“Amor / is one word of two syllables …” (Autopoiesis 2.3)

            … you, incommensurate, therefore the hours shine:
            if I say to you “To you I say,” you have not been
            set to music, or broadcast live on the ghost
            radio …
                      -Reginald Shepherd, “You, Therefore”

Amor / is one word of two syllables, / spoken en two voices together / on invisible but bright planes, / mobile and at high temperature. We are all happening at once on a collapsible line, / and this is no test, underground river, / flowing eight hundred feet beneath us — a physically beautiful book. For even as infinity poured forth from zero This Cry, in its groundlessness, is heard as a (n)ever-arriving wave. “Look at this, a Chinese apple!” she will say, as if it suddenly dropped from a perfumed cloud, “lyric” — except for the 87.9% for whom it’s still just oxygen — “extravagance,” color & glitter, and a predilection for the (always almost excessively) sensual, along with the notion of “reinvention,” with its insinuation of a rescue operation, like you get on those well-intentioned radio stations that boast they’re “Keeping Jazz Alive.” Yet who would believe this creature next tilted back his head and yodelled oldle-oh-dee-odle-oh-dee-oh-de-odle which I cannot accurately reproduce here except to say that Woodchuck is said to have found it the most beautiful thing he had ever heard on earth and perhaps for this reason also the most unearthly detached and terrifying. Aphorism: Whereas History must be steered by the four elements, the fifth is crystalline, “Of fled immensities …” & The stars, which are cherished / Objects in a long dead / Game. Engulf me, ’til you thrive. Psych! / Ha! / A little less reverb on the veranda, s’il vous plait … the sun warm as ever, had grown somehow to be ripe beyond blue. “Did you say something tomorrow?” Think feedback, think big guitar god solo, “just for kicks” and “for keeps,” Did I say that it's good? It's fucking awesome. Expanding wave-front Boiling-over. As usual, the fire blazes like crazy / Only as loud as all kinds of sounds — (Does this put me at odds with the list members? To an extent with some. But to no avail, to no purpose; OH I can JUST ABOUT MAKE OUT the shape or ENVELOPE of this REMARKABLE BLUE HAZE which perneates [permeates? No, perneates] THAT VERY ATMOSPHERE KA KA KA OVER AND OVER AGAIN. / / I am writing this under the rose perfection of Bach's sonatas and par- titas for solo violin. You will be duly noted, your presence, your essence. The ocean looks the same, shallow. Who knew frog embryos and beetle larvae could be so beautiful? (Reversing earlier Romantic representations of bliss as ascension toward a kind of Neoplatonic disembodiment) “… This useless senseless loss is sovereignty.” You are contaminated within a great contamination upon the earth. The infectious disease of the soul/gram flesh-module. Cyber dog of God of et cetera! Oh! Oh, / gentle people who have made it / this far, twirled among red gourds in the yard. Perhaps there are metals in the wine we will never be able to urinate. Do not dupe the poet! Your farts have a Harry Partch musical quality. Boundaries lack edges. Such curvatures reach down to noise. Today / the still slow war / has gotten beyond me … (If anybody feels like perspiring [cough], I'd advise you to go ahead, because I’m sure going to. The skies the limit –– you’ll cap the warp you hatched. He is not in
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bloom in high contrast. Tulips. To paraphrase Gödel: Hello. My name is http://.org/. Feel free to read me, to fill my blanks, to click all my buttons. We are precisely where we think, no more. Let me show you my unfolding sunny spots of machinery. As sure as angular momentum is conserved, our luminously degenerate love will endure the entropy of the universe. … feel it in the one steak knife at a time. More water? Sure. It’s a mistake for you / to writhe in the passenger / seat. For instance. That reckless / Silence / The falling / Fruit. Here, then, is the gift of your exhaustion –– a precious animal stroked to transparency. I have dreamed great dreams … Question: Is

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http://mappemunde.typepad.com” somebody’s poem? If so, I’m sorry for stealing it without leaving a note.

[Note: Sources: epigraph from Reginald Shepherd (i.m.). Text begins with a bit from Alfred Arteaga (i.m), and includes one from David Foster Wallace (i.m.) somewhere in the middle. The rest is mostly BlazeVOX Books’ authors, taken in “A complete listing of BlazeVOX [books] Catalog: By Book Cover” order, and a thing by Tim Peterson. This time I begin at “the end” (which will no longer be the end once more titles are published; by the time you read this?) and work back. Not all the way; that’ll have to wait. This is #2 in a series … Bits from the Andrew Joron’s The Cry at Zero are interspersed after each BlazeVOX row (and are dedicated to Jared Schickling). And there are occasional other bits.

Reginald Shepherd, “You, Therefore”, at Harriet; Alfred Arteaga, “hair”, in flesh and verse: la vida nueva, at Alfred Arteaga.com; Amy King, “The Arm of Eden”, at ; Jacket 35; Kazim Ali, “The Year of Winter”, at The Drunken Boat, Fall/Winter 2006; Raymond L Bianchi, from his review of Truong Tran, Within the Margin, at Bookslut, June 2005; Andrew Joron, “The Cry at Zero”; Forrest Roth, “Chinese Apples”, at Rooftop Poetry Club; Rodney Koeneke, “The New Lyric”, at Modern Americans: Poetry, Poetics, Portland, 4 September 2008; Ted Pelton, “Woodchuck and hank Williams Zombie”, at Brooklyn Rail, October 2007; Andrew Joron, “The Revolution by Night”; Mark DuCharme, “Infringement”, at Grist, “Dude Do Not Pander”, at Shampoo Twenty; Noah Eli Gordon, as quoted by Thomas Fink in a review of The Area of Sound Called the Subtone, at Octopus Magazine 5; “The Year of the Rooster”, at word for / word 9; Joe Amato, “(this evening)” and “36 theory bananas”, at Jacket 10; Laura Mullen, on Joe Amato’s Pain Plus Thyme, at Joe Amato; Andrew Joron, “On Neo-Surrealism”; Michael Ruby, “A Fire”, at Cranky One; Alan Sondheim, “Fame”, “PROPHECY TO THE MULTITUDES KNOWN AND UNKNOWN::::”, at The Gates of Paradise.com; Francis Raven, “A tree is almost always reduced to a few nuts and stump.”, “Abrupt Appearance”, at Turntable and Blue Light; an email, advertising something, received from CREDO Mobile during composition of this piece; Andrew Joron, and Georges Bataille, as quoted by Joron, “Wine + Hashish”; Geoffrey Gatza (I think, hope; at least it follows a couple bios of Geoffrey), “Veritasis”, at Fieralingue; I couldn’t find anything by Joseph S Cooper so in this particular “stanza” I thought I’d run two BlazeVox rows together; Kenji Siratori, “nonexistence”, at Poetry Sz:demystifying mental illness, 2 July 2006, “hardcore”, at Poetry Magazine, November 2000; Daniel M Nester, “Altar Boy Highlights”, at Cortland Review 11; John Bradley (as Tomaz Salamun), “Sonnet of Questions for John Bradley by Tomaz Salamun”, at Fascicle 3; Abdellatif Laâbi , "L'Automne Promet" (tr. Jared Schickling); Kent Johnson, “Lines for the Freeport Illinois Happy Wok Fortune Cookies”, at Fascicle 1; Andrew Joron, “First Drift”; Ed Baker, “Face Turned to the South” (not BlazeVOX; rec’d via email 13 October 2008); David Foster Wallace, commencement speech, Kenyon College, 25 May 2005, at Marginalia.org; Michael Magee, “War Sonnet”, at Shampoo 13; Rick Henry, Sidewalk Portrait: Fifty Fourth Floor and Falling, at BlazeVOX Books ( as “understood” by my Mac’s version of MS Word’s cut n paste); Andrew Joron, “Pink Noise”; I skipped Here Comes Everybody, as it’s an anthology; Patrick Herron, “Hello. My Name Is”, at Proximate.org; Ryan Daley, “Tables”, at The Hold, where I also picked up Jnana Hodson “BLUE ROCK LXVIII” (not BlazeVOX); Michael Kelleher, “CUBA”, and “PIE IN THE SKY”, as quoted in Eileen Tabios, review of Kelleher’s Human Scale, at Galatea Resurrects #8; Andrew Joron, “The Removes”; Geoffrey Gatza, “Kenmore: Poem Unlimited”, at Geoffrey Gatza.com; Tim Peterson, every word that appeared on his blog one day, as thrown through a cutup engine – he has given me permission to use – as seen at Poetics archive at listserv.acsu.buffalo.edu when I searched Ruth Lepson and Walter Crumb]

Comments

[Geof Huth]

Okay, John, I've read over the sources, and I'm wondering why--this is strange--both my names (Geof and Huth--I'm not even counting Geoffrey) appear in the text, along with my birthday(!), but is this all coincidence? Or just part of the "other bits"? My birthday is just a coincidence, I realize, and it appears in the sources anyway. I turned 45 that day.

[John Bloomberg-Rissman]

Geof, as noted, I came across this hunk of text when running a google search, and decided it was so perfect that I'd incorporate it into the piece I was working on (this piece), prefaced by "Question: is" and followed by "a poem?". I discovered it to be by Tim Peterson, author of the blog mappemunde and editor of EOAGH. I contacted him and wrote: "Is this a poem or other piece of creative work of yours?

The reason I ask is because I've incorporated that block of text into a work
of my own, and would hate to steal someone else's creativity, although I am an "appropriation artist". Usually I just appropriate little bits and pieces, and collage them together ...

If this is a creative work, I will un-incorporate it - unless you give me
permission to use (the text will never appear without a credit line with your name in it). If it's not a creative work, then I will go ahead and use, but I will still mention your name in a note (i.e. you'll still get "credit")."

Tim replied: "It's not a creative work, it's every word that appeared on page one of my blog on the day I posted it, but those words are out of order.

Whatever you want to use is fine...I've seen some of your pieces before online and I've liked them. ..."

So he musts have been talking about you. I don't know what day he chose, but this was posted to the Buffalo poetics list Fri, 23 Mar 2007 01:29:53 +0000.

Now you know why your ears were burning 1.5 yrs ago ...

[ClubPenguinCheats]

My birthday is just a coincidence, I realize, and it appears in the sources anyway. I turned 45 that day.