After Picasso's The Minotaur Carries Off a Woman
The canvas is half ocean, half horizon. Central,
he clutches Marie-Therese. To the left, strung
top to bottom like buoys charting the water:
five heads, Dora Maars. Why five? Senses?
To balance the huge violence, the artist's hand emerging
from the right of the ocean? No sensations for Marie-Therese,
naked in the mad tranquility of her sleep, unconscious
anchor for the composition. Still appetite, that insistent hand
which condemns the painting to a lack of resolution
and bobbing Dora Maars wishing him out of the picture--
Get the minotaur out of the picture! We can't see
Marie-Therese who, without you, is no problem for the composition's
balance. Surprised? She simply needed to be conscious,
reclined against the stern, one leg languishing lazily
on the tiller, waiting for Dora Maars to reach the vessel.
The desperate hand? Each hated you painting the other.
Paint it out.
In the picture's new language the painting's alive:
smooth wind, two women, their effortless sailing away.