One should not, therefore, consider Chuya in the context of Western poetry. He wrote not within its traditions, only partly out of them. Fundamental linguistic and prosodic differences between Japanese and English mean that while incorporating whatever Western formal elements he could, Chuya was obliged to make Japanese versions of others. In his sonnets, for example, since Japanese is non-accentual, he refigures iambic pentameter as waka-form syllabic lines. But then Hölderlin, as if aggravated by the knowledge of all things divine, dreamt of nothing but what in the New Testament cannot be said.
Staring after it,
that yellow butterfly. I can remember now
the whistles of the tofu vendors
back and forth, the telephone pole
clear against the evening sky.
Then he turned back to me and said “I ...
yesterday, I flipped a stone over that weighed
maybe a hundred pounds.” And so I asked
“how come? and where was that?”
In which Don Cherry materialises in Paris to prowl the streets, joust with the gargoyles of Notre Dame, and encounter some ancient Egyptian statuary. This is listed all over the web as being from 1973 but more authoritative French sites say it’s from 1967, as does IMDB. Cherry’s music also sounds close to the improvised Mu sessions Paris two years later by appendages and kosher studies of truth / Annihilation Seraphs over again? / Sovereign of line on the face seaweed / hollow cube stylus white gold / they are growing old together into / archetypal generation which is a dwarf star / A lion is not much more than this. Outside the violas are standing erect. Yet interspecies love is not the instinctive laughter we pretend it is. Each air bubble has significance.
I left my heart in the teeth of jumper-cables —
black tongue, superfluous nipples …
By The Time I hit the yellow tape —
it was already turning red …
I held my violet up;
It made a signal squeak
I am typing this on my phone because I don’t remember my password. I want to write you something from my computer, something thought-out and crackling with urgency or the hyperactive nervous system translated into language I am sitting on a bed in Ridgewood that belongs to a cool person named Ashley, awake because I was separated from my sleeping pills and so am forced to confront myself or a public self that was lost a couple years ago when life became a pile of shit laced with diamonds that represents the proverbial difficult yet “valuable” lesson. I am here because I was also separated from my journal. How is this possible, that I feel such intense separation anxiety being away from my journal? Because my journal has been my main company these last couple years but if I am to be really honest with myself I’d have to admit it has become a way of avoiding the world. It’s where I hide because … because … I am afraid. I’m losing it. Wanted to say everything tonight or wonder aloud how it is possible to go to sleep after an anti-police / Ferguson solidarity march, especially when you are separated from your pills. Wanted to write certain moments, to burn certain images into my head or try to make sense of the intangible intensities of being alive like the ebb and flow of the energy of the crowd or the fever pitch of the collective voice when group #1 is unified with group #2 making us a mass twice as large and loud. This was New York City. I wore my thrift store Puma sneakers and carried my platform shoes in a plastic bag so I could run.
I mean, when I chuck rocks
I’m walking the LABRYINTH
I CAN NEVER SPELL LAYRYNTH
Fuck. For now, though, let me make two further points. One is about the need to enlarge the conventional conception of the military-industrial complex. It has already been extended in all sorts of ways, of course – the Military-Industy-Media-Entertainment complex (MIME) and the Military-Academic-Industrial-Media complex (MAIM) to name just two – but it has become increasingly clear that the producers and designers of military equipment also have domestic police forces in their sights (sic). Like, Jane’s Police & Homeland Security Equipment delivers a comprehensive view of law enforcement and paramilitary equipment in production and service around the world, providing A&D businesses with the market intelligence that drives successful business development, strategy and product development activity, and providing military, security and government organizations with the critical technical intelligence that they need in order to develop and maintain an effective capability advantage …
This great gift is worth
the unhappy girl fed bitter grass
now, when I (yellow ash)
perhaps even herself (ash)
and Caesar’s paramour
The Great, whom everyone fears
his head with one finger
… and so the state apparatus
… the pretty shimmer of inner goo
… a chest full of potatoes
… clandestine mega metal safety box … in other words, the structural law of the causality of history is the detour through and by means of the other scene. Let us say, parodying Marx, that economy has no more a ‘history of its own’ than does ideology, since each has its history only through the other that is the efficient cause of its own effects. There is an impossible to eradicate aspect of equivocity in the lived reality of the everyday which condemns it to the status of a quasi-object, not susceptible to a direct approach: hence to engage in the pursuit of the philosophy of the quotidian is to take the risk of thinking instability, movement, blurring, where only partial syntheses operate, themselves called into question; communism means free weed and milkshakes think about it people.
[Note: Sources: Christian Nagle, “Christian Nagle on Chuya Nakahara”, at Asymptote, Paul Stubbs, “The Return To Silence — An Essay On Friedrich Hölderlin”, at Paul Stubbs, poet, 17 Aug 014; Nakahara Chuya, “Autumn Poem” (trs. Jerome Rothenberg & Yasuhiro Yotsumoto), quoted in Jerome Rothenberg, “Nakahara Chuya: Four Poems Newly Englished”, at Jacket2, 19 Aug 014; John Coulthart, “Don Cherry 1967”, at Feuilleton, 21 Aug 014; Nada Gordon, “‘2008’ (after AN)”, “Alexithymia”, at How2 vol.1 no.3; Tyrone Williams, “Descant”, at Poetry Foundation; Brenda Hillman, Cascadia, at Blue Flower Arts; Jackie Wang, “Is anyone there”, at Ballerinas Dance With Machine Guns, 21 Aug 014; JBR; John Sakkis, “52. A Map Predetermined And Change- Laura Werthington / Fence Books”, at Both Both, 21 Aug 014; JBR; Derek Gregory, “War comes home”, at Geographical Imaginations, 21 Aug 014; Lanny Quarles, “Gaius Licinius Macer Calvus”, at Jellybean Weirdo With Electric Snake Fang, 21 Aug 014; Frances Kruk, A series of perceptual failures and reckless reckless cutting; Etienne Balibar, and Pierre Macherey, quoted in “Dialectics of the Other Other Scene: On Balibar and Macherey (with apologies to Kanye)”, at Unemployed Negativity, 21 Aug 014; Zoe, “communism …”, at I Have Absolutely No Idea, 21 Aug 014]