c. 1977-1978


A Journal For Language

The cab,
the mask,
the secret,
the stolen part.
Yielding, to
fro
I wanted to ask
that quiet (whose?)
fear,
interruption now in,
the calendar,
the screaming fête
of a modulated chord
brushing spoken average points
maintains
momentum. Interim as
“hurried”
not justified
in the sense
of margins,
Chinese dreaming
illusion prior to.
Handed dictionary.
Third voice:
squeezed history
added to seminars,
labyrinths of washed shell
correction time.
He's trees. Wooded margin.
In breath
flags.
Accompanying music.

J’attend, I mean, et il fait,
happen, it will rain.
It moves to silence: bronze
and I'll arrive
at my destination,
a place
where we meet,
somewhere
around the corner,
the bar, we laughed,
anyway,
anyone would
by now
be confused
about grammar,
by what's French
for to encourage
if it's when I go
to look for it
it's gone.
The three distinct
vanished languages,
washed up
onto the shore.
Fragments.

“The ocean”
is the story.
So is
“the boy”
in a book
and “the rain” and
“the dog.”

A boy, the rain, his dog.
And of course, a gentle,
almost too sincere
smile
and a cloud.
An ironic reference
to painting
and something said
about painting.
Five days, not seven,
thinking
not in advance
is
one the work week.
Is a seven day
sentence.
One wants to
departer (?)
comma, lover, accuser,
Herr Friend,
Herr Freud.
I won't, Mallarmé,
copy him,
waves,
out for you know who,
now,
sign accosted on poem,
open,
rock, said “keep writing.”
Word say signature.
I like to write in lined
composition books.
This one's blue.
Valery writing about
Mallarmé's poetry himself.

What I do very well
is listen to Ravel.
It's just
that I'll take his word
(name) for it.
What Ed
means by balustrades
might be the way
to the window
by this light.



TITLES



Reasoning through
an entire thought,
a musical interlude,
sustaining voices,
semblance of order,
last



A JOURNAL



Anyway,
the historical part,
the hint
of the external
internal ambiguity
of one part
you are listing
would be
the banal shock
of a memory.

— take one example
of interruption
(chance, change)
and
(minus the
and in ambersans)
misprint,
individual
misspelling
of something
specific
whether
or not
it is centered.
Somehow
both
come up
as are certain
of a mutuality
of reference points,
a language being
the equivalent
of falling into
an even more basic
description
of the arbitrary
no, significant

— two French
words here
memories I am
not obliged
to note,
towels, glissandos.

— The shape
of a frown
references,
not by the comparison
of arbitrary
word choice.

— note the same mood

(is this 1)
or six? 6)

of simultaneously
occurring
shift
thought
patterns
crisscrossing,
crosshatched
over a grid
of choices.
By extension, I want to run
from the situation,
thereby extending it
by eradicating it
apprehensively
gradually.
Realizing the
phantom of punctuation,
for example,
by way of lengthening
the chain, which is of course
not to be wrapped around
my neck but placed on it,
a bow
on the present—
I bought a ribbon.
Ordinary occurrences.

7) not waiting for on a line,
the time selected
was is not arbitrary
and therefore is
time limited
(occasionally
frustrating.)
At every distance,
every word choice
criterion is
not simply
the arc
of available choices,
the infinite array
of practical
summonings
to life,
but the aesthetic,
the particular
reminiscence
of an object
intervenes
soon
in any case.

8) Is this limiting
(formerly:
limited) choice,
or to
by error
randomly choose
the same axis
of my experience,
reflected as it is
simply unnecessary
to translate
my personal symbols
(interference) into
deliberate references
to a related
vocabulary?

Soon I will have
a lagoon
for my potentials
to suit:
orange,
iron,
a deck of cards.
Too serious a use,
loose



Spreading
like a transposition
of tonalities
an earlier thought
is thoughtlessly
replaced
by another
random one.
And once
the deck of cards
exhibits fewer
and fewer
apparent mysteries
the game is over,
or rather
the hand,
kept alive
in its characteristic
shape is utilitarian
becomes at once
the memory
of a conventional
finger
pointing
a direction
on a page,
a map
that does not keep
descriptions visible
for very long.

Scraps—
space as emphasis.
As of heading,
classification.

Goes,
transential,
transitional,
transcendent,
if too much
macrocosm, too much
personal emphasis
to a deemphasis.

Says,
for example,
in quotes,
“how much.”

As an example of.

Transential
encompasses
the types of order
in sentences.
The weighing
is in the choice
which appears
arbitrary
from some
viewpoints.
As the viewpoint
is touched
with color,
a blue chosen
to embrace
a friend
as he turns
on the memory
of a turn
on a page
(nearer, distant)
of a page
is the echo
of its hemisphere
is satisfied
is equivalent
is defined as
a size smaller,
a definition of area,
chromatic,
descended,
minor,
in calligraphic signals
which clumsily
clarify their exact presences
not only
merely
as a
treat of memory,
enhancing,
special.

Anywhere.
Not there,
or moved
by previous choice
of anyone.
But the public
usefulness
factor
clocks,
closet,
memory
in names
and words
become coins
become tokens
of recorded memory,
historical significance
set up
looking freedom
of arbitrary word choice.
Thus,
as outer order
is built up
(was it the shorthand
they ordered
or is it
something
slipping,
falling?)
out of calendar
within which
you can save
particles
of ownership
of time
usage
in a system
possibly
established
by specific
word usage
for arranging human
figures
on a terminal surface
defined by personal lines
previously agreed upon.
These marks
define the arc
of previous
personal choices
as they relate
to previously
designated
personal territories.
But without the mask,
the gun, the covering,
it could not be
reproduced authentically.
They were copying as follows:
autumn,
months
of certainties,
the tie,
the index of organization,
characters
capital,
assigned, designated areas.
Arbitrary word choice—
lingering around crevices
of bones, carcasses,
skeletons of fragments,
skinnier and skinnier
until they vanish
into a thumbprint
on a frame
of each page
one frame
of the
film
book
movie.
The starlet
is owned
by the word,
the world
through her name.
Her signature,
as I turn
to another
reference
which slowly
(previously: gradually)
encroaches
upon
an earned territory
(the posts, stamps marked “received”)
of each
of the essences
of combining events.
The store closed,
strode off.
In its darkened interior
the objects are barely
distinguishable.
No longer feeling unsure,
whose eyes again keep
their bare indentations,
the establishment
of subheadings,
the shadowy
doubtful presence
of muted
half happenings,
the unevenable
So compared,
sunset,
the definable certainty
of the existence
specific facts
(bones).
The,
putting the first,
for instance,
back to the textual
first nowhere,
the instance,
then back to the textual
first instance,
the naming,
the utterance,
the enumeration,
the spell.

His, this,
the journalist,
commentary,
in a year of diary.
Takes us back to the former
occurrences,
other days
of hysterical
weird events.
Topicality,
the density
which seemed.

Identify

Historical

World events

Perceivable
as specific
actual occurrences
in a chosen
personal instance,
not seeming
at that moment
totemic in value.
Just the opportunity,
the play.
Neat, maybe next
time
I'll remember
a particular
(formerly: specific)
series.
This much.
Accost.
A cost,
suspended,
suspenders,
bye.
How much feeling now.
What do you do now.
Who knows
what makes it easier.



FOR LANGUAGE



It goes 50 years
priceless
without any certainty.
I was marked here:
but who
corrected for you
marked me here.
But you could be
anybody namely.
At your point (whose?)
You wouldn't say you.

Sandy beach

Bottom, shell

Gull

A shaky hand.
Rapidity.
X rapidity of images.
At the top of the your voice.
Simply.

Play around with meanings.
No. You're not
that cure.
Just a bit,
I was gonna say crazy
but you're,
you're not
that embarrassing.
Sing.
Any character
could say that,
even the Pavlovian.
No I don't know
how much
to make your dreams count.
I have to argue with you once,
M. Pavese.
Pounce, pronounce.
As margins,
Saturn,
nocturne,
hard.
You have it
or I think you it first.
Moon,
I could be thinking harder,
I think.

Then: a French persona.