This journey is not for beginners, Hentoff is right. But it is the visit of the blue lotus. Speaking of which, at the time photography was invented, it is said that those who saw their own faces in pictures could not help but feel a kind of abhorrence — just like hearing a tape recording of one’s own voice for the first time. We see or hear a kind of heart-brace of image-thought-whisper-boom-boom-cutinterruption-edit-power-down-proliferation-im- ... a kind of purge of silence itself, what Hegel called a ‘necessary kenosis’. It is perhaps no coincidence that the film which Medina himself says began the period of creativity which lead to 88:88, Le boulet n’est pas passé loin, is choregraphed to a recording of Kanye’s 2013 ‘London rant’. At one point towards the end of Le boulet ... Medina’s voice kicks in over the top (of Kanye), reading from an appendix from Logics of Worlds. Something like a new prior event is born here, as Kanye’s lament fades into Badiou’s staying up all night to doubt the event of the event itself, seeming, perhaps, to (in)secure it just in time, as we almost must ...
The world is not an argument
Light in my weird skin
Rows of humongous cement tubes
The driver announces each stop to her empty bus
Most of all this learning is just dissonance placation
You know the paper is worth because it has complicated flaws under the pyramid
The page with the lyrics you searched for starts to play a different song
Have you ever imagined mopping blood off an escalator?
What is a leaf but a participant?
Also, stripes on tropical fish
“Once I pictured all of you in parachutes”
It was nice to think the sample size of earworms shrunk
One exciting way a cockroach gets to enter your home is thru the shower drain, so why do my friends make all these plans?
Tell me to my face my poetry isn’t sad enough
PlanToys is the first company to manufacture toys using wood from rubber trees that no longer provide latex
Baby that’s an ass nice exit ramp
Commodity security no hidden fees
America waddles across the whole parking lot at whatever AM
Thank you for your participation in our sustainability
Often you will see one half of a relationship talking into a soda bottle as if it’s a microphone
Behind me in line is a guy buying cough drops and milk
Y + B + right paddle combo
Under this announcement, Energy Transfer Partners must stop construction of the pipeline on the Standing Rock Sioux’s ancestral homelands until an environmental review has been conducted that includes public input
... knowing “mint trees” wasn’t right at all
Do you eat standing up?
The best one-sentence summary of what philosophy is up to was given by Wilfrid Sellars in 1962: philosophy is concerned with “how things in the broadest possible sense of the term hang together in the broadest possible sense of the term.” Nononono colors ... Roombeebeebee ... ulTimmly ... go ... Baha. Error, Error! Hello ... you know ... hey ... “Some days he was so full of joy that he looked like a fetus daubing the wall with his placenta.” The film depicts the lethal ocean of Kristeva’s Black Sun. And so it is that we remain in the hold, in the break, as if entering again and again the broken world, to trace the visionary company and join it. This contrapuntal island, where we are marooned in search of marronage, where we linger in stateless emergency, is our mobile, constant study, our lysed cell and held dislocation, our blown standpoint ... The honey establishes the actual’s mis-business ... I mean, I’m not scared or roaches or ghosts, I kill roaches with my bare hands, but regrettably I am terrified of basic everyday stuff like going to the grocery store. Like if you were to take a cotton ball between your fingers and smoosh it, or maybe if someone bit a cotton t-shirt. The idea of putting cotton in my mouth makes me want to die, and in fact, me writing this is making me feel very uncomfortable so I’m going to stop. I have a phobia of musical theatre. While I don’t care for watching musicals on TV, it’s live theatre that gets into me like this. Also, anything having to do with toenails or fingernails. Like a jar of stray buttons that are supposed to be on shirts. The spaces under a subway train. So we were in New Orleans, and I was very tired, and Matt told me don’t worry about taking the only bed, he’d once spent a legendary stretch — four hundred days, let’s say — sleeping on a porch, and, being very tired, I took the bed and thought, “But that qualifies you to not do it again, to have earned this bed.” That’s one view. I’d pitch in, though, because I no longer spend my days in such a high school. Like, “Life could always be better / worse.” But Hart’s poetry is more concerned with “some deep hum over the water” than in a puppet show of easy metamorphoses; this comes through, formally, in a dialectic that runs between the seat on the see-saw marked BURST and the one marked STRUCTURE. I mean it with the biggest “R.” I mean: Rhinos, weasels, demi-gods, moss.
Now I thrust my stomach out into the world
rubbing it and shouting
that I am founding a new religion
in which I eat other gods OH EM GEE
I just realized BUDDHA HAS BOOBS! HAHAHAHA (and
thank god because I’ve kind of got man-breasts myself
Now I thrust my stomach out into the world because the root-tangled ladder beckons us into a lexical cave of Greek descent, a refuge for recombinatory morphemic play that promises to snarl us into kinky couplings. I trip down it, down the OED’s listing for ‘sym- prefix’. Sunlight fades. My vision gives way to differently sensitive senses, and I stick out a sorely inadequate primate snout to sniff up a fix of troubled terms. The scent of etymological humus – a real terra preta – grows rich as I sidle alongside sym’s attachment to another old companion, -phile: symphile, symphilic, symphilism. They live well with a panoply – maybe even a pantheon – of other syms: symbiosis and symbiogenesis, sympoeisis and even symanimagenesis. My polycurious arithmetic sticks to –phile, to phil. Is there any better lexeme to denote how lovingly sweet and dirty companions achieve gustatory pleasures across species divides in hot times? “It matters what thoughts think thoughts. It matters what knowledges know knowledges. It matters what relations relate relations. It matters what worlds world worlds. It matters what stories tell stories.” Urgent times call for resurgent measures. The trembles that Trouble feels into me feel warm. These syms, the butterflies and their Camilles, inhabit vibrant communities of other syms. I love the Camilles. Tropical leafcutters can really do a number on their vegetational surrounds. Page 11, line 15: “or if its derivation is erased,” should be cut. Page 12, line 30: line should be followed by a stanza break. Page 23, line 12: first word should be “loss”. Page 27, line 12: first word should be “tricked”. Page 73, lines 12, 13: verbs “rose” and “dressed” should be in present tense. Page 74, line 10: ditto. Page 79, paragraph 1, sentence 2: sentence should begin “If no necessary relationship ...” Page 81, line 7: the indefinite article should be removed. Page 87, paragraph 2, sentence 2: the first “but” should be “put”. Page 100, line 9: the opening quotation mark at the beginning of the line should be deleted. Page 103, paragraph 3, sentence 2: the definite articled between “marshals the passions to” and “generate in a person” should be struck. Page 103, paragraph 3, sentence 5: the definition of justice quoted is given by Thrasymachus, not to him. Page 108, paragraph 4, sentence 3: “precisely” at the end of the sentence should be rendered “precise”. Page 109, paragraph 2, sentence 2: should read, “If Athens is the mind, then Piraeus ...” Page 118, paragraph 2, sentence 1: the middle of the sentence should read, “within the domain of masculinity”. Page 119, paragraph 2, sentence 4: the word “geek” should be in the plural. Page 134, paragraph 1, sentence 2: The sentence reads as though considering the veteran as something abject is to have contempt for him or her, when in fact, what is intended is that “contempt for the vet” refer to the compulsion to revere the vet, to “see the vet as anything but the residual smear of [state] violence.” Page 142, paragraph 1, sentence 2: “The poems is dedicated ...” should obviously read, “The poem is dedicated ...” “Odwalla” is actually not a character from traditional African mythology; the Art Ensemble created a new myth. They are presenting their art as messengers and priests from a parallel nowhere world. In concert, however, frontman Bowie always appeared like a physician in a white lab coat, without any face paint and bearing rimless glasses that gave him an intellectual type flair. Most obviously, tho, these structures take the form of either genuine confusion or intentional paronomasia. Misunderstandings are ubiquitous in a, with absurd and often inexplicable confusions between “bear” and “there”; “heart sink” and “heart think”; “rat takers” and those who will “take the rap”; Il Pirata and “a piranha”; “phallus,” “floss,” and “frog” — and, further and more tellingly, between “filmed” and “filled”; “appointments” and “disappointments”; “meeting us” and “meaningless.” At other times, the speakers do not seem to be aware of the degree to which they are propelled from one topic to another by such displacements. “Punishing,” for instance, seems to lead to “publishing”; “climax” suggests “Max”; a confusion between “kit” and “kid” prefigures “kidding”; and a mention of “steel” reappears as “stealing.” At one moment, late in a long day of amphetamine overuse, Ondine is unable to complete his sentences and finds himself caught in the proliferating pull of the signifier, skipping with a manic stutter from “Via” to “Vail vile Vial” to “VOIL, I think. Voil Val // I dunno.” Dialogue moves from “kicks” to “tricks,” “hospital” to “hospitality,” “Parcival” to “parcel” to “parts.” Ondine and Taxie construct a punning name around the paragogic sequence from split to spit to shit. With a play on “stop” as the punctuation mark of the period, Ondine and Rink (Chuck Wein) coax “groin” into “ground” via several carefully negotiated permutations:
O—Testing challenge witness, grointing?
>O—Grointo, growing to
R—Growing to a stop.
O—That’s, you’re using something else there, right.
R—Yeah, ground to a stop ... Testament challenge witness, growing to a stop, haltingly it got to identity.
Underwriting this exchange is the etymology of “testify,” from the Latin testis, meaning both a witness and the male reproductive gland. The connection between the two early denotations appears to be either that only males were permitted to take part in certain aspects of Roman legal proceedings or that by swearing to tell the truth one figuratively — and perhaps quite literally — laid one’s balls on the table. In either case, the history of the word takes on a certain charge in the context of Warhol’s drag queen entourage and the pseudonyms Norman Billiardballs (Norman Holden) and Irving Du Ball (Lester Perskey). Ondine, moreover, explains that the witnessing testament of the text’s tape recording was itself meant to occur sub testes: I’m supposed to hide it [the microphone] under my balls ...” Which is to say,
I didn’t do a thing last night
felt like a ghost
just staying up and all that, just talking
car noises in the background.
Some of my throat is gone.
We should start for the park.
It’s all right – fantastic baby,
you definitely are here.
In the elevator,
pressing that button.
From the outside
there’s always trouble
so precious like
living higher than
every other day.
Like living a riot.
People aren’t equipped for my filth and
I can’t be deceptive.
I don’t know why.
I think we better go through everything amazing.
wham cymbal cymbal cymbal
cymbal / wham cymbal / wham – cymbal
wham wham wham wham
wham / cymbal
cymbal / cymbal
i think my head is stepped upon i think my eyes
are frying eggs
shades of palaeontology I
WHAM WHAM WHAM WHAM
cymbal cymbal WHAM
space ••• time •.•
unicellular •.• vertebrat •.•
Walking down the street, I can see myself move on the screen of my phone, in a real-time, real-life link between myself and a network of satellites. Yet do we go around pondering this magic? We can see, in these timelapse satellite videos, how the the Earth is being torn apart by human acts. This is like a Harpo Marx painting. That is, he can’t speak but can actually express [stuff 00:08:31]. It’s like an own goal in soccer, Rattle, gurgle, clink, ***, click, pause, ring, ring, dial, dial, you said dial that, that, if, if, you, pick, pick up the mayor's voice on the other end, dial, pause, dial, dial, dial, the mayor’s sister would know us, be busy, busy, busy, [inaudible 00:11:15]. We should start from the park, right? OK. Mm-mm. Coin drops. Money jiggles as coins return. Car noises in background. You’re a clunk. Are there any weigh stations on the way that we have to honk, honk, honk, like, uh, I, what, noise. If we go through the park is there any place we can keep calling her, uh, I mean right through the, uh, phone call is there any place where we could keep calling him if we uh, answering service. Are you, cars honking [inaudible 00:11:37] other different places, other different places where we could call your ans, oh, want some cake? Nah. A little juice, anything? I know where you can get some. [Hurriedly 00:11:44]. Oh yes, let’s get some. Fantastic baby. Yeah good. Oh, you can’t pretend that you’re not here. OK. All right. You’re, uh, mean, all right. You’re, uh, you’re, you’re here? OK. You’re here? OK. You definitely are here? Uh, noise, OK. Now, on having blabbered a little, what I would like to do is I’d like to have all performance [inaudible 00:35:39]. I'm going to need you all to stand. We’re going to perform a piece from the period of composers who were influenced by Sol LeWitt on some conceptual art. You all have this incredibly important document. This is a piece from the early 70’s by a composer named Daniel Goode. He’s a New York composer and experimentalist who decided to start writing pieces that were more about action than about where those actions would lead. This is a piece called “Stamping in the Dark”. I’m going to explain this piece. We’re going to count together up to ten. One, two, three, four, five, six, seven, eight, nine, ten. We’re going to do it slowly. Then we're going to go, on where one would be, we’re going to stop counting out loud but we’re going to count to ourselves. Where one would be, we’re going to close our eyes so we can’t see what anybody else is doing. Then to ourselves we’re going to count to ten. The next time you get to one, you’re going to stamp on the ground,
aaaaahhhhhh aaaaahhhhh unnm
ah her ah her ah her
and when you cannot be brave – be kind. In the next lines, Lynn and Morgan sail off “to sea or to hell” while the dark river bearing “grief and blubbering” and all the particulars of our tumultuous world rushes toward us carrying — what else is it carrying? Something remarkable, we gather from the last lines. It’s called the Chinsekikan (aka hall of curious rocks), and it houses over 1,700 of them. They look like faces. They look like the faces you see in waves. Hence the camels on the streets of Dresden. I rely on seven to understand the world
1 the woman gave birth to the serpent and the serpent to the dragon
2 the dragon doesn’t belch fire it belches a river
3 earth opens its mouth so the river spills out
4 the river flees to the sea
5 the sea invades earth
6 earth closes its mouth
7 the river falls
When seven heads get together
eight Jews are not enough.
I have a mortally wounded Jewish head.
Know any Zohar jokes? They told me lots of things over the years, some of them extraordinary. They told me they act as cosmic dentists, cleaning out the dark spots among the “teeth” of the cosmos, loving the Zodiac on our behalf. Once time, late at night, they appeared as the Blues Brothers. There is an explosion of light and the image disappears; more exactly, it relocates itself inside me, folding up into a pinprick of light just above my belly button. As Amiri Baraka said, “If you cannot understand the connection between Sun Ra and Charles Olson, you cannot understand the topology of the times.” Speaking of train wrecks, hey Pat,
Glad you are okay. Looking to see if Fox News and affiliates can get permission to use your photo.
CBS News here can we have permission to use this photo? we will credit, Hope all are okay!
glad you’re ok & helping Mr. Murphy. May 6abc/WPVI-TV & its licensees use your photos without limitation in all media?
Glad you’re OK. Do you mind if United Press International uses your photos across all platforms with credit? Thanks.
yo pat this picture is rad as fuck this is ron over at buzzfeed please add me on instagram if I can profit from ur pain
So yes, the plots of dirt were chosen carefully for texture and color as we were trying to find the perfect combination corresponding to the four cardinal elements and the fifth, unseen. The dirt in the woods is what made Robin sick, I think, but he had also been drinking a lot the night before, this crap alcohol called Purple Jesus. The dirt from the woods was near a rotting tree, fresh with life, and without a doubt the most ALIVE of all the dirt selections, I mean you could FEEL your heart racing ten minutes after eating it. I was in a submarine, which was not marine at all, but in the ground, and I could SEE the festival dancers, naked around the campfire with the drummers, dancing and drumming all night, as they do every night. And the fact of the heterotrophs and their insatiable appetite for autotrophs ... “err on the side of life”, etc. Ergo, a sign mounted on my wig would read: Our community suffered a horrific tragedy this weekend. Like many of you, I mourn the lives senselessly lost in the 31st Avenue fire. I extend my deepest condolences and prayers to the victims and their loved ones in the wake of this unimaginable tragedy. I stand in solidarity with all East Bay residents, and the arts community in particular. The East Bay has long been a haven for artists. Which is to say that Sydney harbor sounds rather magical, and it often is, at least on a surface level. The reason why you can now go snorkeling in the harbor and encounter tropical fish is that this part of the Pacific Ocean is warming faster than anywhere else in the world. And unbeknownst to many, the water in the harbor leads the world in the amount of heavy metals it contains. The sludge at the bottom is anoxic slurry with no oxygen for life. Much of it settled in the seabed when it was acceptable to us the place as a dump for industrial waste. But dioxins are continually flowing in the storm waters that usher the poisons of the city into the sea. Every year, five hundred gigaliters — one Sydharb — of storm water gushes untreated into the harbor. Commercial fishing was banned in 2006 because of the toxicity, and recreational fishers are warned not to eat more than minuscule amounts of fish caught to the east of the bridge, and to never eat fish caught to the west. This divide quote unquote strangely maps onto another: the wealthy tend to live in the east of Sydney, with the poorer to the west. The official site of the NSW Department of Primary Industries gives advice to recreational fishers in seven languages. It says fishing licenses are mandatory, but it doesn’t tell people what may happen to their bodies if they eat the fish they catch. Wherever you are,you are inside.
Wherever you are, it tastes like those rectangular
Green backlit asterisk that
flashing on a yellow O flashing yellow on an asterisk
backlit in green asterisk flashing yellow on a
red O a flash-flood of pink
asterisks swarming through the
hole of a gold O
All was now ready for the continuance of the journey
“The full moon the crescent moon”
“The wingèd octopuses”
“Ding Dong,” pres sd, meaning
like a typewriter, it’s the end
[Note: Sources: Guerino B. Mazzola and Paul B. Cherlin, in collaboration with Mathias Rissi and Nathan Kennedy, Flow, Gesture, and Spaces in Free Jazz: Towards a Theory of Collaboration; Speaking of which: JBR; Kojin Karatani, Transcritique: On Kant and Marx; Jonty Tiplady, “Being-Towards-Life: Kanye, Badiou, Medina”, at Academia.edu; Mike Young, “Sprezzatura” in Sprezzatura (a cento, using one line from each poem – except for where I’ve put “[Nothing]” – with two interpolations from sources I didn’t record); Peter Godfrey-Smith, Philosophy of Biology; JBR; Claude Arnaud, Enfant Terrible: Jean Cocteau: A Life (trs. Lauren Elkin & Charlotte Mandell), as quoted in Kevin Jackson, review of same, at Literary Review, Dec 016; James Wagner, “XXXII”, “XIX”, in Trilce; Jackie Wang, “Oceanic Feeling and Communist Affect”, at Giulia Tofana The Apothecary, 4 Dec 016 (the italicized text is from Fred Moten, “Blackness and Nothingness (Mysticism in the Flesh)”); James Wagner, “XXXIII”, in Trilce; JBR; Andrea Lambert, Stephanie Tsank, Kari Larsen, Timmy Reed, Carolyn Zaikowski, Linda Michel-Cassidy, as quoted in “Sunday List: Irrational Fears”, at Entropy, 4 Nov 016; JBR; Zach Savich, and Matt Hart, as quoted in Savich’s “Five Problems with Reviewing Matt Hart”, at Entropy, 2 Dec 016; Timothy Yu, “Chinese Silence No. 60 after Matthew Lippman, ‘surf buddha’”, in 100 Chinese Silences; Matthew C. Watson, “Raging Hallelujah”, at Academia.edu (a review of Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene); Lawrence Giffin, errata to his Plato’s Closet linked to in “Plato’s Closet In Now In Print”, at Lawrence Giffin, 6 Apr 016; Guerino B. Mazzola and Paul B. Cherlin, in collaboration with Mathias Rissi and Nathan Kennedy, Flow, Gesture, and Spaces in Free Jazz: Towards a Theory of Collaboration; Craig Dworkin, “Whereof One Cannot Speak”, at Eclipse; JBR; Liz Worth, No Work Finished Here: Rewriting Andy Warhol, as quoted in Michael Dennis, “No Work Finished Here: Rewriting Andy Warhol”, at Today’s Book of Poetry, 20 Mar 016, and “Turning Andy Warhol’s a: A Novel Into Poems”, at Harriet, 13 Jul 013; Harold Carrington, “I : a thousand pounds of ponder •..”, in Drive Suite, at Eclipse; Jonathan Jones, “Google’s satellite timelapses show the inconvenient truth about our planet”, at The Guardian, 5 Dec 016; Gage Mcweeny And David Lang, “Conceptual Art, Writing, And Music”, at Readable (includes a bit of Andy Warhol, a: a novel); Christine Wertheim, mUtter-bAbel; JBR; Sarah Kendzior, “An unaired interview on Trump, authoritarianism and kleptocracy”, at Sarah Kendzior, 5 Dec 016; Forrest Gander, “How I Learned to Stop Worrying and Love Neruda’s Lost Poems”, at Literary Hub, 23 Nov 016; Hrag Vartanian, “Required Reading”, at Hyperallergic, 4 Dec 016; JBR; Wong May, “Buying Camels in Dresden”, in Picasso’s Tears: Poems 1798-2013; María Elena Hernández, “The Apocalypse According to Judas”, in Only the Road / Solo el Camino: Eight Decades of Cuban Poetry (ed. and tr. Margaret Randall); JBR; Richard Leviton, “The Faces Are Gone Now but the Wings Remain: Personal Encounters with Angels”, at Blue Room Consortium; Brooks Johnson, “A Poetics of Being: Charles Olson Reconsidered”, at Hyperallergic, 4 Dec 016 (a review of Letters for Olson (ed. Benjamin Hollander));JBR; Becca Klaver, “Derailed”, in Empire Wasted, as quoted in Gina Myers, “American Drift: Becca Klaver’s Empire Wasted”, at Hyperallergic, 3 Dec 016 (in reference to “Former Congressman Patrick Murphy following the Philadelphia Amtrak derailment”); JBR; CA Conrad and Brenda Iijima, “An Interlude on Poetics as Dirt”, in ON: Contemporary Practice 1 (eds. Michael Cross, Thom Donovan, and Kyle Schlesinger); Barbara Lee, “Update on Oakland Fire”, email rec’d 5 Dec 016 approx. 6:15pm PST; JBR; Elspeth Probyn, Eating the Ocean; Stuart Calton, Live at Late Dilated Ileum; John Ashbery, “Europe”, in Collected Poems 1956-1987; JBR; Harvey Bialy, The Geronimo Poem; Andre Breton, “Rosy death”, in Selected Poems (tr. Kenneth White); Amiri Baraka, “Pres Spoke in a Language”, in SOS: Poems 1961-2013 (ed. Paul Vangelisti)]