Perceived from earth by way of light
through surging ions
Earth and æther
Swiftly swallowed

A strike a stripe
a lens
all blends


© 2017 George M. Wallace; all rights reserved.

Photo [we know: not in fact a lenticular cloud] by the blogger.

Power and Light
[Updated! With Video!
And Exclamation Points!]


The Knoxville Gay Men's Chorus will  be celebrating its 5th Anniversary with its Spring Concert on Saturday night, May 20. In amongst songs made famous by Simon and Garfunkel, Madonna, Cindy Lauper, and the Pointer Sisters, the concert will include the premiere of a new piece composed by Dave Volpe: "Power and Light". In 2014, Dave was the composer of "Nebula of Angels", which was commissioned and premiered in Walt Disney Concert Hall as part of the 35th Anniversary concert of the Los Angeles Gay Mens' Chorus.

This fool provided the text for "Nebula of Angels," and when Dave Volpe received the Knoxville commission he graciously requisitioned another pile of words, in a celebratory/anthemic vein, and it was this fool's pleasure to oblige. I have yet to hear a note of the music Dave hath wrought this time, and I will not be in Knoxville when the final product is rolled out, but here, for whatever delectation they may provide in the absence of Dave's music, are those words as I compiled and piled them.



Out of our watery refuge

And into the unsettled air

The earth and the fire await us

In their time

Adrift in the wake of that secretive sea

An inner spark lights the fuse for flight

Striking a match, the heart is still grounded

Stoking our personal flame

and generating

Power and Light

Power and Light

The club and the fist are no match for the bliss of

Power and Light

We are sowing Power and Light

Power and Light

Power and Light

The lift and the laughter lasting hereafter

Power and Light

Warm and glowing Power and Light

Under the star-shadowed nightfall

And into each uncertain day

The labyrinth lies before us

Every time

At risk in a mist amid pitfalls and traps

Our inner spark lights the fuse for flight

Passion and voice, as beams in that darkness

Arcing like coals to the torch

and resonating

Power and Light

Power and Light

The leap from the shoot to the trunk to the fruit

Power and Light

We are sowing Power and Light

Power and Light

Power and Light

Exploring, divining the glory that’s shining

Power and Light

We are showing Power and Light

Our lives will not be silent

We will never shun the fight

For hearts and hopes and love and freedom

Standing striding echoing on

Tracing, replacing all that is gone

More than before reaching up and beyond

Renewing the world with the force of a song

Refilling the world with

Power and Light

Power and Light

Power and Light

The club and the fist are no match for the bliss of

Power and Light

Warm and glowing Power and Light

Power and Light

Power and Light

The lift and the laughter lasting hereafter

Power and Light

We are sowing Power and Light


© 2016-2017 George M. Wallace; all rights reserved.
Photo by the blogger.


Update - May 23, 2017:

A good soul in Knoxville has uploaded video of the premiere performance. Behold!


a musical box

Musical box

slow light
the spiked cylinder
the gears’ teeth
the spinning vane
the torquing key and vertiginous spring
from whence this once
and once again
springs Lohengrin
or Brahms perhaps
some music anyway
some old and toothsome sound
come round
again and still again
unlocking still
and yet again
the unlocked stillness
teething sweetly
teasing out the inner ear

[jocular cochlear jiggery pokery]

tricking and trickling
out from the
tight grained
tight wound
spring loaded
shine varnished
mite box of musings

or muses
what use is
a box without

soul love
and slow light


indifference, like shells


O rare and clarifying day, 

    good day:

Your raiment of the moment washed in blue

Illumes a softened, sadder rumination

Among despairing men

Who watched each hair go grey.


Whichever course they plot they face the sun

In unimpeding drifted winter air

Lashes, squinting eyelids: unavailing

Against that ageless burst

Frigid, Promethean.


Out many miles from shore a sudden shower

A sodden shudder weeping on the sea

Mere meters wide

    a drenching isolation

A pure vertical rain

Repeating every hour


This shined and shattered shaft of splint’ring light

That draught of water from a cloudless sky

Alludes to sullen shoulders wracked with sobbing

A smudged and doubtful map

Disperses lines of flight


O rare and clarifying day,

    good day:

Your raiment of the moment washed in blue

Aloft a soft'ning shy manifestation

Engrained with faded care

Dispensing with dismay.



© 2017 George M. Wallace; all rights reserved.

The Mouse Man Cometh
[The Perfect American - Long Beach Opera]


"Walt Disney", as a name, has never gone away, although it was 50 years this past December 15 since Walter Elias Disney the man expired. It is likely difficult for anyone much younger than 60 to understand what a constant and continuing presence Disney the man had in and culture straight up to the moment of his death. Philip Glass's twenty-fifth opera, The Perfect American, which on Sunday received its belated U.S. premiere via Long Beach Opera, explores and (as it were) reanimates the man in the most appropriate way: by spinning him through a mirror-fragmented jumble of stories.

Adapted, by librettist Rudy Wurlitzer, from a novel by Peter Stephan Jungk (Der König von Amerika), The Perfect American takes place during the final months of Disney's life, imagining him hospitalized and lighting out for the territory of dreams and occasional nightmares, recalling versions of his past, confronting his history, his strengths and weaknesses, what he was and became and might be in the future. Citizen Kane-like, it freights its protagonist's earliest years - here, Disney's childhood in Marceline, Missouri, in the company of his indispensable brother, Roy - ceiling-high with significance and meaning.


Dramatically, it works more often than not, producing a nuanced and faceted Portrait of the Artist as a Messy and Perhaps Unknowable Human Being. Reports from the world premiere in Madrid in 2013 focused in on the critiques, particularly the conclusion of Act 1 in which Disney voices an array of [sadly standard for their day] racist views, and is set upon by his own Audioanimatronic simulacrum of Abraham Lincoln. The racist attitudes are there, certainly, as are Disney's willingness to battle union labor and to bare knuckle it against anyone who stood in the way of his sometimes self-important creative vision. But if these flaws are not forgiven - and they are not - they play off against what their human carrier accomplished: not a business empire built on shabby real estate deals or moving other people's money around, but an empire built on finding, feeding and fulfilling the dreams of others. Disney is seen here (though the comparison is never made overtly) as a figure akin to Wagner, whose creative work is not ultimately poisoned by his sometimes deplorable personal qualities. 

At Long Beach, director Kevin Newbury and his design team have confined the entirety of the literal action to Walt's hospital room and the theater of the patient's mind. When Walt casts back on his fondness for trains, hospital beds become trains. When he faces a vision of an owl that he killed in a panic as a child - the only time, he insists, that he ever killed anything - it appears as a child patient's stuffed toy and as a costume constructed from medical paraphernalia. Silhouettes of Marceline, Missouri, and of a classic Disney castle are constructed of bottles, clipboards, and the like, a surgical lamp casting their shadows on suspended bedsheets.


Philip Glass is easily and unreasonably stereotyped as nothing but a peddler of arpeggios, based on his earliest work. There was more to him then, and there is much more to him now. Glass has developed a genuine "late style" that incorporates all those swirly arpeggios and repetitions in company with a restrained  but potent approach to melody (melody!) and an array of punctuation tricks in the percussion section. It is a richly whipped brew, riding long and dextrous rhythmic lines. It is also, perhaps surprisingly, a solid ground over which to sing, allowing the audience to actually hear and decipher the words and the singers to deliver them with dramatic point. The chorus, out of keeping with the usual Glass approach, is positively folksy: they sing "happy birthday," they quack and hoot, and they sing comforting bromides about dreams coming true much as the choruses do in the classic Disney pastorals.


Disney's Lincoln automaton, resident at Disneyland for over 50 years, was originally created for the 1964 New York World's Fair, where it was the centerpiece of the pavilion of the State of Illinois. (The best thing in the Disney studio's otherwise misfiring Tomorrowland was its loving recreation of elements of the Fair.) Disney and his "Imagineers" provided animatronic creations to a total of four pavilions in 1964: Lincoln for Illinois, the "Carousel of Progress" for General Electric, dinosaurs and cavemen for Ford and, most inescapably, "It's a Small World" for Pepsi. Pepsi's Moppets of the World make no appearance in The Perfect American, but Walt compares himself favorably to Henry Ford and Thomas Edison and Lincoln, as noted, looms large.

References to elements of Philip Glass's own past work are everywhere as well. Walt's love of trains, in particular, readily triggers memories of the trains in Einstein on the Beach; his yen to build things suggests Akhnaten; the collective, often mechanical effort on the part of animators, and the push against it, echo the tension between natural and mechanized worlds in Koyaanisqatsi; an owl appears prominently in Glass's portion of Robert Wilson's the CIVIL warS, as does Lincoln,whose concern for equality and racial justice Glass returns to in the recently revised Appomattox (which one can hope will find its way to southern California someday soon). The Perfect American seems at times as interesting a survey of the composer's creative history as it is a survey of Disney's.


The character of Walt Disney is on stage from start to penultimate scene (and after that, receives in this production a charmingly homespun apotheosis, waving us goodnight in a manner recognizable to anyone who grew up on The Wonderful World of Color). Justin Ryan as Walt hits all the necessary notes, musically and dramatically, only occasionally veering toward overselling the part. He is persuasive as a driven and powerful man who would rather return, if he could, to a simpler world of his boyhood. As stalwart brother Roy, Zeffan Quinn Hollis is duly stalwart; at Sunday's premiere, he doubled up as the duly righteous voice of robo-Lincoln. Suzan Hanson as Lillian Disney brought to the part some of the grounded dignity she previously displayed as Marilyn Klinghoffer, particularly in the late scene when Walt's death from lung cancer is revealed as inevitable. Jamie Chamberlin, previously one of LBO's twin Marilyn Monroes, charmed as the fictitious Walt's personal nurse Hazel George, whom he addresses as "Snow White".*

Being as it is not the Big Opera Company in town, Long Beach Opera is only able to mount two performances of The Perfect American. The remaining date is Saturday, March 18, and tickets are certainly to be had. (These performances are in the cavernous Terrace Theater, so the number of potentially available seats is not small.) Let your conscience be your guide. It is whispering that you should go.


Photos by Keith Ian Polakoff, used by kind permission of Long Beach Opera.

*Correction: The original version of this post referred to Hazel George as a fiction. Assorted fact checkers, including the singer, have pointed out that Hazel George was very real and that she was a remarkable, if hidden, figure in Disney's creative life.

A Figure of Speech

A figure of speech4


The figure standing always on the beach

Even when there is no sand

Even when there is no sea

Even then there always is the beach

An even sheen of water without water

An even shine of sand    without sand

The line and the limit    always there the line and limit

The shifting line   the long withdrawing sigh    the boring advancing roar

This far no further no no no   no further no  no further

Futile     unavailing   still and all

And always still   so still   the figure stands



The figure standing always on the beach

Does not disturb a grain of the never present sand

Does not divert or shift a wave adventuring out of the never present sea

Does not assert a space on the ever present beach

No grain is moving nothing ever moves

No wave is breaking nothing ever breaks

The shift and the sheer  always suggested the shift and sheer

This slicing light   the spark and the kindling   the dim implicit flame

More light is need need needed   kneading light

Futile    unavailing   still and all

And always still  so still   the figure stands


The figure standing always on the beach

Informed by light takes nothing from the sand

Refined by shadow cares not for the shimmer of the sea

Above the beach the sky   the sky is a desert sky

Above the sky the clouds   the clouds are jungle clouds

Above the clouds the light     the light like words made light

A plane like paper     spread like parchment     clothing the limit

Sprinkling glints      brazen Klimtische gold    a span of flattened wrinkles

One sees these things by hearing them   by picturing pictures of words

Futile     unavailing   still and all

And always still   so still   the figure stands


And an absent unseen seer evocates

The figure standing always on the beach


[Photo (which is unconnected to the poem) by the blogger.]

© 2017 George M. Wallace; all rights reserved.



 [she says]


Hollow my bones

Inject them with air

Marrow once out, atmosphere fill me

With latticework socketed pockets of sky

Laced amid faceted boxes of calcium


Each wall translucent

Veined and accented

                                        paper thin agate

Skylight beneath an encircling sheath


Calcified, drift-white

                                        bored out

                                        burred clean

hollowed out zones

                                        Emptied and filled

Essence ineffable rudely infused

A plenum a vacuum awash with a way



Bonded to tendon to muscle to flesh and to

Skin under

Feathers and pinions


Clockwork and talons

Engaged or imagined

[she postulates rising]

                                        Rising is purpose

[she execrates falling]

                                        Falling is not possible

Each move beneath

directs itself up

to a still

             farther starting point

poised to plunge higher




[she says]


The earth and air were not made to be neighbors

Cast athwart one to the other smashed hastily


Lean into potent uncertain futurity

Push off on high on invisible potency

Riverine flow

Crystalline luxe





I spread I flap and I flail almost floating

A gasp then the chirping         

                                       songs and screams

A fall


                                       fleet and fleeing

Fascinated plummeting   

                                       alive and leaving….     


                                                Casting off

                                                Casting off

That caged and perching life

That human beastly scuttle

For this


                                        fleet and fleeing

                                        alive and leaving

                                        arc and contour


I will fly and I will rise

                                        until the darts strike home

[more she says not]


[Photo (unconnected to the poem) by the blogger.]

© 2017 George M. Wallace; all rights reserved.

The Watcher Watched

Spotted a spy who spotted a bird
Who spotted the bird-spotting spy

The spotted bird espied a spot
Where the spy could not see the bird he sought
The spy could not spot where the bird was not

In a birdless and unburdened sky



© 2016 George M. Wallace; all rights reserved.