Eternal dissatisfaction leads to little productivity,
not mastery and perfection
Without patience, nothing.
Without joy, nothing.
**
Tonight, read Kathleen Fraser, *Twentieth Century*
a+bend press, 2000
still reading: David Markson, *Vanishing Point*,
Shoemaker & Hoard, 2000
Jordan Davis & Sarah Manguso, editors,
*Free Radicalls: American Poets Before Their First Books*,
subpress, 2004
Gary Sullivan & Nada Gordon, *Swoon*, Granary Books, 2001
Jonathan Lethem, *Motherless Brooklyn*, Vintage Contemporaries, 1999
Douglas Messerli, *First Words*, Green Integer, 2004
Tom Beckett, *Vanishing Points of Resemblance*, Generator Press, 2004
Maria Damon & Miekel And, *Literature Nation*, Potes & Poets, 2003
Charles Alexander, *Arc of Light/Dark Matter*, Chax, 1992
editors Nanos Valaoritis & Thanasis Maskaleris, *An Anthology
of Modern Greek Poetry*, Talisman House, 2003
Andrew Levy & Bob Harrison, editors,
*Crayon 4th Issue*, 2004, (includes Laura Elrick,
Rodrigo Toscano, Tina Darragh, Heriberto Yepez,
Norman Fischer, Drew Gardner)
Selected Writings of Walter Benjamin, 1938-1940, volume 4, Harvard UP, 2003
Joel Sloman, *Cuban Journal: A Poet in the Venceremos Brigade, 1970*,
Zoland Books, 2000
Frank Kuenstler, *A.I.R.*, unpublished manuscript
Frank Kuensler, *In Which*, Cairn Editions, 1994
Distribution Automatique
Sunday, July 11
An act of writing is an occurance
Of experience. What is foregrounded
Are the minute particulars of being,
The chancy accidents of furthered demonstration,
Not the broad strokes, the grand organ stops of
History droning the deep notes endlessly through time,
Mendeleyev, Paine, Valery, Confucious, Trotsky.
The longer the time, the larger the name,
And eventually this name is also a word,
Another wave. But here, in the measurable intervals,
Still at the side of memory, the hands
Of pictured people feel still the treasures of smell,
Affording the great ideas the basic emphasis of presence
Yet granting attention its honored focus on immediacy.
Ring the bell, knock loudly, shake the curtains,
This rustling soon ends. Now listen. Do you still
Hear the names, or are you already digesting the nuances
Of noon, the adventure's hankering, the tingling
Push of pleasure's waiting gate? And walk, and ride
And sing, and touch.
Notebook: 8/20/86
Of experience. What is foregrounded
Are the minute particulars of being,
The chancy accidents of furthered demonstration,
Not the broad strokes, the grand organ stops of
History droning the deep notes endlessly through time,
Mendeleyev, Paine, Valery, Confucious, Trotsky.
The longer the time, the larger the name,
And eventually this name is also a word,
Another wave. But here, in the measurable intervals,
Still at the side of memory, the hands
Of pictured people feel still the treasures of smell,
Affording the great ideas the basic emphasis of presence
Yet granting attention its honored focus on immediacy.
Ring the bell, knock loudly, shake the curtains,
This rustling soon ends. Now listen. Do you still
Hear the names, or are you already digesting the nuances
Of noon, the adventure's hankering, the tingling
Push of pleasure's waiting gate? And walk, and ride
And sing, and touch.
Notebook: 8/20/86
Saturday, July 10
Books Gratefully Received
Douglas Messerli, *First Words*,
Green Integer #147, 2004
Kier Peters, *A Dog Tries To Kiss The Sky*
Green Integer #89, 2003,(7 Short Plays)
Tom Beckett, *How Say*
Backwoods Broadsides Chaplet
Series #64
Tom Beckett, *Vanishing Points of
Resemblance*, Generator Press
2004
Kiosk 2004 {click here}
edited by Gordon Hadfield, Sasha Steensen, & Kyle Schlesinger.
Douglas Messerli, *First Words*,
Green Integer #147, 2004
Kier Peters, *A Dog Tries To Kiss The Sky*
Green Integer #89, 2003,(7 Short Plays)
Tom Beckett, *How Say*
Backwoods Broadsides Chaplet
Series #64
Tom Beckett, *Vanishing Points of
Resemblance*, Generator Press
2004
Kiosk 2004 {click here}
edited by Gordon Hadfield, Sasha Steensen, & Kyle Schlesinger.
Friday, July 9
A Midsummer Night's Dream
(The Unbearable Lightness of Blogging)
The Boohbah Zone {click here}
brought to you by the inimitable
ululations (Nada Gordon)
**
Types of Divination {click here}
via Caterina {click here}
**
then I googled "inimitable" and got this:
The Marx Brothers {click here}
(The Unbearable Lightness of Blogging)
The Boohbah Zone {click here}
brought to you by the inimitable
ululations (Nada Gordon)
**
Types of Divination {click here}
via Caterina {click here}
**
then I googled "inimitable" and got this:
The Marx Brothers {click here}
Thursday, July 8
How else would I be motivated
Except by emotion, not by desire
To do for pure athletic expression of life
Though this is good, has often been good,
Now I only want to lol around and complain.
Something will happen to smoke out
The old laziness, I can tell by all the work
That someone's trying too hard
And it just doesn't pay to try too hard.
It's true- I am not being pleasing
In fact, I'm even decrying my own urge to write this-
This is not only the result of fatigue and bad luck
Though we've all had plenty of that-
This comes from routinely sensing what's ahead,
Almost like having a T.V. Guide to real life-
One day I understood that anyone can read it if they want to
It's the denial that makes it impossible to forget
And just live- so is the poem part of this denial
Or is it something else?
A shadow on a beam of sunlight
In an elevator shaft.
You get out to shop
And the mannikins transfix you.
notebook: circa 1985
Except by emotion, not by desire
To do for pure athletic expression of life
Though this is good, has often been good,
Now I only want to lol around and complain.
Something will happen to smoke out
The old laziness, I can tell by all the work
That someone's trying too hard
And it just doesn't pay to try too hard.
It's true- I am not being pleasing
In fact, I'm even decrying my own urge to write this-
This is not only the result of fatigue and bad luck
Though we've all had plenty of that-
This comes from routinely sensing what's ahead,
Almost like having a T.V. Guide to real life-
One day I understood that anyone can read it if they want to
It's the denial that makes it impossible to forget
And just live- so is the poem part of this denial
Or is it something else?
A shadow on a beam of sunlight
In an elevator shaft.
You get out to shop
And the mannikins transfix you.
notebook: circa 1985
Wednesday, July 7
The Unbearable Lightness of Blogging
One habit, I wanted to say rule,
that has emerged, is that if I can't
stop thinking about some poetry, I blog it.
A passage from e.n.s.a.m.b.l.e. (Heriberto Yepez){click here}
here miserably, hopelessly translated by Babel Fish
keeps recurring in my thoughts:
"To write once in a while for inexperienced
readers in an electronic page,
that is more or less like writing
in the wall of a toilet.
Paradoxes of the life,
miseries of Literature.
It thought to be a good writer
starting off of the inevitable failure
of the my life, not remembering most obvious:
the failure it cannot leave victory some.
On the other hand, nobody is no drama in knowing a gift.
To be a smaller writer,
an author rather spoiled has his advantages.
No longer you dream.
You are the exact photographer of your own existence..."
One habit, I wanted to say rule,
that has emerged, is that if I can't
stop thinking about some poetry, I blog it.
A passage from e.n.s.a.m.b.l.e. (Heriberto Yepez){click here}
here miserably, hopelessly translated by Babel Fish
keeps recurring in my thoughts:
"To write once in a while for inexperienced
readers in an electronic page,
that is more or less like writing
in the wall of a toilet.
Paradoxes of the life,
miseries of Literature.
It thought to be a good writer
starting off of the inevitable failure
of the my life, not remembering most obvious:
the failure it cannot leave victory some.
On the other hand, nobody is no drama in knowing a gift.
To be a smaller writer,
an author rather spoiled has his advantages.
No longer you dream.
You are the exact photographer of your own existence..."
> The East Bay's Finest Burlesque! Music! Poetry! Sex Dolls!
>
> Featuring a playlet a la Loretta
Lynn by Del Ray Cross; The Cherries play
> country music, with
> Maraschino, Bing, and Wild
(Mary Burger, Tanya Brolaski,
and Brian Bulkowski);
> a Psychiatric Farce
> in Verse by Julia Block and
Zoe Ullman; rock opera with
Judith Goldman, Maggie
> Zurawski, Joel
> Nichols and Brandon Brown;
Rodney Koeneke and Lesley Poirier
read Sapphic
> fragments and mix noise
> music; a play by Brent Cunningham
and Cynthia Sailers about a poet who orders
> sex dolls, including
> Taylor Brady as the Nemesis Poet;
Kevin Killian as Nico and Geoffrey Dyer as
> Lou Reed playing
> "I'll be Your Mirror" and "Femme
Fatale"; a Vaudevillian song and dance number
> by K. Silem
> Mohammad entitled "Myrtle Poe," starring Patrick Durgin and Jen Hofer.
> Comedic interludes and
> hosting by the inimitable Sean Finney!
>
> "Ludicrous...perverse" -Robert Pinsky
>
> The New Brutalism CABARET!
>
> Sunday, July 18th
> 7-9 PM
> at 21 Grand
> 449 B 23rd St., Oakland
> (between Broadway and Telegraph)
> $5 cover
>
> Featuring a playlet a la Loretta
Lynn by Del Ray Cross; The Cherries play
> country music, with
> Maraschino, Bing, and Wild
(Mary Burger, Tanya Brolaski,
and Brian Bulkowski);
> a Psychiatric Farce
> in Verse by Julia Block and
Zoe Ullman; rock opera with
Judith Goldman, Maggie
> Zurawski, Joel
> Nichols and Brandon Brown;
Rodney Koeneke and Lesley Poirier
read Sapphic
> fragments and mix noise
> music; a play by Brent Cunningham
and Cynthia Sailers about a poet who orders
> sex dolls, including
> Taylor Brady as the Nemesis Poet;
Kevin Killian as Nico and Geoffrey Dyer as
> Lou Reed playing
> "I'll be Your Mirror" and "Femme
Fatale"; a Vaudevillian song and dance number
> by K. Silem
> Mohammad entitled "Myrtle Poe," starring Patrick Durgin and Jen Hofer.
> Comedic interludes and
> hosting by the inimitable Sean Finney!
>
> "Ludicrous...perverse" -Robert Pinsky
>
> The New Brutalism CABARET!
>
> Sunday, July 18th
> 7-9 PM
> at 21 Grand
> 449 B 23rd St., Oakland
> (between Broadway and Telegraph)
> $5 cover
Tuesday, July 6
Admitting her obsessive-compulsive
proclivities with charming sagacity,
DWP endlessly showers us with delectable
literary details re: contemporary Russian
literature, particularly that of St. Petersberg
(Leningrad, once upon a revolutionary time)
and Arkadii Drogomoschenko.
Yours for a click right now on
Chimira Song Mosaic (Deborah Wardlaw Patillo)
proclivities with charming sagacity,
DWP endlessly showers us with delectable
literary details re: contemporary Russian
literature, particularly that of St. Petersberg
(Leningrad, once upon a revolutionary time)
and Arkadii Drogomoschenko.
Yours for a click right now on
Chimira Song Mosaic (Deborah Wardlaw Patillo)
Every now and then one comes across
a poem that puts perfectly just
the way things seem to have been
of late. This poem published today on
exzentrick libretti {click here}
including these lines nails it:
“When I consider the injustice done
To me: A wonder I am sane,
Though not far from that place
Where the mind recoils at the notion
Of being human, of being a human being.
I have nothing but scorn for their gleeful faces
Their actions the thoughts that drive them
Winning is everything: nothing means anything?
Something is wrong; my world has gone for dead
I wish to stay, without the engineered thought forms.”
-Alexander Cumberbatch
from *Cloud Foliage*
a poem that puts perfectly just
the way things seem to have been
of late. This poem published today on
exzentrick libretti {click here}
including these lines nails it:
“When I consider the injustice done
To me: A wonder I am sane,
Though not far from that place
Where the mind recoils at the notion
Of being human, of being a human being.
I have nothing but scorn for their gleeful faces
Their actions the thoughts that drive them
Winning is everything: nothing means anything?
Something is wrong; my world has gone for dead
I wish to stay, without the engineered thought forms.”
-Alexander Cumberbatch
from *Cloud Foliage*
Into The Blogosphere {click here}
*The Labyrinth Unbound: Weblogs as Literature* by
Steve Himmer, Emerson College
(via wood s lot (Mark Woods){click here})
Monday, July 5
Janet Holmes takes issue with Ben Friedlander's
*Simulcast*"
"I started reading Ben Friedlander's Simulcast, which feels like I'm reading the study guide to an in-joke, given all the name-dropping of Poetics List regulars. Not to say that it isn't great fun! (The alt.fan.silliman fake Usenet group, based upon the alt.fan.madonna messages, is coffee-snortingly funny.) But it just reinforces my belief that male poets are very often pack animals, carefully delineating their territories and eagerly pointing out the unforgiveable differences among their aesthetics (which activities Friedlander satirizes, but also participates in)..."
Right now on
Humanophone {click here}
*Simulcast*"
"I started reading Ben Friedlander's Simulcast, which feels like I'm reading the study guide to an in-joke, given all the name-dropping of Poetics List regulars. Not to say that it isn't great fun! (The alt.fan.silliman fake Usenet group, based upon the alt.fan.madonna messages, is coffee-snortingly funny.) But it just reinforces my belief that male poets are very often pack animals, carefully delineating their territories and eagerly pointing out the unforgiveable differences among their aesthetics (which activities Friedlander satirizes, but also participates in)..."
Right now on
Humanophone {click here}
After I had not had that one
world fell apart
If you had ten like this
a personal communication
so they went back
it was not a mystery
did it all in one night
what does the statue look like at dawn
and it all enfolded inward
that was a good word
gold communication
it look like this
think of things fast enough to say
you whispered in like that
that it took more than one night
in fact took five pages
i didn't save it one
I would need that much
it would be hieroglyphics
that's why we would be left out
of bread
one at one wine
I got there. I took the exam. Another breakthrough before
August. No, I wasn't the one. You took it back. I am still
writing to you. It never took off. No reading. Off the list.
Is this ww
Notebook: circa 1990
world fell apart
If you had ten like this
a personal communication
so they went back
it was not a mystery
did it all in one night
what does the statue look like at dawn
and it all enfolded inward
that was a good word
gold communication
it look like this
think of things fast enough to say
you whispered in like that
that it took more than one night
in fact took five pages
i didn't save it one
I would need that much
it would be hieroglyphics
that's why we would be left out
of bread
one at one wine
I got there. I took the exam. Another breakthrough before
August. No, I wasn't the one. You took it back. I am still
writing to you. It never took off. No reading. Off the list.
Is this ww
Notebook: circa 1990
Sunday, July 4
1. Wouldn't it be embarassing, at the beginning,
to put my words in the mouths of your characters,
even if they are available to anyone who would
read them, necessary but not sufficient. In
itself, history is just as fixed in the eye of
the beholder, eye of the storm, within the words
themselves, that a character beginning with A
would not be complete. But it might be possible
to go beyond the first letter to get to another
register, if at last the integers compared would
not be shaken by our presence. The vault that
encloses such vocabularies is as arbitrary and
unrecordable as this exact movement of tides. The
boundaries of any reading- present or deferred- must
accord, gestures from the minds of tyrants, visual
figurations inside their own, endlessly enwebbing,
power lines. But like all insignificant and dried
branches, soon to break away, leaving us all the
more exposed to our intensions.
2. Is it by chance that I return to you roday by
the same route that I came to my own reverie-resolve
(a boy pausing before his book, etc.)? The seascape
still bears traces (passed on, not remaining) of
another epoch (not in the past, perhaps, but in
another *clime*) which surrounds some unspoken
utterances in the full chorale of the senses. They came
here by another route, i.e.: the cool breeze on the chest
and arms, waves crashing between thick silences,
gulls crying loudly among us
to put my words in the mouths of your characters,
even if they are available to anyone who would
read them, necessary but not sufficient. In
itself, history is just as fixed in the eye of
the beholder, eye of the storm, within the words
themselves, that a character beginning with A
would not be complete. But it might be possible
to go beyond the first letter to get to another
register, if at last the integers compared would
not be shaken by our presence. The vault that
encloses such vocabularies is as arbitrary and
unrecordable as this exact movement of tides. The
boundaries of any reading- present or deferred- must
accord, gestures from the minds of tyrants, visual
figurations inside their own, endlessly enwebbing,
power lines. But like all insignificant and dried
branches, soon to break away, leaving us all the
more exposed to our intensions.
2. Is it by chance that I return to you roday by
the same route that I came to my own reverie-resolve
(a boy pausing before his book, etc.)? The seascape
still bears traces (passed on, not remaining) of
another epoch (not in the past, perhaps, but in
another *clime*) which surrounds some unspoken
utterances in the full chorale of the senses. They came
here by another route, i.e.: the cool breeze on the chest
and arms, waves crashing between thick silences,
gulls crying loudly among us
Saturday, July 3
The Loneliness of the Long Distance Blogger
Ron Silliman {click here} on
Michael Moore.
There's a fine duet for ya!
**
This is *fait accompli*'s
1600th post.
Ron Silliman {click here} on
Michael Moore.
There's a fine duet for ya!
**
This is *fait accompli*'s
1600th post.
In Pusuit of the Literal
They spring, in a graceful movement, onto the page, turning
around each other, embracing, moving closer, separating,
breaking apart into smaller groups of meanings...this movement
is its own meaning, apparently taking itself to be an expression
if the neighboring worlds which endlessly interact on a myriad
of levels...11-27-28-84:- There is something out beyond the
edge of the visible universe. It is hearing the ear thinks,
seeing the eye thinks. Out beyond there where nothing
is seen, in a single pulse the universe repeats itself with
every breath. Normally, the eyes see. But when one is listening,
light itself translates the signals into birds' movements,
strumming air with its harnessings, transfiguring a past scrap
heap of posturings in the lattices of a sparkling hesitancy. Dripping
with sweat, the angel mutters to her or himself, down with this,
hurling a strictly documented universe, graduated, gyrated and
expostulated in the grainy screening room of history. Lifted
high and carefuly deposited on the shelves, the words stretch
and yawn and then start to move, scramble madly from one
volume and meaning to the next. In a deft stroke of recognition
the words run off the books and onto the shelves, failing
obstinately, to utter a sound or thought...
Notebook: circa 1990
They spring, in a graceful movement, onto the page, turning
around each other, embracing, moving closer, separating,
breaking apart into smaller groups of meanings...this movement
is its own meaning, apparently taking itself to be an expression
if the neighboring worlds which endlessly interact on a myriad
of levels...11-27-28-84:- There is something out beyond the
edge of the visible universe. It is hearing the ear thinks,
seeing the eye thinks. Out beyond there where nothing
is seen, in a single pulse the universe repeats itself with
every breath. Normally, the eyes see. But when one is listening,
light itself translates the signals into birds' movements,
strumming air with its harnessings, transfiguring a past scrap
heap of posturings in the lattices of a sparkling hesitancy. Dripping
with sweat, the angel mutters to her or himself, down with this,
hurling a strictly documented universe, graduated, gyrated and
expostulated in the grainy screening room of history. Lifted
high and carefuly deposited on the shelves, the words stretch
and yawn and then start to move, scramble madly from one
volume and meaning to the next. In a deft stroke of recognition
the words run off the books and onto the shelves, failing
obstinately, to utter a sound or thought...
Notebook: circa 1990
Friday, July 2
unfortunately captured
Something unconsidered
Interference yet untold
Sychronous trap
Martian communication
x factor
unconscious loyalties
determminism
ploy
echo
predominates
concern
saturation
(trap)2
nascent
infintely
CAPTURED
*******
outside
crystal
clear
*******
2.
A card is trumped
Silver glow of pen
It slipped off a disc
10 of Diamonds insisting on a point
And the slender shadow returns again
notebook: 2/14/90
**************************************
A fine review of Fahrenheit 911 by
Brooke Nelson (Poop Chute)
Something unconsidered
Interference yet untold
Sychronous trap
Martian communication
x factor
unconscious loyalties
determminism
ploy
echo
predominates
concern
saturation
(trap)2
nascent
infintely
CAPTURED
*******
outside
crystal
clear
*******
2.
A card is trumped
Silver glow of pen
It slipped off a disc
10 of Diamonds insisting on a point
And the slender shadow returns again
notebook: 2/14/90
**************************************
A fine review of Fahrenheit 911 by
Brooke Nelson (Poop Chute)
Thursday, July 1
NATASHA: This book-I know what it is...When we
arrived from Nueva York...there was a man with us. He
wrote things like this. I don't know what happened to him.
Here, he would have to live in one of the banned areas, where
they end up killing themselvesl...though, sometimes, I know,
Alpha 60 manages to find a way of using them.
LEMMY: Residents Control...In what way?
NATASHA: Because they are people who write incomprehensible
things. Now I understand...they used to call it
poetry! One believes in as if it were a secret, but afterwards
...nothing remains. So, when Control has an hour or so
free, it records things like that, classfiies them and encodes
them...Like everything else, one never knows!
LEMMY: Quite! They might always come in useful!
NATASHA: Exactly...we're very organized.
Alphaville, a film by Jean-Luc Godard {click here}
translation by Peter Whitehead
Simon and Schuster
1966
arrived from Nueva York...there was a man with us. He
wrote things like this. I don't know what happened to him.
Here, he would have to live in one of the banned areas, where
they end up killing themselvesl...though, sometimes, I know,
Alpha 60 manages to find a way of using them.
LEMMY: Residents Control...In what way?
NATASHA: Because they are people who write incomprehensible
things. Now I understand...they used to call it
poetry! One believes in as if it were a secret, but afterwards
...nothing remains. So, when Control has an hour or so
free, it records things like that, classfiies them and encodes
them...Like everything else, one never knows!
LEMMY: Quite! They might always come in useful!
NATASHA: Exactly...we're very organized.
Alphaville, a film by Jean-Luc Godard {click here}
translation by Peter Whitehead
Simon and Schuster
1966
NOTES
Re-unification of image and sound
The speaking woman- the listening man
Poetry=sound and image
make sounds and hold pictures up to the audience
unreproducible poems-
experiential poems
copying- authenticating
can't be copied-money-original document
almost infinitely reproducible
copying eliminates rarity
experiential- origin-ality
identity
connection with identity of creator
know-ledge
code of identity
Go back to Freud's analysis of dreams to the acausal
Dreams as proof of the unconscious also of the acausal
Reversing- dreams as seeing
through the apparent to the real
telling-narrating- cause to result
writing with pictures rather than words
what's hidden in the picture
pictures= the irrelevant
paranoiac the improbable connection
the intuitive feeling of "too much" repetition
anxiety and the time-slip
it was expressly in the specific details
that the precognitive was to be recognized
It is clear from my experience of writing
that thought does not begin at the
beginning. Because of the experience
of inner resistances, thought tends to circuitous
circling around its goal or spiralling
deeply into it. It burrows. Since thought
is like a drill, or a beam of light
emanating from a larger source of light within,
it has to choose an area of focus,
even when the experience simultaneous to it is
far broader and encompassing.
The narrative, which is one response to this
situation of the parameters of
communication, renders
the experience in metaphorical
terms, ordering details of events in such a way that they appear coherent.
The relativity of psychoanalysis
and art- this partly has to
do with the actualization
of the manifestations of the
human experience in writing.
Like in analysis, writing requires
remembering and including the obvious.
It is this
interplay of the obvious and hidden
that the magic depends- obvious and hidden-
obvious (male): hidden (female); hidden
(thought) obvious (expression)
Don't hve to be afraid of the circuitous
routes if you're not too proud to return home
a little abashed.
"I was there."
"Where did you go?"
"Nothing much"
"You mean, all that trouble for nothing? Why did you bother?"
Non-narrative: to isolate the mind's
movements from those perceptions which are
on hold, continuous, we must distinguish
between synchronous and non-synchronous
observations. Reaffirming the
obvious is like a pedal point,
like the time-signature
in music, the beat in rock or jazz.
notebook: circa 1986
Re-unification of image and sound
The speaking woman- the listening man
Poetry=sound and image
make sounds and hold pictures up to the audience
unreproducible poems-
experiential poems
copying- authenticating
can't be copied-money-original document
almost infinitely reproducible
copying eliminates rarity
experiential- origin-ality
identity
connection with identity of creator
know-ledge
code of identity
Go back to Freud's analysis of dreams to the acausal
Dreams as proof of the unconscious also of the acausal
Reversing- dreams as seeing
through the apparent to the real
telling-narrating- cause to result
writing with pictures rather than words
what's hidden in the picture
pictures= the irrelevant
paranoiac the improbable connection
the intuitive feeling of "too much" repetition
anxiety and the time-slip
it was expressly in the specific details
that the precognitive was to be recognized
It is clear from my experience of writing
that thought does not begin at the
beginning. Because of the experience
of inner resistances, thought tends to circuitous
circling around its goal or spiralling
deeply into it. It burrows. Since thought
is like a drill, or a beam of light
emanating from a larger source of light within,
it has to choose an area of focus,
even when the experience simultaneous to it is
far broader and encompassing.
The narrative, which is one response to this
situation of the parameters of
communication, renders
the experience in metaphorical
terms, ordering details of events in such a way that they appear coherent.
The relativity of psychoanalysis
and art- this partly has to
do with the actualization
of the manifestations of the
human experience in writing.
Like in analysis, writing requires
remembering and including the obvious.
It is this
interplay of the obvious and hidden
that the magic depends- obvious and hidden-
obvious (male): hidden (female); hidden
(thought) obvious (expression)
Don't hve to be afraid of the circuitous
routes if you're not too proud to return home
a little abashed.
"I was there."
"Where did you go?"
"Nothing much"
"You mean, all that trouble for nothing? Why did you bother?"
Non-narrative: to isolate the mind's
movements from those perceptions which are
on hold, continuous, we must distinguish
between synchronous and non-synchronous
observations. Reaffirming the
obvious is like a pedal point,
like the time-signature
in music, the beat in rock or jazz.
notebook: circa 1986
Wednesday, June 30
We have the great pleasure to announce
our inclusion on the June 30
Ironstone Whirligig {click here}
crush list!!!
*************
Thanks to Gary Sullivan (Elsewhere)
for featuring our journal entry/time travel poem for 9/86
our inclusion on the June 30
Ironstone Whirligig {click here}
crush list!!!
*************
Thanks to Gary Sullivan (Elsewhere)
for featuring our journal entry/time travel poem for 9/86
Speaking of People
Speaking of people is difficult
Most of this talk is more vague than appears at first glance.
Nice- or peevish- what is it that you actually remember?
Maybe she was only trying to be an interesting guest.
Who is to say?
And speaking of people is difficult.
To me it is very drab and gray.
This one is so accomplished
And that one is so vain-
As a matter of fact
Who isn't vain?
You just didn't happen toa make a career of it
But I did.
(notebook: circa 1986)
**********************************************
What can be compared to this double life?
Or should I say triple? Kill romanticism
And live, he said, plunge a knife into every
Sentimental feeling. I say
Coin a new word and keep all the others,
including the jasmine and the horsewhip and the king
And he says, what is death anyway except your
personal problem- we're not interested in that
& I say But I like New Jersey
And he says we'll then live there,
And I say I'd rather rip my dictionary
and he says don't even bother
you'll never run out of too many words.
We'd had plenty to drink by this time,
that is, we were quite fired up. No,
I don't like your tricks,
That kind of negativity is zero,
pull your pants up, squirt,
and nobody says nothing can't change anything.
And it depends on how much and how long,
And did you know the Mayan culture is 10,800 years
old and Edgar Cayce knew it many years before
Scientific American (you can check that).
So, by this definition there was no way to argue back.
I lit his pipe again and said:
Melody is memory
and he answered memory is too permanent
and I said the first revolution is still not over
and he says I never saw you at the first one
and I said don't put me into a box
and he said I know more about containers than you can think
and he said your poor old tired self is your box
and I said at some scale anything can be included
and he said by now I know everybody in any way important
and I said I think you take words too literally
and he said yo think too much about a single word
and I said there has to be room for the many
and he said there has to be room fo the one
and I said you don't think there is any one
and he said yes I do
notebook: 9/86
Speaking of people is difficult
Most of this talk is more vague than appears at first glance.
Nice- or peevish- what is it that you actually remember?
Maybe she was only trying to be an interesting guest.
Who is to say?
And speaking of people is difficult.
To me it is very drab and gray.
This one is so accomplished
And that one is so vain-
As a matter of fact
Who isn't vain?
You just didn't happen toa make a career of it
But I did.
(notebook: circa 1986)
**********************************************
What can be compared to this double life?
Or should I say triple? Kill romanticism
And live, he said, plunge a knife into every
Sentimental feeling. I say
Coin a new word and keep all the others,
including the jasmine and the horsewhip and the king
And he says, what is death anyway except your
personal problem- we're not interested in that
& I say But I like New Jersey
And he says we'll then live there,
And I say I'd rather rip my dictionary
and he says don't even bother
you'll never run out of too many words.
We'd had plenty to drink by this time,
that is, we were quite fired up. No,
I don't like your tricks,
That kind of negativity is zero,
pull your pants up, squirt,
and nobody says nothing can't change anything.
And it depends on how much and how long,
And did you know the Mayan culture is 10,800 years
old and Edgar Cayce knew it many years before
Scientific American (you can check that).
So, by this definition there was no way to argue back.
I lit his pipe again and said:
Melody is memory
and he answered memory is too permanent
and I said the first revolution is still not over
and he says I never saw you at the first one
and I said don't put me into a box
and he said I know more about containers than you can think
and he said your poor old tired self is your box
and I said at some scale anything can be included
and he said by now I know everybody in any way important
and I said I think you take words too literally
and he said yo think too much about a single word
and I said there has to be room for the many
and he said there has to be room fo the one
and I said you don't think there is any one
and he said yes I do
notebook: 9/86
Happy first birthday
Moonshine Highways {click here}
"Infancy is what is eternal, and the rest,
all the rest is brevity, extreme brevity."
Antonio Porchia
Moonshine Highways {click here}
"Infancy is what is eternal, and the rest,
all the rest is brevity, extreme brevity."
Antonio Porchia
Tuesday, June 29
Froth (Maryann Shaneen){click here} (dubbed Lilith-by Pantaloons {click here}
reports on the benefit for Critical Art Ensemble last Tuesday, June 22
and what is happening to this latest target of The Patriot Act
reports on the benefit for Critical Art Ensemble last Tuesday, June 22
and what is happening to this latest target of The Patriot Act
Monday, June 28
Moonshine Highways {click here}
is back up, we're happy to report.
**
Michael Gates
(Twists and Turns) {click here}
takes a spin on the
The Late Night Cable-
Movie Plot Generator {click here}
**
Jean Vengua's (OKIR) {click here}_
migraine headache caused her to start "seeing things" possibly
in turn causing Tom Beckett (Vanishing Points of
Resemblance) {click here} to do the same.
**
*fait accompli* has made another short list...
this time as Bloomberg!(????)
Pantaloons (Jack Kimball) {click here}
Once Bill Marsh once told us
we publish too much, but Bloomberg!!!
Anyway, we think the blog leader of frequency
is wood s lot (Mark Woods)
Much on there right now on
Carl Rakosi
is back up, we're happy to report.
**
Michael Gates
(Twists and Turns) {click here}
takes a spin on the
The Late Night Cable-
Movie Plot Generator {click here}
**
Jean Vengua's (OKIR) {click here}_
migraine headache caused her to start "seeing things" possibly
in turn causing Tom Beckett (Vanishing Points of
Resemblance) {click here} to do the same.
**
*fait accompli* has made another short list...
this time as Bloomberg!(????)
Pantaloons (Jack Kimball) {click here}
Once Bill Marsh once told us
we publish too much, but Bloomberg!!!
Anyway, we think the blog leader of frequency
is wood s lot (Mark Woods)
Much on there right now on
Carl Rakosi
Looks like Blogger is reporting
a code 404 ("page not found")on
Amy Bernier's blog, *Moonshine
Highways*- very frustrating.
I've written to Blogger to
complain about this type of
thing, and all they say is that
they are working out the kinks
on New Blogger. Oh well.
We're grateful to Amy Bernier for mentioning
Antonio Porchia. Have to add
that W.S. Merwin recently re-edited
and retranslated *Voices*, a book
of Porchia's aphorisms that was
originally published in 1969
by *Big Table*. The new edition
is from *Copper Canyon* and
and came out in 2003. Just now
looking at the new edition, without
looking for it I turned right to
one of the aphorisms I came across
reading through the earlier edition
today.
"My final belief is suffering. And I
begin to believe I do not suffer."
Like many aphorists, Porchia implodes
everyday assumptions by finding their
fault lines, often concealed underneath
layers of protective pleasures, reassurances,
familiar comforts, rationalizations.
"The love that is not all pain is
not all love."
"I also had a summer and burned
myself in its name."
"If I did not believe the sun looked
at me a little bit I would not look at
it."
"Everyone thinks that his things are not like
all the things in the world. And that is why
everybody keeps them."
Porchia's aphorisms, once known, become
a necessity.
There are a number of websites for Porchia.
Here's one of them:
Porchia {click here}
a code 404 ("page not found")on
Amy Bernier's blog, *Moonshine
Highways*- very frustrating.
I've written to Blogger to
complain about this type of
thing, and all they say is that
they are working out the kinks
on New Blogger. Oh well.
We're grateful to Amy Bernier for mentioning
Antonio Porchia. Have to add
that W.S. Merwin recently re-edited
and retranslated *Voices*, a book
of Porchia's aphorisms that was
originally published in 1969
by *Big Table*. The new edition
is from *Copper Canyon* and
and came out in 2003. Just now
looking at the new edition, without
looking for it I turned right to
one of the aphorisms I came across
reading through the earlier edition
today.
"My final belief is suffering. And I
begin to believe I do not suffer."
Like many aphorists, Porchia implodes
everyday assumptions by finding their
fault lines, often concealed underneath
layers of protective pleasures, reassurances,
familiar comforts, rationalizations.
"The love that is not all pain is
not all love."
"I also had a summer and burned
myself in its name."
"If I did not believe the sun looked
at me a little bit I would not look at
it."
"Everyone thinks that his things are not like
all the things in the world. And that is why
everybody keeps them."
Porchia's aphorisms, once known, become
a necessity.
There are a number of websites for Porchia.
Here's one of them:
Porchia {click here}
Along with some interesting self-portraits,
Amy Bernier (Moonshine Highways) {click here}
quotes an aphorism today from the heartbreakingly lyrical,
sensitive and poignant Argentine philosopher/carpenter
Antonio Porchia (1886-1968).
There are so many great ones, some of
which have been quoted before on
this blog, but not this one:
"They are like me, I tell
myself. And in that way I
defend myself against them.
And in that way I defend myself
against myself."
Amy Bernier (Moonshine Highways) {click here}
quotes an aphorism today from the heartbreakingly lyrical,
sensitive and poignant Argentine philosopher/carpenter
Antonio Porchia (1886-1968).
There are so many great ones, some of
which have been quoted before on
this blog, but not this one:
"They are like me, I tell
myself. And in that way I
defend myself against them.
And in that way I defend myself
against myself."
Sunday, June 27
Can suspiciousness be used against itself?
Then make suspicions suspect.
******************************
Wood s Lot {click here}. Today's focus is that master of poetics,
"...a dreamer of words"-Gaston Bachelard.
Then make suspicions suspect.
******************************
Wood s Lot {click here}. Today's focus is that master of poetics,
"...a dreamer of words"-Gaston Bachelard.
the thing...
what it was about Saunders
photograph
a bunch of jazz musicians
another rendition
white carnation
and though
black connection [conviction]
the man who knew
accordion
flashes his teeth
an old fortune
her mouth
fortune cookie
another twist (labyrinth)
absinthe
what it was about Sunday
dark clouds
Figaro...high voices
you knew him when
the technical thing
conga dancers
1941
Freud
"Georgia on my mind"
timing
her month
some suit
decorations
marvel
in Peru, ruins
ruins in Mexico
old ball point pens [fill the bill]
no, she isn't wearing bills
it's a white skirt [...wood, serape]
frescoes confused [testimony]
pencilled-in furniture [diagrams]
territorial dignities [tatoos]
erasures [pyrotechnical enclosures]
fucking toothpaste [sadness]
fucking toothache [madness]
skimming over that (is a problem)
poem another form...uniform
to be filled out-[full figured, buxom]
pandemonium
there isn't anything I can do
signature on a vacuum belonging to
this Florida character who, for instance,
is perfectly content with a beach and a sunset
up today and down tomorrow
{notebook: 5/2-5/3/90}
what it was about Saunders
photograph
a bunch of jazz musicians
another rendition
white carnation
and though
black connection [conviction]
the man who knew
accordion
flashes his teeth
an old fortune
her mouth
fortune cookie
another twist (labyrinth)
absinthe
what it was about Sunday
dark clouds
Figaro...high voices
you knew him when
the technical thing
conga dancers
1941
Freud
"Georgia on my mind"
timing
her month
some suit
decorations
marvel
in Peru, ruins
ruins in Mexico
old ball point pens [fill the bill]
no, she isn't wearing bills
it's a white skirt [...wood, serape]
frescoes confused [testimony]
pencilled-in furniture [diagrams]
territorial dignities [tatoos]
erasures [pyrotechnical enclosures]
fucking toothpaste [sadness]
fucking toothache [madness]
skimming over that (is a problem)
poem another form...uniform
to be filled out-[full figured, buxom]
pandemonium
there isn't anything I can do
signature on a vacuum belonging to
this Florida character who, for instance,
is perfectly content with a beach and a sunset
up today and down tomorrow
{notebook: 5/2-5/3/90}
A wonderful Neil Young tribute took place in Prospect Park
last night- a very pleasurable reminder of just how many
incredible songs he has written. The concert
ended, appropriately, with "4 dead in Ohio"
Scary thoughts...there's still time to change
things. But maybe not that much.
Most memorable, was hearing and seeing Chan
Marshall sing in concert for the first time. Right
now Toni and I are listening to *Free*.
We have always been major Neil
Young fans- our "songs" have always been
those of Neil Young.
But we came home and listened to Cat Power
*You Are Free*. Hmmm.
Cat Power- You Are Free {click here}
A big surprise tonight was
that one of the concert's producers lives
quite nearby in this building.
A memorable evening indeed.
last night- a very pleasurable reminder of just how many
incredible songs he has written. The concert
ended, appropriately, with "4 dead in Ohio"
Scary thoughts...there's still time to change
things. But maybe not that much.
Most memorable, was hearing and seeing Chan
Marshall sing in concert for the first time. Right
now Toni and I are listening to *Free*.
We have always been major Neil
Young fans- our "songs" have always been
those of Neil Young.
But we came home and listened to Cat Power
*You Are Free*. Hmmm.
Cat Power- You Are Free {click here}
A big surprise tonight was
that one of the concert's producers lives
quite nearby in this building.
A memorable evening indeed.
Saturday, June 26
You're secure in sensing what's in,
but have you thought lately about what's *out*?
Read about it right now on
Million Poems (Jordan Davis)
****
Hey look! No line
Michael Moore Home Page {click here}
but have you thought lately about what's *out*?
Read about it right now on
Million Poems (Jordan Davis)
****
Hey look! No line
Michael Moore Home Page {click here}
Carl Rakosi has died at the
at the age of 100. Among his last
words- "Bush- that bastard"! Read all
about it right now
(as reported by John Tranter)
on dumbfoundry {click here}
****************
transdada (kari edwards) {click here} reports on the San Francisco
Chronicle's neglect of the transgender community
****************
in Brooklyn
news Jordan Davis
(Equanimity {click here} offers a quick reminder
about the Coney Island mermaid parade- only he suggested
the wrong day. The Mermaid Parade is today, June 26, 2-6 p.m.
The Mermaid Parade {click here}
at the age of 100. Among his last
words- "Bush- that bastard"! Read all
about it right now
(as reported by John Tranter)
on dumbfoundry {click here}
****************
transdada (kari edwards) {click here} reports on the San Francisco
Chronicle's neglect of the transgender community
****************
in Brooklyn
news Jordan Davis
(Equanimity {click here} offers a quick reminder
about the Coney Island mermaid parade- only he suggested
the wrong day. The Mermaid Parade is today, June 26, 2-6 p.m.
The Mermaid Parade {click here}
Friday, June 25
notebook: 8/9/87
Exerience only apparently repeats itself. Because this is one
of the most comforting illusions of all, that it does,
we can so easily forget how fortunate we were that things
came together they way they did. No doubt fate did this,
but it also took a tremendous effort of will- or so it seemed-
not to throw it all in the air, moments before, in total
frustration.
11/7/87
Deciding is always the hardest part of any action.
11/15/87
Heraclitus, Fragment 125: "The fairest order in the world is a
heap of random sweepings."
11/19/87
Light hurts the eyes in a gloomy age.
11/25/87
Dexterity replaces depth now because complexity demands speed
rather than closeness of fit. As a result thee are more pleasures
and pain is deep but swift.
12/12/87
The pathos of life lies in the disparity between the specific
thing we are focussed on and the fact of life itself.
12/27/87
Tristan Tzara: "Look at the clock which becomes language."
12/29/87
Poetry: A language without a homeland.
Exerience only apparently repeats itself. Because this is one
of the most comforting illusions of all, that it does,
we can so easily forget how fortunate we were that things
came together they way they did. No doubt fate did this,
but it also took a tremendous effort of will- or so it seemed-
not to throw it all in the air, moments before, in total
frustration.
11/7/87
Deciding is always the hardest part of any action.
11/15/87
Heraclitus, Fragment 125: "The fairest order in the world is a
heap of random sweepings."
11/19/87
Light hurts the eyes in a gloomy age.
11/25/87
Dexterity replaces depth now because complexity demands speed
rather than closeness of fit. As a result thee are more pleasures
and pain is deep but swift.
12/12/87
The pathos of life lies in the disparity between the specific
thing we are focussed on and the fact of life itself.
12/27/87
Tristan Tzara: "Look at the clock which becomes language."
12/29/87
Poetry: A language without a homeland.
Ratlcliffe and Coolidge discussed on
One Good Bumblebee {click here}
******
The Lewis Zukofsky Centennial Conference {click here}
One Good Bumblebee {click here}
******
The Lewis Zukofsky Centennial Conference {click here}
Thursday, June 24
notebook: 12/6/86
What I think and do not say forms a specific
rhythmic structure- an interval between
focussed, observation oriented thought and
inward-lookingness. Note a subtle difference
between a phase and an interval. A phase can
last indefinitely and still be part of a series
of intervals: i.e.: "This phase lasted an interval
of 10 years."
12/10/86
"This worries me, this tendency."
"...Ah, good."
12/11/86
Pace of information confirmation- exchange between
people as an indicator of "recession". Inflation=
lowered value of information (?)
Hugh Kenner noted in a recent lecture that the U.S.
is the only place where you can copyright a word.
What I think and do not say forms a specific
rhythmic structure- an interval between
focussed, observation oriented thought and
inward-lookingness. Note a subtle difference
between a phase and an interval. A phase can
last indefinitely and still be part of a series
of intervals: i.e.: "This phase lasted an interval
of 10 years."
12/10/86
"This worries me, this tendency."
"...Ah, good."
12/11/86
Pace of information confirmation- exchange between
people as an indicator of "recession". Inflation=
lowered value of information (?)
Hugh Kenner noted in a recent lecture that the U.S.
is the only place where you can copyright a word.
Wednesday, June 23
The Unbearable Lightness of Blogging
A few years ago, rereading
*David Copperfield*, it was extraordinarily
noticeable that when a character
seemed to have not been present
for awhile, suddenly, as in a dream they would
appear.
The same sometimes for bloggers. Thinking
lately of Johanna Rauhala and then
this appears:
A prayer (Visions
of Johanna) {click here}
A few years ago, rereading
*David Copperfield*, it was extraordinarily
noticeable that when a character
seemed to have not been present
for awhile, suddenly, as in a dream they would
appear.
The same sometimes for bloggers. Thinking
lately of Johanna Rauhala and then
this appears:
A prayer (Visions
of Johanna) {click here}
"He is a robot
but he knows
right from wrong"
Gary's Tokyo notebooks
are online right now at
Elsewhere {click here}
**
"the horror, the horror"
Nada (ululations) {click here}
is reading Jorie Graham!
**
The HoneySwooners are back! {click here}
but he knows
right from wrong"
Gary's Tokyo notebooks
are online right now at
Elsewhere {click here}
**
"the horror, the horror"
Nada (ululations) {click here}
is reading Jorie Graham!
**
The HoneySwooners are back! {click here}
We plan to attend
this obviously terrific event, as we will be in
Berkeley for most of July.
Hope to see you there!
The New Brutalism presents
CABARET!
The East Bay?s Finest Burlesque! Music! Poetry! Sex Dolls!
Featuring a playlet a la Loretta Lynn by Del Ray Cross; The Cherries play country music, with
Maraschino, Bing, and Wild (Mary Burger, Tanya Brolaski, and Brian Bulkowski); a Psychiatric Farce
in Verse by Julia Bloch and Zoe Ullman; Judith Goldman performing poetry and 70?s rock; Rodney
Koeneke and Lesley Poirier read Sapphic fragments and mix noise music; a play by Brent Cunningham
and Cynthia Sailers about a poet who orders sex dolls, including Taylor Brady as the Nemesis Poet;
Kevin Killian as Nico and Geoffrey Dyer as Lou Reed playing ?I?ll be Your Mirror? and ?Femme
Fatale?; a Vaudevillian song and dance number by K. Silem Mohammad entitled ?Myrtle Poe,? starring
Patrick Durgin and Jen Hofer. Comedic interludes and hosting by the inimitable Sean Finney!
"Ludicrous...perverse" -Robert Pinsky
Sunday, July 18th
7-9 PM
at 21 Grand
449 B 23rd St., Oakland
(between Broadway and Telegraph)
$5 cover
this obviously terrific event, as we will be in
Berkeley for most of July.
Hope to see you there!
The New Brutalism presents
CABARET!
The East Bay?s Finest Burlesque! Music! Poetry! Sex Dolls!
Featuring a playlet a la Loretta Lynn by Del Ray Cross; The Cherries play country music, with
Maraschino, Bing, and Wild (Mary Burger, Tanya Brolaski, and Brian Bulkowski); a Psychiatric Farce
in Verse by Julia Bloch and Zoe Ullman; Judith Goldman performing poetry and 70?s rock; Rodney
Koeneke and Lesley Poirier read Sapphic fragments and mix noise music; a play by Brent Cunningham
and Cynthia Sailers about a poet who orders sex dolls, including Taylor Brady as the Nemesis Poet;
Kevin Killian as Nico and Geoffrey Dyer as Lou Reed playing ?I?ll be Your Mirror? and ?Femme
Fatale?; a Vaudevillian song and dance number by K. Silem Mohammad entitled ?Myrtle Poe,? starring
Patrick Durgin and Jen Hofer. Comedic interludes and hosting by the inimitable Sean Finney!
"Ludicrous...perverse" -Robert Pinsky
Sunday, July 18th
7-9 PM
at 21 Grand
449 B 23rd St., Oakland
(between Broadway and Telegraph)
$5 cover
Check out this Jim Side cartoon (with Jackie Waters)
("Fahrenheit 9/11 Spoilers")
on the Jim Side {click here}
("Fahrenheit 9/11 Spoilers")
on the Jim Side {click here}
notebook: 12/3/86
Perhaps the most characteristic illusion- and it is
an "optical" illusion- of 19th Century literature
is that sentences in a narrative are accumulative.
The parallel illusion in speech is that words in a
spoken series of sentences are accumulative.
Intersubjective "cuing" belies this apparently
orderly progression.
The structure- even the shape of books- has
contributed to the commonly held assumption
that thought and speech are parallel in a linear
way. LIke other bodily processes, thought makes
its demands and alters the attentional process
in staccato, spasmodic ways. Again, the evolution
of musical forms may tell us more about such
transformations over time, in the socious, than
narrative literature is able to. Compare the way
thought relates to a Webern work and the way it relates
to a work by J.S. Bach. LIke poetry, music draws
attention to altered relationships between thought,
the body, and the world.
Perhaps the most characteristic illusion- and it is
an "optical" illusion- of 19th Century literature
is that sentences in a narrative are accumulative.
The parallel illusion in speech is that words in a
spoken series of sentences are accumulative.
Intersubjective "cuing" belies this apparently
orderly progression.
The structure- even the shape of books- has
contributed to the commonly held assumption
that thought and speech are parallel in a linear
way. LIke other bodily processes, thought makes
its demands and alters the attentional process
in staccato, spasmodic ways. Again, the evolution
of musical forms may tell us more about such
transformations over time, in the socious, than
narrative literature is able to. Compare the way
thought relates to a Webern work and the way it relates
to a work by J.S. Bach. LIke poetry, music draws
attention to altered relationships between thought,
the body, and the world.
notebook: 10/18/86
Trying to define the dynamics of the Higgs Field
in physical field theory (see *Scientific American*,
11/86) could be equivalent to attempting to visualize
the interactions of words in a Mallarmean poem such
as Coup de Des ("A throw/ of the dice/will never alter/
Chance"). Perhaps the structure of the poem holds
together, on a theoretical plane, similar to the way
matter hold its form, on a theoretical plane. The limits
of such theory are only defined by already known and
visualizable forms of structural interaction (c.f.
Arthur I. Miller).
**
Thought
Machine #4 (click here) (Collaboration with Toni Simon)
(*Thought Machine* series originally published in *Generator*)
Trying to define the dynamics of the Higgs Field
in physical field theory (see *Scientific American*,
11/86) could be equivalent to attempting to visualize
the interactions of words in a Mallarmean poem such
as Coup de Des ("A throw/ of the dice/will never alter/
Chance"). Perhaps the structure of the poem holds
together, on a theoretical plane, similar to the way
matter hold its form, on a theoretical plane. The limits
of such theory are only defined by already known and
visualizable forms of structural interaction (c.f.
Arthur I. Miller).
**
Thought
Machine #4 (click here) (Collaboration with Toni Simon)
(*Thought Machine* series originally published in *Generator*)
Tuesday, June 22
"A poem is really a kind of machine for producing the poetic
state of mind by means of words. The effect of this machine
is uncertain, for nothing is certain about action on other
minds. But whatever may be the result, in its uncertainty,
the construction of the machine demands the solution of
many problems."
Paul Valery
"Poetry and Abstract Thought"
in *The Art of Poetry*
**
Thought Machine
#3 {click here} (collaboration with Toni Simon)
"In fact, what we call a *poem* is in practice
composed of fragments of pure poetry embedded
in the substance of a discourse."
Valery
"Pure Poetry"
**
"All literature which has passed a certain age reveals
a tendency to create a poetic language apart from ordinary
speech, with a vocabulary, syntax, licenses, and prohibitions
that differ more or less from those in ordinary use...One
could imagine that the language of poetry might develop to
the point of constituting a system of notation as different
from practical speech as is the artifical language of algebra
or chemistry. The slightest poem contains all the germs and
indications of this potential development. I do not say
whether it is desirable or not. Such a judgement would
have no meaning."
Valery
"The Poet's Rights Over Language"
state of mind by means of words. The effect of this machine
is uncertain, for nothing is certain about action on other
minds. But whatever may be the result, in its uncertainty,
the construction of the machine demands the solution of
many problems."
Paul Valery
"Poetry and Abstract Thought"
in *The Art of Poetry*
**
Thought Machine
#3 {click here} (collaboration with Toni Simon)
"In fact, what we call a *poem* is in practice
composed of fragments of pure poetry embedded
in the substance of a discourse."
Valery
"Pure Poetry"
**
"All literature which has passed a certain age reveals
a tendency to create a poetic language apart from ordinary
speech, with a vocabulary, syntax, licenses, and prohibitions
that differ more or less from those in ordinary use...One
could imagine that the language of poetry might develop to
the point of constituting a system of notation as different
from practical speech as is the artifical language of algebra
or chemistry. The slightest poem contains all the germs and
indications of this potential development. I do not say
whether it is desirable or not. Such a judgement would
have no meaning."
Valery
"The Poet's Rights Over Language"
Monday, June 21
Kasey's Limetree {click here}
and James Meetze's *Brutal Kittens*
offer most welcome reading reports- covering their readings at
Jim Behrle's terrific Harvard Square Wordsworth series.
Just love those reading reports- especially about readings
I very much wished to go to.
Here's James Meetze's report- read it right now on
The Brutal Kittens {click here}
**
This just in! Reading report by Mappemunde {click here} spanning the early Paleopoetic to the more recent
Cambridgeon geopoetic eras. Best of all, the delicious
Neolinkian remains have been simmered into a delectable web soup.
Try a taste!
and James Meetze's *Brutal Kittens*
offer most welcome reading reports- covering their readings at
Jim Behrle's terrific Harvard Square Wordsworth series.
Just love those reading reports- especially about readings
I very much wished to go to.
Here's James Meetze's report- read it right now on
The Brutal Kittens {click here}
**
This just in! Reading report by Mappemunde {click here} spanning the early Paleopoetic to the more recent
Cambridgeon geopoetic eras. Best of all, the delicious
Neolinkian remains have been simmered into a delectable web soup.
Try a taste!
A day in the life of
Wood s Lot {click here}
On June 20th, among many other contributions, wood s lot
explores one of the great "fathers"
of contemporary art, Kurt Schwitters.
Wood s Lot {click here}
On June 20th, among many other contributions, wood s lot
explores one of the great "fathers"
of contemporary art, Kurt Schwitters.
Sunday, June 20
"The best kind of conversation is that which may be
called *thinking aloud.* I like very well to speak
my mind on any subject (or to hear another do so) and
to go into the question according to the degree of interest
it naturally inspires, but not to have to get up a thesis
on every topoic. There are those, on the other hand, who
always seem to be practising on their audience, as if
they mistook them for a *DEBATING-SOCIETY*, or to hold a
general retainer, by which they are bound to explain every
difficulty, and answer every objection that can be started.
This, in private society and among friends, is not desirable.
You thus lose the two great ends of conversation, which are to
learn the sentiments of others, and see what they think
of yours. One of the best talkers I ever knew had this defect-
that he evidently only seemed to be considering less what he
felt on any point than what be said upon it, and that he
listened to you, not to weigh what you said, but to reply to
it, like counsel on the other side. This habit gave a brilliant
smoothness and polish to his general discourse, but, at the
same time, took from its solidity and prominence: it reduced
it to a tissue of lively, fluent, ingenious *commonplaces*,
(for original, genuine, observations are like 'minute drops
from off the eaves,' and not an incessant shower) and,
though his talent in this way was carried to the very extreme
of cleverness, yes I think it seldom, if every, went beyond it."
William Hazlitt
*Characteristics*
CLXXX
originally published in 1823
The Collected Works
Volume 2
(edited by Waller and Glover)
called *thinking aloud.* I like very well to speak
my mind on any subject (or to hear another do so) and
to go into the question according to the degree of interest
it naturally inspires, but not to have to get up a thesis
on every topoic. There are those, on the other hand, who
always seem to be practising on their audience, as if
they mistook them for a *DEBATING-SOCIETY*, or to hold a
general retainer, by which they are bound to explain every
difficulty, and answer every objection that can be started.
This, in private society and among friends, is not desirable.
You thus lose the two great ends of conversation, which are to
learn the sentiments of others, and see what they think
of yours. One of the best talkers I ever knew had this defect-
that he evidently only seemed to be considering less what he
felt on any point than what be said upon it, and that he
listened to you, not to weigh what you said, but to reply to
it, like counsel on the other side. This habit gave a brilliant
smoothness and polish to his general discourse, but, at the
same time, took from its solidity and prominence: it reduced
it to a tissue of lively, fluent, ingenious *commonplaces*,
(for original, genuine, observations are like 'minute drops
from off the eaves,' and not an incessant shower) and,
though his talent in this way was carried to the very extreme
of cleverness, yes I think it seldom, if every, went beyond it."
William Hazlitt
*Characteristics*
CLXXX
originally published in 1823
The Collected Works
Volume 2
(edited by Waller and Glover)
notebook: 11/1/90
1. I am a world. For this I pay a price.
The feeling of separation.
2. In my world there are cloudy days
no one can see. When I describe them
others may connect with cloudy days in their
worlds. But they are not seeing this cloudy
day in my world.
3. The indifference of others to my cloudy
days is signficant. I work to make it more
significant or less significant. But it
doesn't matter. What does it matter?
4. Who will describe the shape of my world?
I will. "To what purpose describing the dust
on a bowl of rose leaves/ I do not know." (Eliot)
5. "Now," I say. "The clouds are passing."
The answer? Silence.
6. I share my excitement. I splash you with it.
I share your exctement. You splash me with it.
Then we return to our separate worlds.
7. There is no continuity in time because
there is no continuity of comprehension.
8. Language is coomprehensible. Reality isn't.
9. We cannot understand reality because
most of it is unknown.
10. "The world was created out of nothing.
But the nothingness shows through." (Valery)
11. Literature is what is interesting to tell.
Philosophy is what is acccurate to tell. Philosophy
is not popular. Literature is not truthful.
12. Ecstacy- a moment. Beauty- a moment.
Harmony- a moment. Truth telling- a moment.
Understanding- a moment. Expressing- a moment.
Manifestation- a moment. Remembering- a moment.
Forgetting- a moment.
1. I am a world. For this I pay a price.
The feeling of separation.
2. In my world there are cloudy days
no one can see. When I describe them
others may connect with cloudy days in their
worlds. But they are not seeing this cloudy
day in my world.
3. The indifference of others to my cloudy
days is signficant. I work to make it more
significant or less significant. But it
doesn't matter. What does it matter?
4. Who will describe the shape of my world?
I will. "To what purpose describing the dust
on a bowl of rose leaves/ I do not know." (Eliot)
5. "Now," I say. "The clouds are passing."
The answer? Silence.
6. I share my excitement. I splash you with it.
I share your exctement. You splash me with it.
Then we return to our separate worlds.
7. There is no continuity in time because
there is no continuity of comprehension.
8. Language is coomprehensible. Reality isn't.
9. We cannot understand reality because
most of it is unknown.
10. "The world was created out of nothing.
But the nothingness shows through." (Valery)
11. Literature is what is interesting to tell.
Philosophy is what is acccurate to tell. Philosophy
is not popular. Literature is not truthful.
12. Ecstacy- a moment. Beauty- a moment.
Harmony- a moment. Truth telling- a moment.
Understanding- a moment. Expressing- a moment.
Manifestation- a moment. Remembering- a moment.
Forgetting- a moment.
Saturday, June 19
The poet is asked to speak in the "language of the
people."
Does this mean that intellectuals, artists,
or others who keep trying, against all odds, to find
more time to spend with books, are not
to be included among "the people"?
The heartbreaking anti-intellectualism that
finds is most welcome nest in the thoughts
of narrow minded pragmatists and
misguided visionaries.
It seems much of this group has a taste
for a topping of violence on their literature
and art desserts, instead of the dreaded
and/or despised, abstraction
or ambiguity.
The fact that chaos and destruction
is apparently more true to life?
A self-fulfilling prophecy, no doubt.
**************************************
Double Room, Spring/Summer 2004
is out {click here}
-[via
Dagzine {click here}-
people."
Does this mean that intellectuals, artists,
or others who keep trying, against all odds, to find
more time to spend with books, are not
to be included among "the people"?
The heartbreaking anti-intellectualism that
finds is most welcome nest in the thoughts
of narrow minded pragmatists and
misguided visionaries.
It seems much of this group has a taste
for a topping of violence on their literature
and art desserts, instead of the dreaded
and/or despised, abstraction
or ambiguity.
The fact that chaos and destruction
is apparently more true to life?
A self-fulfilling prophecy, no doubt.
**************************************
Double Room, Spring/Summer 2004
is out {click here}
-[via
Dagzine {click here}-
After All
To leave things (know them,
see them, anyway)
just the way you find them.
To find a way to care,
after all.
*********
You are loved and admired by many,
yet some seem indifferent,
others avoid you, get bored, or
even seem to be annoyed.
You should wonder why, but nobody who
likes to be happy ever worries about these
things too much.
(Another reason why life
resists being fair.)
********
Leaving the theater, the audience
happily astonished at the final twist in the
story.
To leave things (know them,
see them, anyway)
just the way you find them.
To find a way to care,
after all.
*********
You are loved and admired by many,
yet some seem indifferent,
others avoid you, get bored, or
even seem to be annoyed.
You should wonder why, but nobody who
likes to be happy ever worries about these
things too much.
(Another reason why life
resists being fair.)
********
Leaving the theater, the audience
happily astonished at the final twist in the
story.
Friday, June 18
"If I am asked, 'What is it that has
produced this change so far, what is
it that keeps power in check and
humanises the breast? I answer-
Books- books of poetry and philosophy.
Some may think that Law ought to be
mentioned first; but I should say,
No; for law itself is the creature of
opinion, and floats on its bosom like
'the swan's feather on the tide,' or
is swayed by it as the waves are agitated
and driven by the least breath of Heaven.
I believe there is still a law to burn
witches. Is it executed? Even the
rabble, whose ignorance keeps up their
prejudice as pride does those of their
superiors, expose themselves to universal
execration, by still occasionally acting
upon this exploded superstition...Books,
then, teach us (and they alone do it,
generally speaking)
'To see ourselves as others see us.'
Or they may be truly said to 'show vice
its own image, scorn its own feature, and
the very age and body of the time its form
and pressure.' An act of oppression,
a stretch of power and authority, are
monstrous in themselves; but our self-love,
as well as habitual prejudice, blind us
to their enormity, which is also screened from
the centsure of others within the sphere of our
local and personal influence, by fear of favour...
The reading public- laugh at it as you will- is
after all (depend upon it), a very rational
animal, compared with a feudal lord and his
horde of vassals..."
"The Influence of Books on the Progress of Manners"
William Hazlitt
*New Monrhly Magazine*
May, 1828
produced this change so far, what is
it that keeps power in check and
humanises the breast? I answer-
Books- books of poetry and philosophy.
Some may think that Law ought to be
mentioned first; but I should say,
No; for law itself is the creature of
opinion, and floats on its bosom like
'the swan's feather on the tide,' or
is swayed by it as the waves are agitated
and driven by the least breath of Heaven.
I believe there is still a law to burn
witches. Is it executed? Even the
rabble, whose ignorance keeps up their
prejudice as pride does those of their
superiors, expose themselves to universal
execration, by still occasionally acting
upon this exploded superstition...Books,
then, teach us (and they alone do it,
generally speaking)
'To see ourselves as others see us.'
Or they may be truly said to 'show vice
its own image, scorn its own feature, and
the very age and body of the time its form
and pressure.' An act of oppression,
a stretch of power and authority, are
monstrous in themselves; but our self-love,
as well as habitual prejudice, blind us
to their enormity, which is also screened from
the centsure of others within the sphere of our
local and personal influence, by fear of favour...
The reading public- laugh at it as you will- is
after all (depend upon it), a very rational
animal, compared with a feudal lord and his
horde of vassals..."
"The Influence of Books on the Progress of Manners"
William Hazlitt
*New Monrhly Magazine*
May, 1828
Thursday, June 17
*Free Radicals: American Poets Before
Their First Books* edited by (that giant)
Jordan Davis and Sarah Manguso in the
mailbox tonight, published by that very
admirable and invaluable enterprise,
Subpress.
Nada and Gary are back! Awfully jet-
lagged, but they had a terrific time
on their honeymoon in Japan.
Life is good.
Their First Books* edited by (that giant)
Jordan Davis and Sarah Manguso in the
mailbox tonight, published by that very
admirable and invaluable enterprise,
Subpress.
Nada and Gary are back! Awfully jet-
lagged, but they had a terrific time
on their honeymoon in Japan.
Life is good.
Going Backwards
Sometimes I have wished that I
could compose my poems completely
out of ellipses or blank space.
As soon as I think this I realize
that my "poetry" consists as much in what
I have refused to say and do-
than in what I have actually done
or written. This heightened awareness of this choice
is a very so called modernist
notion, but it's still true. If there are
politics for a poet they exist in the kinds of
choices one makes as a poet because
those choices are the tough choices.
Most poets are very good imitators.
This is as easy for a good poet
as it is for a good musician to
whistle a tune. You don't have to be
a good musician to whistle a tune
so it's that easy. As easy as it is,
it is that hard for a good poet to
refrain from imitating. Now, it is even
much harder for good poets to not
imitate themselves.
The further along I go, the
more often I feel like I am at a
precipice. That I am actually backing
into a precipice because I want to
keep moving but I am conscious that I
must continually be aware that I
am backing away from something.
Also- I've been aware for a long time
that the clearer I am about something
the quicker those who listen to me take
my ideas for their own. This is
because I am making clearer the
situation that we (myself & my listeners) are actually
in. This is about the best thing you
can do in a hard situation. Where there
are few obviously good answers you
try to become aware of what is making
it so hard.
This growing number of options
is backing me into a corner. I am
more aware of the things I can't choose
to do. I want to keep moving so
I keep backing up. Although the precipice
is said to be in front of me, it
is actually behind me.
I am backing into the future, I
am going backwards because it is
actuality that takes me where I have to
keep going- me and my quick embraces
with actuality. When I let go & really
move I must fall. This fall is
the free flight of future time.
This fall is the surrender to the
non-existence of what I want. How
else might I create? I can only create
what does not yet exist. In order to
create what does not yet exist I
must resist all
imitations to previous directions. These
other ways may be in light or darkness, but
they must not be immediately
recognizable. Do I tremble? No. Am
I disoriented? Yes.
This is what I am waiting for.
This is the starting point I've been at
all my life. This so called courage is
none other than the willingness to get used
to being scared. If the other poets
haven't told you this- the ones who
ought to know- it is because they didn't
want you to leave them stranded out there
alone. They've gotten used to having
you around. You've been there all
along. So come on in, the water's
fine. Don't hesitate- just
dive.
Sometimes I have wished that I
could compose my poems completely
out of ellipses or blank space.
As soon as I think this I realize
that my "poetry" consists as much in what
I have refused to say and do-
than in what I have actually done
or written. This heightened awareness of this choice
is a very so called modernist
notion, but it's still true. If there are
politics for a poet they exist in the kinds of
choices one makes as a poet because
those choices are the tough choices.
Most poets are very good imitators.
This is as easy for a good poet
as it is for a good musician to
whistle a tune. You don't have to be
a good musician to whistle a tune
so it's that easy. As easy as it is,
it is that hard for a good poet to
refrain from imitating. Now, it is even
much harder for good poets to not
imitate themselves.
The further along I go, the
more often I feel like I am at a
precipice. That I am actually backing
into a precipice because I want to
keep moving but I am conscious that I
must continually be aware that I
am backing away from something.
Also- I've been aware for a long time
that the clearer I am about something
the quicker those who listen to me take
my ideas for their own. This is
because I am making clearer the
situation that we (myself & my listeners) are actually
in. This is about the best thing you
can do in a hard situation. Where there
are few obviously good answers you
try to become aware of what is making
it so hard.
This growing number of options
is backing me into a corner. I am
more aware of the things I can't choose
to do. I want to keep moving so
I keep backing up. Although the precipice
is said to be in front of me, it
is actually behind me.
I am backing into the future, I
am going backwards because it is
actuality that takes me where I have to
keep going- me and my quick embraces
with actuality. When I let go & really
move I must fall. This fall is
the free flight of future time.
This fall is the surrender to the
non-existence of what I want. How
else might I create? I can only create
what does not yet exist. In order to
create what does not yet exist I
must resist all
imitations to previous directions. These
other ways may be in light or darkness, but
they must not be immediately
recognizable. Do I tremble? No. Am
I disoriented? Yes.
This is what I am waiting for.
This is the starting point I've been at
all my life. This so called courage is
none other than the willingness to get used
to being scared. If the other poets
haven't told you this- the ones who
ought to know- it is because they didn't
want you to leave them stranded out there
alone. They've gotten used to having
you around. You've been there all
along. So come on in, the water's
fine. Don't hesitate- just
dive.
Going
backwards in time {click here}
*****************************************************
notebook: circa, 1980
the diary will be about
myself- but a kind of
magical incantation to
make myself more aware of
others- others are my
whole pleasure so that
it will be about this
growing awareness in a
man of others, their
pleasure and pain,
their fortune & failures-
the situation-
internal
external
at the outset-
****************************
Whiskey River {click here} "...but how different it will seem to us when the gloom is past..." (Novalis)
****************************
Rene Wanner's Poster Page-Shraivogel in Tehran {click here} (via Topher Tune's Times {click here}
September 11, 2001 {click here}
****************************
backwards in time {click here}
*****************************************************
notebook: circa, 1980
the diary will be about
myself- but a kind of
magical incantation to
make myself more aware of
others- others are my
whole pleasure so that
it will be about this
growing awareness in a
man of others, their
pleasure and pain,
their fortune & failures-
the situation-
internal
external
at the outset-
****************************
Whiskey River {click here} "...but how different it will seem to us when the gloom is past..." (Novalis)
****************************
Rene Wanner's Poster Page-Shraivogel in Tehran {click here} (via Topher Tune's Times {click here}
September 11, 2001 {click here}
****************************
Wednesday, June 16
"Toes were said to have actually burst into flame"
on Moonshine Highways {click here}
***************************************************
Just try to go into a summer slump in Blogland-
your blogger friends won't let you! as in
Equanimity {click here} (By the way, Jordan, who is the
epitome of discretion, does not mention in his post, that the first thing I asked him
about was his anthology -with Sarah Manguso-- Free Radicals: American Poets Before Their First Books, which I am awaiting, with bated breath -what is, "bated breath", by the way-?)
Pelican Dreaming {click here}
Bemsha Swing {click here}
Third Factory {click here}
(via Well Nourished Moon {click here})
and
&& {click here}
****************************************************
recent interview with Noam Chomsky {click here} from *ZNet*
****************************************************
Recent interview with Jessica Grim {click here} from *Vanishing Points of Resemblance*
****************************************************
The Science Fiction Museum and Hall of Fame (Seattle) {click here}
****************************************************
Jack Kimball's celebrated
essays continue {click here}- the latest two reflect on books by Brenda
Coultas and Anne Tardos
on Moonshine Highways {click here}
***************************************************
Just try to go into a summer slump in Blogland-
your blogger friends won't let you! as in
Equanimity {click here} (By the way, Jordan, who is the
epitome of discretion, does not mention in his post, that the first thing I asked him
about was his anthology -with Sarah Manguso-- Free Radicals: American Poets Before Their First Books, which I am awaiting, with bated breath -what is, "bated breath", by the way-?)
Pelican Dreaming {click here}
Bemsha Swing {click here}
Third Factory {click here}
(via Well Nourished Moon {click here})
and
&& {click here}
****************************************************
recent interview with Noam Chomsky {click here} from *ZNet*
****************************************************
Recent interview with Jessica Grim {click here} from *Vanishing Points of Resemblance*
****************************************************
The Science Fiction Museum and Hall of Fame (Seattle) {click here}
****************************************************
Jack Kimball's celebrated
essays continue {click here}- the latest two reflect on books by Brenda
Coultas and Anne Tardos
Tuesday, June 15
Lisa Jarnot's new blog {click here}
Lisa's volunteering to help out at the Republican National Convention.
She's looking forward to helping with the computers, and giving directions.
Lisa's volunteering to help out at the Republican National Convention.
She's looking forward to helping with the computers, and giving directions.
"Tyranny and bigotry are the same they
ever were; we have seen what havoc they made
when left to themselves, and had everything
their own way; and they would still have it
so if they could. Are they not still at their
old work as far as they dare- striving to
continue every exclusive privilege and invidious
distinction as they formerly strove to usurp
and extend them? Not a thing will they suffer
to pass unresisted, undegraded, that is
recommended by reason: they are always against
it. If we look back to former periods, do
we not find them uniformly opposing every
reform, every liberal measure and principle-
wreaking their fury on it in the first instance,
and shrinking with cowardly malignity before it
as it gathers strength, and at last making a merit
of granting what they can no longer prevent by
force or cunning? Their object is to gain time with
the prescriptive and lordly advantages of the few.
When we find kings and priests running before
public opinion, urging moderation, inquiry, reform,
detaching themselves from the interested and powerful,
then it will be soon enought to believe that their
temper and principles have changed with the times,
that they are to be trusted like other men, and that
the side on which they are found is not longer a
sure sign that the lovers of truth and freedom
ought to be on the opposite one. The *Quarterly
Review* some time back made a triumphant peroration
(after a detailed and elaborate survey of the growing
prosperity of the country) to show that neither the
Crown nor its Ministers nor Parliament nor the Clergy
nor Gentry had anything to do with it, but they remained
just as they were, and that all these astonishing
improvements in every other department had taken place
in spite of them. So it is, and so it will be.'To do
aught good will never be the task' of those who profit
from the contrary. They will always stand in the way,
and oppose the *vis inertia* of custom and indolence
(at least) to every project of amelioration and reform,
just as the proprietor of an old house or rotten
tenement holds out against the improvement of a street
or city..."
"The Influence of Books on the Progress of Manners"
William Hazlitt
*New Monthly Magazine*
May, 1828
ever were; we have seen what havoc they made
when left to themselves, and had everything
their own way; and they would still have it
so if they could. Are they not still at their
old work as far as they dare- striving to
continue every exclusive privilege and invidious
distinction as they formerly strove to usurp
and extend them? Not a thing will they suffer
to pass unresisted, undegraded, that is
recommended by reason: they are always against
it. If we look back to former periods, do
we not find them uniformly opposing every
reform, every liberal measure and principle-
wreaking their fury on it in the first instance,
and shrinking with cowardly malignity before it
as it gathers strength, and at last making a merit
of granting what they can no longer prevent by
force or cunning? Their object is to gain time with
the prescriptive and lordly advantages of the few.
When we find kings and priests running before
public opinion, urging moderation, inquiry, reform,
detaching themselves from the interested and powerful,
then it will be soon enought to believe that their
temper and principles have changed with the times,
that they are to be trusted like other men, and that
the side on which they are found is not longer a
sure sign that the lovers of truth and freedom
ought to be on the opposite one. The *Quarterly
Review* some time back made a triumphant peroration
(after a detailed and elaborate survey of the growing
prosperity of the country) to show that neither the
Crown nor its Ministers nor Parliament nor the Clergy
nor Gentry had anything to do with it, but they remained
just as they were, and that all these astonishing
improvements in every other department had taken place
in spite of them. So it is, and so it will be.'To do
aught good will never be the task' of those who profit
from the contrary. They will always stand in the way,
and oppose the *vis inertia* of custom and indolence
(at least) to every project of amelioration and reform,
just as the proprietor of an old house or rotten
tenement holds out against the improvement of a street
or city..."
"The Influence of Books on the Progress of Manners"
William Hazlitt
*New Monthly Magazine*
May, 1828
*fait accompli* sends out our heartfelt gratitude to the following beautiful blogs for their recent kind comments about us:
Red Threads{click here}
Dagzine {click here}
Topher Tune's Times {click here}
Mappemunde {click here}
and
Equanimity {click here}
These posts have meant a lot to us and have helped avert a threatening summer slump; we're definitely going to try hard to pull out of it! Thanks!
Red Threads{click here}
Dagzine {click here}
Topher Tune's Times {click here}
Mappemunde {click here}
and
Equanimity {click here}
These posts have meant a lot to us and have helped avert a threatening summer slump; we're definitely going to try hard to pull out of it! Thanks!
Monday, June 14
"The diffusion of knowledge and literature,
by increasing the number of pretenders, has
lessened the distance between authors and
readers; has made learning common and familiar;
and given to reputation a temporary and ephemeral
character. In the succession of new works,
we cannot find time to read the old:- in the
crowd of living competitors, we lose sight
of the dead. The pretensions of rank and
literature being each set aside and neutralized
by the impertinent scrutiny of vulgar opinion,
they *club* their stock between them, and strive
to make a feeble stand that way. Hence the
aristocracy of letters! An author no longer,
in the silence of retreat, and in the dearth
of criticism, appeals to posterity as a last
resource, as in a flat and barren country we look
on objects in the distant horizon; in the din
and pressure of present opinions and contending
claims, he must throw himself like an actor
at a fair, on the gaping throng about him, and
seize, by the most speedy and obvious means, the
noisy suffrages of his contemporaries. The poet,
as of old, is not now, from rarity, regarded as
a mystery, a wizard, a something whose privacy is
not to be profaned by being encroached upon;
every effort is made to throw down this partition
wall, to rend asunder the veil of genius; and
instead of being kept at a studious and awful
distance, he must be brought near, must be shown
as a *lion*, must be had out to dinner, or to an
AT HOME; we must procure his autograph, get him
to write his name in an *album*, and, if possible,
come into personal contant with him, so as to mix
him up with our daily impressions and admiring
egotism. Thus the imaginary notion, the *divine
particula aura*, is lost under a heap of common
qualities or peculiar defects; and only the shadow
of a name is left. Nothing is fine but the *ideal*;
or rather, excellence exists only in abstraction.
If we wish to be delighted or to admire, we have no
business to seek beyond what first excited our
delight and admiration. Those who go in search of a
cluster of perfections, or expect that because a
man is superior in one thing, he is superior in all,
only go in search of disappointment; or, in truth,
hope to indemnify their self-love by the discovery
that, except in some one particular, their idol is
very much like themselves."
William Hazlitt
"The Prose Album: Maxims on Mankind"
*Monthly Magazine*
July, 1839
by increasing the number of pretenders, has
lessened the distance between authors and
readers; has made learning common and familiar;
and given to reputation a temporary and ephemeral
character. In the succession of new works,
we cannot find time to read the old:- in the
crowd of living competitors, we lose sight
of the dead. The pretensions of rank and
literature being each set aside and neutralized
by the impertinent scrutiny of vulgar opinion,
they *club* their stock between them, and strive
to make a feeble stand that way. Hence the
aristocracy of letters! An author no longer,
in the silence of retreat, and in the dearth
of criticism, appeals to posterity as a last
resource, as in a flat and barren country we look
on objects in the distant horizon; in the din
and pressure of present opinions and contending
claims, he must throw himself like an actor
at a fair, on the gaping throng about him, and
seize, by the most speedy and obvious means, the
noisy suffrages of his contemporaries. The poet,
as of old, is not now, from rarity, regarded as
a mystery, a wizard, a something whose privacy is
not to be profaned by being encroached upon;
every effort is made to throw down this partition
wall, to rend asunder the veil of genius; and
instead of being kept at a studious and awful
distance, he must be brought near, must be shown
as a *lion*, must be had out to dinner, or to an
AT HOME; we must procure his autograph, get him
to write his name in an *album*, and, if possible,
come into personal contant with him, so as to mix
him up with our daily impressions and admiring
egotism. Thus the imaginary notion, the *divine
particula aura*, is lost under a heap of common
qualities or peculiar defects; and only the shadow
of a name is left. Nothing is fine but the *ideal*;
or rather, excellence exists only in abstraction.
If we wish to be delighted or to admire, we have no
business to seek beyond what first excited our
delight and admiration. Those who go in search of a
cluster of perfections, or expect that because a
man is superior in one thing, he is superior in all,
only go in search of disappointment; or, in truth,
hope to indemnify their self-love by the discovery
that, except in some one particular, their idol is
very much like themselves."
William Hazlitt
"The Prose Album: Maxims on Mankind"
*Monthly Magazine*
July, 1839
Sunday, June 13
This just in from
The Brutal Kittens {click here}
Kasey S. Mohammad to read with
James Meetze at Wordsworth
Books, Cambridge, Mass
Saturday, June 19th
introduced by James Behrle
The Brutal Kittens {click here}
Kasey S. Mohammad to read with
James Meetze at Wordsworth
Books, Cambridge, Mass
Saturday, June 19th
introduced by James Behrle
I have nothing but contempt for this administration
for administration itself
if things did not have to exist
mainly in particularities
obsession with improvement
exact instructions
issued on arrival
and the gross plumes
prescient continuity
evades poetry
when getaway appears impossible
to Where? Nobodaddy? Singularity?
Chant? Illusion?
This cave-in is not popular
a deduction from absent inference
systematic repression of the real
glints from ancient rituals
subtracted from reason (gape)
Splash and be done with it
destroyed voice canvasses actual fear
in neighboring opposites
called "dance"- but that isn't it
manuscript piled on top of radio
on top of document on top of prayer-wheel
a voice inverts it again
it's called "invent"
representation represents betrayal
in an anxious moment
invites defeat
remains a fool
noise substitutes for continued defiance
absent relative appears on t.v.
play it out of the fumes of defeat
pull meaning from its roots
this is different
rosy carcass signifies rifleman
Doorway symbolizes exit
voice predicts advancing military dictator
mechanical assent begins again
figure it out or don't eat
Yet this pie prophecies a shift in state
the system of definition fails
to enlighten the preening monarch
who marches rhythmically to silent lash
(notebook: untitled poem: 7/10/86)
for administration itself
if things did not have to exist
mainly in particularities
obsession with improvement
exact instructions
issued on arrival
and the gross plumes
prescient continuity
evades poetry
when getaway appears impossible
to Where? Nobodaddy? Singularity?
Chant? Illusion?
This cave-in is not popular
a deduction from absent inference
systematic repression of the real
glints from ancient rituals
subtracted from reason (gape)
Splash and be done with it
destroyed voice canvasses actual fear
in neighboring opposites
called "dance"- but that isn't it
manuscript piled on top of radio
on top of document on top of prayer-wheel
a voice inverts it again
it's called "invent"
representation represents betrayal
in an anxious moment
invites defeat
remains a fool
noise substitutes for continued defiance
absent relative appears on t.v.
play it out of the fumes of defeat
pull meaning from its roots
this is different
rosy carcass signifies rifleman
Doorway symbolizes exit
voice predicts advancing military dictator
mechanical assent begins again
figure it out or don't eat
Yet this pie prophecies a shift in state
the system of definition fails
to enlighten the preening monarch
who marches rhythmically to silent lash
(notebook: untitled poem: 7/10/86)
#22 (booze/it won't hurt)
booze,
it wont hurt
they say there,
delicate,
what an absurd,
desecrate,
to take your.
californium,
in the evolution,
strawflower
already
published
editions
pantheist
custodial
procedure
rink
improvisation
expedition
neophyte
sideman
impossible
adventurous
distillery.
#23 (amber/office to this/savant)
amber,
office to this,
savant,
wont be comfortable,
recalcitrant,
it isn't done.
octennial,
and im wasting,
lynx,
ivan
right after
thirtieth mystery
#24 (conservative/demented)
conservative
demented
bombastic
buzzword
pyroelectric
suicidal
cloudburst
jellyfish
intellectual
youthful
automat
czar
ambulatory
oedipal
grandmother
crisis
ditto
buried
Bauhaus
nightclub
pariah
oracular
complacent
introject
swallow
chili
subpoena
besiege
youthful
Kimball
evaluate
inexpensive
premonition
bloodshot
weedy
crisis
catchy
lebanese
concertmaster
nuptial
honey
uppercut
#25 (Blake/axle)
Blake
axle,
example of real,
populous,
moscow art theatre,
grumman,
as the door,
logjam,
i'll take this.
booze,
it wont hurt
they say there,
delicate,
what an absurd,
desecrate,
to take your.
californium,
in the evolution,
strawflower
already
published
editions
pantheist
custodial
procedure
rink
improvisation
expedition
neophyte
sideman
impossible
adventurous
distillery.
#23 (amber/office to this/savant)
amber,
office to this,
savant,
wont be comfortable,
recalcitrant,
it isn't done.
octennial,
and im wasting,
lynx,
ivan
right after
thirtieth mystery
#24 (conservative/demented)
conservative
demented
bombastic
buzzword
pyroelectric
suicidal
cloudburst
jellyfish
intellectual
youthful
automat
czar
ambulatory
oedipal
grandmother
crisis
ditto
buried
Bauhaus
nightclub
pariah
oracular
complacent
introject
swallow
chili
subpoena
besiege
youthful
Kimball
evaluate
inexpensive
premonition
bloodshot
weedy
crisis
catchy
lebanese
concertmaster
nuptial
honey
uppercut
#25 (Blake/axle)
Blake
axle,
example of real,
populous,
moscow art theatre,
grumman,
as the door,
logjam,
i'll take this.
Saturday, June 12
#21 (attract/creamy/quiescent)
attract
creamy
quiescent
contemporary
egocentric
transmittable
apocryphal
mockery
impeach
volcanic
polonaise
suggest
restroom
amidst
bold
sonic
resignation
ransack
crump
condemn
minor
hectic
conspiratorial
selfish
pliancy
repelling
anonymous
sullen
rainy
bay
deallocate
impish
illimitable
determinate
guesswork
abyss
orwell
debussy
attract
creamy
quiescent
contemporary
egocentric
transmittable
apocryphal
mockery
impeach
volcanic
polonaise
suggest
restroom
amidst
bold
sonic
resignation
ransack
crump
condemn
minor
hectic
conspiratorial
selfish
pliancy
repelling
anonymous
sullen
rainy
bay
deallocate
impish
illimitable
determinate
guesswork
abyss
orwell
debussy
Friday, June 11
#18 (durer/poisson/sludge)
durer
poisson
sludge
cosmic
stylus
ingredient
pandora
tuttle
memento
chat
legume
chiffon
pressure
patio
postfix
avow
toph
leaky
algorithm
dagzine
intermezzo
efficacious
glossolalia
circe
self
policeman
pressure
mace patio
vito
homebuilding
interrogatory
blackbody
palindrome
trestle
decency
corduroy
isotope
inhuman
moral
briefcase
youthful
crimp
architectural
involuntary
quarrel
gritty
appeasable
horsewoman
anorexia
palidrome
half
admonition
henceforth
inhumane
urbana
performance
rosa
pee
#19 (few clocks)
few clocks,
and girl arrive
a roller coaster.
Sometimes photon
toward customer ruminates,
but class action
suit from steam engine
always find lice
on taxidermist toward grand piano!
ursula yugoslavia
require predilect
He called her Jeffery
(or was it Jeffery?)
exchangeable
at a state
dominique
alone
babel
educate
outer
behind
ups
to
remain
scooby
snack
c
can
be
kind
#20 (bush/capitulate)
bush
capitulate
bayonet
caveat
potbelly
cockpit
vellum
accompanist
thrifty
venal
homicidal
detente
thenceforth
actuate
device
implicate
oxonian
cambridge
cocklebur
culminate
chic
deputy
ceremonious
pinhead
fraud
vain
delinquent
scatterbrain
simplistic
cannon
jackass
etiquette
durer
poisson
sludge
cosmic
stylus
ingredient
pandora
tuttle
memento
chat
legume
chiffon
pressure
patio
postfix
avow
toph
leaky
algorithm
dagzine
intermezzo
efficacious
glossolalia
circe
self
policeman
pressure
mace patio
vito
homebuilding
interrogatory
blackbody
palindrome
trestle
decency
corduroy
isotope
inhuman
moral
briefcase
youthful
crimp
architectural
involuntary
quarrel
gritty
appeasable
horsewoman
anorexia
palidrome
half
admonition
henceforth
inhumane
urbana
performance
rosa
pee
#19 (few clocks)
few clocks,
and girl arrive
a roller coaster.
Sometimes photon
toward customer ruminates,
but class action
suit from steam engine
always find lice
on taxidermist toward grand piano!
ursula yugoslavia
require predilect
He called her Jeffery
(or was it Jeffery?)
exchangeable
at a state
dominique
alone
babel
educate
outer
behind
ups
to
remain
scooby
snack
c
can
be
kind
#20 (bush/capitulate)
bush
capitulate
bayonet
caveat
potbelly
cockpit
vellum
accompanist
thrifty
venal
homicidal
detente
thenceforth
actuate
device
implicate
oxonian
cambridge
cocklebur
culminate
chic
deputy
ceremonious
pinhead
fraud
vain
delinquent
scatterbrain
simplistic
cannon
jackass
etiquette
#9 (oust/example of real)
oust,
example of real,
coverall,
to leave here?
osborne,
his shoes?
what,
ellipse,
that you're
having.
numbers
them interchange
widely
reflection
one
reflection
unsoluble
bribetaker
#10 (sundown)
sundown
devilish photokinesis
explode polity
downcast,
a thousand dollars.
rightward
flourish
upside
freewill
onyx
cahoot
suture
tambourine
mortise
juggle
dark
heartbreaking
unconscious
checkerboard
#11 (plaintive, involutarily)
plaintive,
involuntarily
moved apart;
revocable
cinder
cornbread
dynamo
electroencephalogram
moustache
ambidextrous
cornucopia
gangster,
so what does,
gangster,
so what does,
gangster,
so what does,
gangster,
so what does.
#12 (senatorial/than the famous)
senatorial,
than the famous.
poe,
sitting alone
under,
gamble,
had gone,
arteriosclerosis,
sitting down with,
circumlocution,
lost him whom.
bury
den
beaux
elect
don't
ask
again
#13 (leaky alogrithm)
leaky algorithm
potbelly accompanist
ineffable seminar
vain template
warplane
anachronism
panacea
lackluster
proprioception
delusional
cityscape
corny
vampire
stroboscopic
birth
door
discrete
clitoris
godhead
automata
calibrate
pompous
impatient
familial
demagogue
you're
too
succinct
#14 (Anderson said)
Anderson said
you
needed
this
process
manner
regard
describe
Providers
versus
clients
Cases
impartial
encyclopediac
waltz
bureaucracy
infantile
prisonlike
psychopompous
trysts
your
job
is
at
stake
as
you
very
well
know
#15 (condominium is)
condominium is
abetting commonality
depressible
miltonic
fearsome
try
butterfield
brenda
triangulum
parental
thorn
kruger
prohibit
achromatic
despicable
embeddable
sculpture
friction
publish
or
peevish
#16 ("What are you talking/about?")
"What are you talking
about?"
dadaist
Holman
rifleman,
voice
certain phrases,
embryonic,
called on everyone,
bath,
latecoming women
tore,
hartley,
the swallows wings.
#17 (circumspect/associate/beatnik)
circumspect
associate
beatnik
rainfall
paradox
miranda
didn't
cuddle
depreciate
salacious
physiology
escapade
archaism
Ehrlich
another
angel
counterintuitive
jitterbugger
farfetched
slapstick
lunacy
this
is
the
best
oust,
example of real,
coverall,
to leave here?
osborne,
his shoes?
what,
ellipse,
that you're
having.
numbers
them interchange
widely
reflection
one
reflection
unsoluble
bribetaker
#10 (sundown)
sundown
devilish photokinesis
explode polity
downcast,
a thousand dollars.
rightward
flourish
upside
freewill
onyx
cahoot
suture
tambourine
mortise
juggle
dark
heartbreaking
unconscious
checkerboard
#11 (plaintive, involutarily)
plaintive,
involuntarily
moved apart;
revocable
cinder
cornbread
dynamo
electroencephalogram
moustache
ambidextrous
cornucopia
gangster,
so what does,
gangster,
so what does,
gangster,
so what does,
gangster,
so what does.
#12 (senatorial/than the famous)
senatorial,
than the famous.
poe,
sitting alone
under,
gamble,
had gone,
arteriosclerosis,
sitting down with,
circumlocution,
lost him whom.
bury
den
beaux
elect
don't
ask
again
#13 (leaky alogrithm)
leaky algorithm
potbelly accompanist
ineffable seminar
vain template
warplane
anachronism
panacea
lackluster
proprioception
delusional
cityscape
corny
vampire
stroboscopic
birth
door
discrete
clitoris
godhead
automata
calibrate
pompous
impatient
familial
demagogue
you're
too
succinct
#14 (Anderson said)
Anderson said
you
needed
this
process
manner
regard
describe
Providers
versus
clients
Cases
impartial
encyclopediac
waltz
bureaucracy
infantile
prisonlike
psychopompous
trysts
your
job
is
at
stake
as
you
very
well
know
#15 (condominium is)
condominium is
abetting commonality
depressible
miltonic
fearsome
try
butterfield
brenda
triangulum
parental
thorn
kruger
prohibit
achromatic
despicable
embeddable
sculpture
friction
publish
or
peevish
#16 ("What are you talking/about?")
"What are you talking
about?"
dadaist
Holman
rifleman,
voice
certain phrases,
embryonic,
called on everyone,
bath,
latecoming women
tore,
hartley,
the swallows wings.
#17 (circumspect/associate/beatnik)
circumspect
associate
beatnik
rainfall
paradox
miranda
didn't
cuddle
depreciate
salacious
physiology
escapade
archaism
Ehrlich
another
angel
counterintuitive
jitterbugger
farfetched
slapstick
lunacy
this
is
the
best
Thursday, June 10
#6 (curd socket)
curd socket.
diagonal typhoon
aflame
ductile
officious
encyclopedic
waltz.
earthy
bullhead
seduction
elk
bureaucracy
dump
acquittal.
no more
#7 someplace
boson,
for several pages,
astoria,
in the garden:
atlas,
a few moments,
no
mail
in
future.
admissible
dc
chink
bowie
item
they
also
indicate.
remember this way!
curd socket.
diagonal typhoon
aflame
ductile
officious
encyclopedic
waltz.
earthy
bullhead
seduction
elk
bureaucracy
dump
acquittal.
no more
#7 someplace
boson,
for several pages,
astoria,
in the garden:
atlas,
a few moments,
no
in
future.
admissible
dc
chink
bowie
item
they
also
indicate.
remember this way!
notebook: circa, 1986
My Summer Vacation
left justified
right margin
infinitesimal. This mal
so as to reverse
valorize the social and foreground the
responsibilities...but to continue
this way without a nexus
force draft
an intellectual binding
Twenty-five or thirty
appeared each time
take notice: the event
determines all subsequent events
but this entails no
responsibility.
These people are not
laughing because their
is les and les space
for the...
Yet it urv could appeal
no longer right. Certainly
voices, sun, sea, every
conceivable satisfaction.
This concept is Farm
Sea Nearness Friendshiop
Barnacles employ.
Near the doubt
Step and slap
Quadruple appearances,
Cards (ocean, n.b.)
Sensible decision. Unearth
The doubt
Previous prophecies
Pur in. Mistakes
Guarentee access
To human. Church
Requisites invisible distrust.
Privacy breeds complaint.
Portions of predictable piracy
Purify pretense to predicate
Possible places put previous
To poetry's pjenhold poetics, c.f.:
"Poetry is purchased
at the price of previous poetics."
Translation: the reverse
out of metaphor is memory's implied
gymnastics. Turn makes time.
Sun glimpses down on paired
aesthetics. The cost
of the sea is added
to the humourous intent
of bankruptcy. This
is the delirious serious,
which is twice a sfunny.
Given the series
of sequences bought
at the market of vallejo's
destiny. My Valley gir.
Plumb it, posey.
Pay the unfortunate
title a turn to the
fragments of red hills,
the limey's broad
circuitry, the barren
wasteland's sequestered
trekst.
What was first? Hellay
Hairport, fixture's
turning, wood carpentry,
a long climb down a
short hill (carport).
Welcome: a confusion
of salle de ruminants.
Priciplay. Fum-de-dum-dum.
Mishysterious. Biu drsd jptr.
by yjr v;off jpidr/.
O eo;; s;esud tr, r, nrt y jsy
oy esd y jrtr y sy o gr; y jrtr
smf v;odrdy yop upi, but even
this is not what I meant
to say. Put simply,
er es; lrf i1/2 s jo;; smf fpem
s jo;; (up hill and down hill)
tr, ember that. Tmrmbrt dyjsy
yjdr , odyslrd (remember that
these errors of jarticular deviance)
er mpypm;u 1/2itvjsdrf sy j jr
1/2 ovr pg r , 1/2 yu vpmy rmy (re, e, ber
that this was not only proiced
at invisible content) n iy s; dp
yp trdvir y jur r , proyopmd (but
also to salvage whatever feeling)
tr, somd bodon; r mdofr y jr'
eptfde (whaever is left
to words).
Still, come with me
(dyo;;. vp, r eyoj, r).
so that we can view
together (dpysy er vsm dyo;;
drr) something together (dpo, r y jomh yphryjrt)
My Summer Vacation
left justified
right margin
infinitesimal. This mal
so as to reverse
valorize the social and foreground the
responsibilities...but to continue
this way without a nexus
force draft
an intellectual binding
Twenty-five or thirty
appeared each time
take notice: the event
determines all subsequent events
but this entails no
responsibility.
These people are not
laughing because their
is les and les space
for the...
Yet it urv could appeal
no longer right. Certainly
voices, sun, sea, every
conceivable satisfaction.
This concept is Farm
Sea Nearness Friendshiop
Barnacles employ.
Near the doubt
Step and slap
Quadruple appearances,
Cards (ocean, n.b.)
Sensible decision. Unearth
The doubt
Previous prophecies
Pur in. Mistakes
Guarentee access
To human. Church
Requisites invisible distrust.
Privacy breeds complaint.
Portions of predictable piracy
Purify pretense to predicate
Possible places put previous
To poetry's pjenhold poetics, c.f.:
"Poetry is purchased
at the price of previous poetics."
Translation: the reverse
out of metaphor is memory's implied
gymnastics. Turn makes time.
Sun glimpses down on paired
aesthetics. The cost
of the sea is added
to the humourous intent
of bankruptcy. This
is the delirious serious,
which is twice a sfunny.
Given the series
of sequences bought
at the market of vallejo's
destiny. My Valley gir.
Plumb it, posey.
Pay the unfortunate
title a turn to the
fragments of red hills,
the limey's broad
circuitry, the barren
wasteland's sequestered
trekst.
What was first? Hellay
Hairport, fixture's
turning, wood carpentry,
a long climb down a
short hill (carport).
Welcome: a confusion
of salle de ruminants.
Priciplay. Fum-de-dum-dum.
Mishysterious. Biu drsd jptr.
by yjr v;off jpidr/.
O eo;; s;esud tr, r, nrt y jsy
oy esd y jrtr y sy o gr; y jrtr
smf v;odrdy yop upi, but even
this is not what I meant
to say. Put simply,
er es; lrf i1/2 s jo;; smf fpem
s jo;; (up hill and down hill)
tr, ember that. Tmrmbrt dyjsy
yjdr , odyslrd (remember that
these errors of jarticular deviance)
er mpypm;u 1/2itvjsdrf sy j jr
1/2 ovr pg r , 1/2 yu vpmy rmy (re, e, ber
that this was not only proiced
at invisible content) n iy s; dp
yp trdvir y jur r , proyopmd (but
also to salvage whatever feeling)
tr, somd bodon; r mdofr y jr'
eptfde (whaever is left
to words).
Still, come with me
(dyo;;. vp, r eyoj, r).
so that we can view
together (dpysy er vsm dyo;;
drr) something together (dpo, r y jomh yphryjrt)
Wednesday, June 9
Jack Kimball
(Pantaloons) {click here} essays Kimberly Lyons'
charming, memorable *Abacadabra* (Granary).
When Mitch Highfilll read this past Sunday,
he included a number of fascinating poems
dedicated to various famous French poets
such as Valery, Breton, Desnos. He ended
with might be called a poetic exorcism
dedicated to Artaud. Something weary seemed
to vanish from within, rising like smoke past
the black stage curtains of the Bowery
Poetry Club into the stratosphere.
(Good moment for Venus in transit).
Also, David Abel ought to read
here more often than every 5 years.
He was sensational!
(Pantaloons) {click here} essays Kimberly Lyons'
charming, memorable *Abacadabra* (Granary).
When Mitch Highfilll read this past Sunday,
he included a number of fascinating poems
dedicated to various famous French poets
such as Valery, Breton, Desnos. He ended
with might be called a poetic exorcism
dedicated to Artaud. Something weary seemed
to vanish from within, rising like smoke past
the black stage curtains of the Bowery
Poetry Club into the stratosphere.
(Good moment for Venus in transit).
Also, David Abel ought to read
here more often than every 5 years.
He was sensational!
#5 (poplulate/is specification)
populate
is specification
generated
represented
examples:
entities
languages
Hello
autotransformer
frightened you badly.
#6 (charcoal/convenient to watch)
charcoal,
convenient to watch,
flammable,
existed?
the foreigner,
crosscut,
prevent her from,
tyrosine,
unbelievable
scramble
arose
atonal yapping
populate
is specification
generated
represented
examples:
entities
languages
Hello
autotransformer
frightened you badly.
#6 (charcoal/convenient to watch)
charcoal,
convenient to watch,
flammable,
existed?
the foreigner,
crosscut,
prevent her from,
tyrosine,
unbelievable
scramble
arose
atonal yapping
Spam Poem #2
desideratum,
actually come back,
polite,
realm of reason,
revolt,
into the secretary's
bullseye,
fool in order,
colgate,
touched the hair
Spam poem #3
crank,
had a good,
indemnify,
all these words,
became still sadder,
having got where,
fitful,
wish to live.
dilapidate,
after
suffering over,
bassinet,
time you swore,
knowing that
some are lucky,
declare,
semantic,
strings have rotted.
spam poem #4
to
understand
what,
whether
he
could
chivalry,
cherubim,
fahrenheit,
beastie,
childhood,
bullfinch,
b
damn shard
desideratum,
actually come back,
polite,
realm of reason,
revolt,
into the secretary's
bullseye,
fool in order,
colgate,
touched the hair
Spam poem #3
crank,
had a good,
indemnify,
all these words,
became still sadder,
having got where,
fitful,
wish to live.
dilapidate,
after
suffering over,
bassinet,
time you swore,
knowing that
some are lucky,
declare,
semantic,
strings have rotted.
spam poem #4
to
understand
what,
whether
he
could
chivalry,
cherubim,
fahrenheit,
beastie,
childhood,
bullfinch,
b
damn shard
Tuesday, June 8
Monday, June 7
Admittedly never made to a whole
lot of poetry readings this season,
due to moving. Made it to a humdinger
yesterday, though, at the Bowery
Poetry Club. Mitch Highfill,
Kimberly Lyons & David Abel
(his first reading in New
York in many a moon) were,
in a word, dynamite!
David Abel kindly made
available works by each
of the readers in his
Envelope series. He also
showed a beautiful
collaborative video.
lot of poetry readings this season,
due to moving. Made it to a humdinger
yesterday, though, at the Bowery
Poetry Club. Mitch Highfill,
Kimberly Lyons & David Abel
(his first reading in New
York in many a moon) were,
in a word, dynamite!
David Abel kindly made
available works by each
of the readers in his
Envelope series. He also
showed a beautiful
collaborative video.
Sunday, June 6
(((((the))))
(((((fait))))(((((accompli))))
(((((BLOGLINK)))))
(((((CRUSHLIST)))))
(new links)
for June 6, 2004
((((THESE)))))(((((BLOGS)))))
(((((ARE))))))(((((HOT)))))
xzentrick libretti {click here}
incertain plume {click here}
A Private Studio {click here}
fin ripple formica {click here}
Flowers That Glide {click here}
OKIR {click here}
As/Is 2 {click here}
the poetry society of america {click here}
Never Mind The Beasts {click here}
Daniel Nester's Unpleasant Event {click here}
nonlinear poetry {click here}
Brand New Insects {click here}
The Jim Behrle Show {click here}
The Wily Filipino {click here}
solipsistic {click here}
Blogging Blog {click here}
Watermark Links {click here}
Watermark {click here}
Ruby Street {click here}
Maximum Go In The Resulting Hogshead {click here}
Whirling Meat For You {click here}
The Blog of Disquiet {click here}
UB Poetry Workshop {click here}
g r a p e z {click here}
this journal blug {click here}
pelican dreaming {click here}
Really Bad Movies {click here}
flingdump scattershot {click here}
************************************************************************************
other recent (((fait accompli))) (((bloglink crush lists))) {click here}
************************************************************************************
for further bloglink research
check out the link lists of the
above blogs, in particular: Pseudopodium Loglist {click here}
************************************************************************************
NEW!!!
((fait))((accompli))
((On))(( Deck))((CRUSH))((LIST))
(sighted/cited on other link lists)
Ivy is here {click here}
harry k. stammer {click here}
NEGATIVE WING SPAN {click here}
jgarverHay(na)ku {click here}
Postmodern Collage Poetry {click here}
mark young's series magritte {click here}
david prater::whatever {click here}
(((((fait))))(((((accompli))))
(((((BLOGLINK)))))
(((((CRUSHLIST)))))
(new links)
for June 6, 2004
((((THESE)))))(((((BLOGS)))))
(((((ARE))))))(((((HOT)))))
xzentrick libretti {click here}
incertain plume {click here}
A Private Studio {click here}
fin ripple formica {click here}
Flowers That Glide {click here}
OKIR {click here}
As/Is 2 {click here}
the poetry society of america {click here}
Never Mind The Beasts {click here}
Daniel Nester's Unpleasant Event {click here}
nonlinear poetry {click here}
Brand New Insects {click here}
The Jim Behrle Show {click here}
The Wily Filipino {click here}
solipsistic {click here}
Blogging Blog {click here}
Watermark Links {click here}
Watermark {click here}
Ruby Street {click here}
Maximum Go In The Resulting Hogshead {click here}
Whirling Meat For You {click here}
The Blog of Disquiet {click here}
UB Poetry Workshop {click here}
g r a p e z {click here}
this journal blug {click here}
pelican dreaming {click here}
Really Bad Movies {click here}
flingdump scattershot {click here}
************************************************************************************
other recent (((fait accompli))) (((bloglink crush lists))) {click here}
************************************************************************************
for further bloglink research
check out the link lists of the
above blogs, in particular: Pseudopodium Loglist {click here}
************************************************************************************
NEW!!!
((fait))((accompli))
((On))(( Deck))((CRUSH))((LIST))
(sighted/cited on other link lists)
Ivy is here {click here}
harry k. stammer {click here}
NEGATIVE WING SPAN {click here}
jgarverHay(na)ku {click here}
Postmodern Collage Poetry {click here}
mark young's series magritte {click here}
david prater::whatever {click here}
Notes scribbled at the Dieter Roth show
at MOMA and PS 1, Queens (through June 7)
and Lee Lozano at PS 1
(January 22- September 13, 2004)
Never "propose" a work
Work is doing. All thinking is play.
"Tear it up and start all over again"
A poet who "does" visual work:
ha-ha.
Connections are fortuitous. Things
want to, tend to be left alone.
Coverage.
Afterthought- best thought.
Notebook: taking yourself too seriously.
Comedians brilliant at hiding their
huffiness.
The artist's work wants to become
a replica of him or herself.
Dieter Roth's (double) self-portraits.
Choose the proper distance from
everything and everyone.
Thought slides out: or nothing
It's surprising how few words you
need to understand a language-
if you need or want to.
Artist: don't let them stop you
& make a living.
History forces you to remember.
Sometimes this is good. But love
has the best kind of memory.
When attraction fades, things
fall away.
Eclipsed, some one stumbled
across you in the dark. These
are frequently the best kinds
of meetings.
Careless forms of ordering.
Trans-lucent.
Let yourself be at least
a tiny bit disoriented.
You find things out better
this way.
Fascination results from the
proper distance- comraderie
between the living and the dead.
Until you allow yourself to
evaporate (disappear) you will not feel
(be?) loved.
Science fiction of photographed
machines and objects.
Life: too much "pulling rank."
People's power trips make
everyone miserable (power/authority).
Graffiti in MOMA men's room:
"you think you're so ambiguous"
Lee Lozano (circa: 1968-1972)
"All weapons are boomerangs"
The other day googled
"spell suspicion" and (happily)
got this:
-from The Main Page {click here}
"This is kind of upsetting to me, especially because I've always lived with the niggling suspicion that I can't spell suspicion."
at MOMA and PS 1, Queens (through June 7)
and Lee Lozano at PS 1
(January 22- September 13, 2004)
Never "propose" a work
Work is doing. All thinking is play.
"Tear it up and start all over again"
A poet who "does" visual work:
ha-ha.
Connections are fortuitous. Things
want to, tend to be left alone.
Coverage.
Afterthought- best thought.
Notebook: taking yourself too seriously.
Comedians brilliant at hiding their
huffiness.
The artist's work wants to become
a replica of him or herself.
Dieter Roth's (double) self-portraits.
Choose the proper distance from
everything and everyone.
Thought slides out: or nothing
It's surprising how few words you
need to understand a language-
if you need or want to.
Artist: don't let them stop you
& make a living.
History forces you to remember.
Sometimes this is good. But love
has the best kind of memory.
When attraction fades, things
fall away.
Eclipsed, some one stumbled
across you in the dark. These
are frequently the best kinds
of meetings.
Careless forms of ordering.
Trans-lucent.
Let yourself be at least
a tiny bit disoriented.
You find things out better
this way.
Fascination results from the
proper distance- comraderie
between the living and the dead.
Until you allow yourself to
evaporate (disappear) you will not feel
(be?) loved.
Science fiction of photographed
machines and objects.
Life: too much "pulling rank."
People's power trips make
everyone miserable (power/authority).
Graffiti in MOMA men's room:
"you think you're so ambiguous"
Lee Lozano (circa: 1968-1972)
"All weapons are boomerangs"
The other day googled
"spell suspicion" and (happily)
got this:
-from The Main Page {click here}
"This is kind of upsetting to me, especially because I've always lived with the niggling suspicion that I can't spell suspicion."
Saturday, June 5
"How would I know about your life?...
There's a fine line between us
Such a fine fine line
There's a fine line between us
And it's always on my mind...
There's a fine line between us
All the way...
There's a fine line between us
Can't waste another day...
Such a fine line..."
The Cars
"Door to Door"
1987
**************
Free Sample
night or day
trapped or free
love or hate
friend or enemy
beautiful or ugly
happy or sad
empty or full
fast or slow
deep or shallow
true or false
rich or poor
sane or insane
rational or irrational
dead or alive
open or closed
lost or found
slow or fast
hopeful or hopeless
smart or stupid
best or worst
giving or taking
conservative or liberal
precious or useless
lonely or social
friendly or cold
famous or obscure
wanted or shunned
hated or loved
special or ordinary
genius or idiot
cool or square
hip or schmucky
tasteful or kitchy
him or her
gourmand or gourmet
classy or sloppy
hot or cold
sweet or sour
stoned or straight
boring or fascinating
success or failure
trippy or mundane
sophisticated or schlumpy
generous or cheap
masochist or sadist
soft or hard
shameful or carefree
slippery or steady
sly or frank
sexy or turn-off
wasteful or frugal
holy or sinful
less or more
fat or thin
thought of or unthought of
idea or thing
fat or thin
tall or short
sick or healty
sun or shade
round or square
algebra or geometry
promising or has been
in or out
up or down
inside or outside
on top of or below
dress or skirt
pants or shirt
edge or top
line or hole
one of us or one of them
goofy or graceful
brilliant or stupid
playful or careless
simple or complex
necessary or irrelevant
helpful or helpless
door or floor
staircase or elevator
umbrella or hat
brilliant or stupid
planful or careless
third or fifth
sweet or nasty
busy or lazy
quiet or loud
melody or rhythm
word or phrase
solid or gas
burning or wet
round or flat
tiny or huge
animal or vegetable
organic or inorganic
hollow or full
listen or speak
agree or disagree
right or wrong
spender or saver
tax or spend
true or false
real or unreal
house or home
starved or stuffed
smart or idiotic
deep or pointless
sense or nonsense
humorous or serious
well read or illiterate
honored or despised
enraged or relaxed
the same or different
chaser or chased
putrid or pure
pretty or plain
tortured or serene
helper or hurter
killer or saviour
healed or dying
faith or mistrust
optimist or pessimist
profundity or blather
talkative or quiet
mute or magnificent
prayer or curse
heaven or hell
sky above or mud blow
civilized or savage
sunny or shady
thirsty or quenched
praised or despised
this or that
something or nothing
mine or yours
ours or theirs
work or relax
listen or sing
play or record
bright or fading
birth or death
on or off
first or last
fahrenheit or centigrade
president or criminal
friend or foe
lover or hater
sex or celibacy
kiss or turn away
embrace or avoid
loved or unloved
held or unheld
sculpture or painting
poem or novel
paragraph or sentence
kill or be killed
boy or girl
sexy or drab
naked or clothed
event or dream
past or present
ocean or lake
sincerity or pretension
give or take
accuse or forgive
poetry or prose
faithful or faithless
suspicion or trust
courage or cowardice
shy or bold
simple or complex
accuser or accused
realist or abstract
language or formalist
surrealism or social realism
lonely or popular
preface or text
outside art or insider art
museum or gallery
installation or sculpture
psychotic or sane
paranoid or depressed
obsessive compulsive or arrogant vindictive
science or art
cool or square
hegemony or free market
fall or rise
cash or check
shiny or dull
old or new
ancient or modern
brilliant poet or total jerk
left or right
sloppy or neat
conventional or innovative
interesting or boring
first or last
remembered or forgotten
canonical or obscure
blog or website
publish or blog
question or answer
resident or guest
quick or slow
witty or ponderous
dreamer or driven
confident or insecure
helpful or hurtful
all or nothing
more or less
traitor or hero
panacea or pest
good or bad
flying or landing
spontaneous or stiff
discretion or flamboyance
skirt or dress
mineral or plant
animal or vegetable
sadist or masochist
exhibitionist or voyeur
joy or sorrow
happiness or tears
lakes or oceans
mountains or ocean
below or above
stop or start
continue or break off
follow or lead
cut or attach
turn or stay
come or go
hold back or give in
stay or go
add or subtract
change or remain the same
continue or vary
develop or maintain
hide or emerge
tickle or pat
seem or be
old or young
then or now
*************************
after writing this I came
across "Quarrels between the Purists and the purists"
read it right now on
exzentrick libretti {click here}
it's in the air or it isn't anywhere
There's a fine line between us
Such a fine fine line
There's a fine line between us
And it's always on my mind...
There's a fine line between us
All the way...
There's a fine line between us
Can't waste another day...
Such a fine line..."
The Cars
"Door to Door"
1987
**************
Free Sample
night or day
trapped or free
love or hate
friend or enemy
beautiful or ugly
happy or sad
empty or full
fast or slow
deep or shallow
true or false
rich or poor
sane or insane
rational or irrational
dead or alive
open or closed
lost or found
slow or fast
hopeful or hopeless
smart or stupid
best or worst
giving or taking
conservative or liberal
precious or useless
lonely or social
friendly or cold
famous or obscure
wanted or shunned
hated or loved
special or ordinary
genius or idiot
cool or square
hip or schmucky
tasteful or kitchy
him or her
gourmand or gourmet
classy or sloppy
hot or cold
sweet or sour
stoned or straight
boring or fascinating
success or failure
trippy or mundane
sophisticated or schlumpy
generous or cheap
masochist or sadist
soft or hard
shameful or carefree
slippery or steady
sly or frank
sexy or turn-off
wasteful or frugal
holy or sinful
less or more
fat or thin
thought of or unthought of
idea or thing
fat or thin
tall or short
sick or healty
sun or shade
round or square
algebra or geometry
promising or has been
in or out
up or down
inside or outside
on top of or below
dress or skirt
pants or shirt
edge or top
line or hole
one of us or one of them
goofy or graceful
brilliant or stupid
playful or careless
simple or complex
necessary or irrelevant
helpful or helpless
door or floor
staircase or elevator
umbrella or hat
brilliant or stupid
planful or careless
third or fifth
sweet or nasty
busy or lazy
quiet or loud
melody or rhythm
word or phrase
solid or gas
burning or wet
round or flat
tiny or huge
animal or vegetable
organic or inorganic
hollow or full
listen or speak
agree or disagree
right or wrong
spender or saver
tax or spend
true or false
real or unreal
house or home
starved or stuffed
smart or idiotic
deep or pointless
sense or nonsense
humorous or serious
well read or illiterate
honored or despised
enraged or relaxed
the same or different
chaser or chased
putrid or pure
pretty or plain
tortured or serene
helper or hurter
killer or saviour
healed or dying
faith or mistrust
optimist or pessimist
profundity or blather
talkative or quiet
mute or magnificent
prayer or curse
heaven or hell
sky above or mud blow
civilized or savage
sunny or shady
thirsty or quenched
praised or despised
this or that
something or nothing
mine or yours
ours or theirs
work or relax
listen or sing
play or record
bright or fading
birth or death
on or off
first or last
fahrenheit or centigrade
president or criminal
friend or foe
lover or hater
sex or celibacy
kiss or turn away
embrace or avoid
loved or unloved
held or unheld
sculpture or painting
poem or novel
paragraph or sentence
kill or be killed
boy or girl
sexy or drab
naked or clothed
event or dream
past or present
ocean or lake
sincerity or pretension
give or take
accuse or forgive
poetry or prose
faithful or faithless
suspicion or trust
courage or cowardice
shy or bold
simple or complex
accuser or accused
realist or abstract
language or formalist
surrealism or social realism
lonely or popular
preface or text
outside art or insider art
museum or gallery
installation or sculpture
psychotic or sane
paranoid or depressed
obsessive compulsive or arrogant vindictive
science or art
cool or square
hegemony or free market
fall or rise
cash or check
shiny or dull
old or new
ancient or modern
brilliant poet or total jerk
left or right
sloppy or neat
conventional or innovative
interesting or boring
first or last
remembered or forgotten
canonical or obscure
blog or website
publish or blog
question or answer
resident or guest
quick or slow
witty or ponderous
dreamer or driven
confident or insecure
helpful or hurtful
all or nothing
more or less
traitor or hero
panacea or pest
good or bad
flying or landing
spontaneous or stiff
discretion or flamboyance
skirt or dress
mineral or plant
animal or vegetable
sadist or masochist
exhibitionist or voyeur
joy or sorrow
happiness or tears
lakes or oceans
mountains or ocean
below or above
stop or start
continue or break off
follow or lead
cut or attach
turn or stay
come or go
hold back or give in
stay or go
add or subtract
change or remain the same
continue or vary
develop or maintain
hide or emerge
tickle or pat
seem or be
old or young
then or now
*************************
after writing this I came
across "Quarrels between the Purists and the purists"
read it right now on
exzentrick libretti {click here}
it's in the air or it isn't anywhere
Friday, June 4
Thursday, June 3
notebook: 7/11/86
Forget it in order to remember it
At an opportune moment
I had the impression of walking in on someone's
Turbulant hypothesis
A word like this might drive one out
Content with roses
No one cares about
Not quite right: an image
Of blurred appears
On the right hand screen
No, someone else's costly dream,
Reality was like that, then
No one to bother you, ever again,
Drat it, mist, vapors, queens
Ennumerate specific matrix
No, describe appropriate abstract boundaries
No, slip into cross-weave of nascent forms
No, utter wisps of immediate fizz in workshop hallway
There: an alleyway disappears
And a set of intersecting mixtures fuzzes out
Begins with a diatribe against already outmoded heresies
Different times in different places
Fragrances, meanings, doubts
Certain collected articles, perhaps
Thousands of tiny items collected in disarray
At the edge of- dismissed.
A curio shop, a concatenation of selected souvenirs
Shelves arranged randomly, a light,
And memories buzzing around it like flies
In the night: a sensation of squeezing the rind,
That's why z's predominate
They sleep, disproportionate in the dictionary
A constructed proximity nears confusion
And, at long last
Acres of travelling trucks, norms blasting in unison
A map unfolding yields grammatical categories
A bifurcation of solids pursuades the shape
Of come to things, the airy, steady stream of heat
Finally divides gratification conveniently:
Here, the directions to the underground
As it has existed for centuries, gradually burrowing its way
Towards the surface where nothing changes.
One shaft of light is best: it pinpoints an exact time of leaving,
Where the center, parted from meaning,
Holds fast to the treasured detail
Where the proposal of welcome is gratified
By sudden recognition, where the seaweed is mixed
With innumerable types of illegible messages,
Float endlessly to the surface, in a cloud of indecipherable signs
Revealing the procedures that both divide and connect
That translate the frequencies between thing and thought
Forget it in order to remember it
At an opportune moment
I had the impression of walking in on someone's
Turbulant hypothesis
A word like this might drive one out
Content with roses
No one cares about
Not quite right: an image
Of blurred appears
On the right hand screen
No, someone else's costly dream,
Reality was like that, then
No one to bother you, ever again,
Drat it, mist, vapors, queens
Ennumerate specific matrix
No, describe appropriate abstract boundaries
No, slip into cross-weave of nascent forms
No, utter wisps of immediate fizz in workshop hallway
There: an alleyway disappears
And a set of intersecting mixtures fuzzes out
Begins with a diatribe against already outmoded heresies
Different times in different places
Fragrances, meanings, doubts
Certain collected articles, perhaps
Thousands of tiny items collected in disarray
At the edge of- dismissed.
A curio shop, a concatenation of selected souvenirs
Shelves arranged randomly, a light,
And memories buzzing around it like flies
In the night: a sensation of squeezing the rind,
That's why z's predominate
They sleep, disproportionate in the dictionary
A constructed proximity nears confusion
And, at long last
Acres of travelling trucks, norms blasting in unison
A map unfolding yields grammatical categories
A bifurcation of solids pursuades the shape
Of come to things, the airy, steady stream of heat
Finally divides gratification conveniently:
Here, the directions to the underground
As it has existed for centuries, gradually burrowing its way
Towards the surface where nothing changes.
One shaft of light is best: it pinpoints an exact time of leaving,
Where the center, parted from meaning,
Holds fast to the treasured detail
Where the proposal of welcome is gratified
By sudden recognition, where the seaweed is mixed
With innumerable types of illegible messages,
Float endlessly to the surface, in a cloud of indecipherable signs
Revealing the procedures that both divide and connect
That translate the frequencies between thing and thought
Wednesday, June 2
Early in the day,
I visualized a mirror,
as the voice of
the typewriter, but
that type of writer's
voice, originating
letters heard in
reflected freequency.
"I hope *you* heard this,"
and, yet satisfied,
sadist fried. Flutter
hamong the jornicles,
lift salmon once from
Cachuco. fold in
z-n butter, mix,
add tractor, subtract
contractor (the one thing=
yjr pmr yjomh.
dyo;;. ejprbrt fryrt, omrd
yjod vpfr yjptpihj;u.
od 1/2sty;u oyd pemrt/)
Properties are limited,
visions bondles.
Fission fondles paper.
The herd is watt eyes
lissome too. And that
Youmoreusly.
8/31/86 (a;iec of the pi.)
I visualized a mirror,
as the voice of
the typewriter, but
that type of writer's
voice, originating
letters heard in
reflected freequency.
"I hope *you* heard this,"
and, yet satisfied,
sadist fried. Flutter
hamong the jornicles,
lift salmon once from
Cachuco. fold in
z-n butter, mix,
add tractor, subtract
contractor (the one thing=
yjr pmr yjomh.
dyo;;. ejprbrt fryrt, omrd
yjod vpfr yjptpihj;u.
od 1/2sty;u oyd pemrt/)
Properties are limited,
visions bondles.
Fission fondles paper.
The herd is watt eyes
lissome too. And that
Youmoreusly.
8/31/86 (a;iec of the pi.)
Tuesday, June 1
"American poetry I've given you all and now nothing has been made to happen.
American poetry ten bucks per book, on average..."
Daniel Bouchard tell it like it is (& isn't) in "American poetry" right now
via The Jim Behrle Show {click here}
via The UB poetics listserv {click here}
American poetry ten bucks per book, on average..."
Daniel Bouchard tell it like it is (& isn't) in "American poetry" right now
via The Jim Behrle Show {click here}
via The UB poetics listserv {click here}
"Random information/of an unpoetic nature/
an irrelevant concept/we think in collective terms/
an experiment of some sort/no North American collective can/
be like this/discussing all the time who you can trust/
so you can discard your reponsibility/and blame procedure/
or let it be automatically flawless/as a social dream/
with no bad love affairs either/"
from *Cuban Journal: A Poet in the Venceremos
Brigade, 1970*
by Joel Sloman
Zoland Books
Cabridge, Massachusetts, 2000
(p. 99)
******************************************************
via *In Place of Chairs* :Ann Tardos and Jackson Mac Low read in Cambridge, Mass {click here}
an irrelevant concept/we think in collective terms/
an experiment of some sort/no North American collective can/
be like this/discussing all the time who you can trust/
so you can discard your reponsibility/and blame procedure/
or let it be automatically flawless/as a social dream/
with no bad love affairs either/"
from *Cuban Journal: A Poet in the Venceremos
Brigade, 1970*
by Joel Sloman
Zoland Books
Cabridge, Massachusetts, 2000
(p. 99)
******************************************************
via *In Place of Chairs* :Ann Tardos and Jackson Mac Low read in Cambridge, Mass {click here}
Monday, May 31
Saturday, May 29, 2004
New poem right now on The Nightjar (Jean Vengua) {click here}:
"Rush of prevalent life forms style/"
New poem right now on The Nightjar (Jean Vengua) {click here}:
"Rush of prevalent life forms style/"
Sunday, May 30
notebook: 7/24/88
Time travel. Something
in Dick's book about
two poles- the way
the Universe works.
One end, essentially
strong & superficial
is "broadened" & deepened by
the receiver.
The idea is that
time travel needs two
people- in the story
a male and a female.
The organization is
carrying out time travel
experiments which are
failing. It turns
out these "failures"
are a cover-up for
a plot to send nearly
everybody 20 years
into the future. This
was the aristocrats'
plot to "dump" the
"modernistic" concepts of
ownership.
A "caseload."
One individual example-
someone has to follow
up the time-travel
case.
A to C- "one wants
to be free to the extent
one knows one is a slave."
Time travel. Something
in Dick's book about
two poles- the way
the Universe works.
One end, essentially
strong & superficial
is "broadened" & deepened by
the receiver.
The idea is that
time travel needs two
people- in the story
a male and a female.
The organization is
carrying out time travel
experiments which are
failing. It turns
out these "failures"
are a cover-up for
a plot to send nearly
everybody 20 years
into the future. This
was the aristocrats'
plot to "dump" the
"modernistic" concepts of
ownership.
A "caseload."
One individual example-
someone has to follow
up the time-travel
case.
A to C- "one wants
to be free to the extent
one knows one is a slave."
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