I enjoyed this piece- i think it's beautifull!

beautiful wording.

It's intriguing to find this sort of 'collaborative' effort between a classic European Surrealist, such as Dali, and contemporary writers, with striking yet subtle differences in aesthetic method (approach), image choice, and the expressed mental monologues (in Dali's case, his own self-image either hidden or exposed on canvas) of the voice of each of the material involved.
This "Phenomenon" poem is surely a noteworthy, particularly because it is hard to pull off a poem like this, that can be read apart from seeing Dali's montage. This, like W.H. Auden's ICARUS FALLING, is a fine piece, written in the Ekphratic style (a poem written in regards to or inspired by another artist's work, usually in a medium quite different than the vehicle of a poem.
As for poetry in many other forms that may still be considered under the enormous umbrella of SURREALISM, this poem I find is extremely similar and a good example of what Robert Bly coined the term Leaping Poetry. Some experimental work by Frederico Garcia Lorca and many American writers fall into this category. As one theme may seem to thread, barely, between scenes and metaphors and through even more 'surprising' imagery, the emotional impact increases, while some rational thought is forced to lie dormant. In this way, the sweeping through earthen natural verve develops simple, clean and occasionally independently vague ideas into a truly organic and living body, full of surprise, and a rare instance of absurdity changed into exquisitely genuine and new poems. Robert Bly has his own opinions about Leaping Poetry (I have to admit he DID coin the phrase), but I feel that this term (LEAPING) is much more a precise title for the sort of poem that Mary Jo Bang has crafted for us here.

The bi-annual publication of SOLO by SOLO PRESS has been circulating across the states with a whisper. Bly himself is featured, with a very consertatively written poem, alongside Billy Collins, the Poet Laureate of the U.S. right now. I'm speaking of SOLO, issue 5, where one earlier endeavor of mine with the leaping style is displayed amongst quite important contempory poets. My poem is entitled CLOSER and, though the images themselves are not wild and immediately ambiguous or even extremely inventive, the inspired and subtleties are found in the freedom to slip from one scene to another. Eventually, if the poem is kept short and its images are held strongly together by even the swiftest hints of recognizable links between the lines, the poem builds block by block a sort of magical and at times inexpressible complexity that other forms of poetry are not able to achieve. These need not be intellectual word play, nor vehicles of a philosophy, not even a sort of confessional poetry, or narrative poetry.
What one may want to stamp with the title of a surreal poem the one thing the poem must do is exercise the mind enough to dismiss logical processes and/or the rational rendering of a poem, complete without exposing explicit signifiers such as transitional phrases/words/stana breaks. This must take place first with the writer as he writes and then the reader while she becomes an active participant; just as s booklover is to an author as an ear is to a mouth.