FCF 30

We
both nodded.
Do you know

where
those flies
are coming from?

No
idea, I
said. X leant

over
and pointed
under the bench.

There
was a
dead bird right

underneath
where I
was sitting, half

rotted
away with
maggots. Fuck. Jesus,

I
said. In
some books, LIKE

the
String Book,
text is “dispensed

with
altogether”, though
I can still

read
it, same
with The High

Priestess,
with its
4 ranges / 16

shelves
of big
lead volumes of

“mysterious,
or impenetrable,
content”. You were

there,
I mean
here, I was

here,
I mean
here, everywhere

between
being transcendental
and complicated and

always trapped in not only a novel, but a graphic novel. In a way it's also a kind of paper-based hyper-novel, because it very cleverly questions the boundaries between codex-based literature (to use a term I have been repeating throughout a thing I've been writing), digital information, poetry, visual art, performance art and narrative.

Click
here. Being
qua being is

founded
on the
null set, the

Name
of the
Void, the indiscernible;

Ein
Sof, anyone,
grey-lidded harbour

rocking
with plastic
chairs under strip

lighting
towards the
waiting face? They

made
us promise
we’d send more

fakes
when we’d
got out and

we
agreed. They
claimed they’d found

forty
one. But we’d
sent none. It

was
the fakes
who’d done the

finding. Artist’s Statement:

In this landscape to the southeast of Siena, one does not find the typical lush Tuscan views of vineyard and olive grove. There is no terracing and few fruit trees. The soil here is heavy with clay, suitable for raising sheep, planting wheat and hay or corn and sunflowers along the lower land. It is an intricate, hilly landscape with small scattered woods up and down the slopes. The soil is bone-grey in spots, yellow or yellow-grey in others. In June it gold with wheat; in winter all is green but for the reddish woods. In spring virtually everything is green.

The landscape has changed little since the time of the Lorenzetti. Until the 1960’s there were no poles or telephone lines. Now farming is mechanized. The “contadini” are townspeople; their houses are bought by foreigners who can afford them. Strict zoning prohibits the building of new housing.

The landscape is remarkable, and perhaps most unique, for its graceful mix of the “natural” and the cultivated. The fields and woods have a complex and compelling relationship. Cypress appear in odd and unexpected places. Italian oak pop up in the middle of a field or atop a hill. Things are allowed to happen by accident. Until now there has been no flattening or bulldozing of slope or field to make the farming easier. Woods are harvested carefully, and they stay where they are.

On any clear day in this southern portion of the province of Siena, one can see the profile of Monte Amiata, a long-extinct volcanic mountain. It is pictured by Sassetta in a panel where St. Francis salutes three airborne female figures (the theological virtues). In Sassetta, as in the other Sienese painters, we see the same gentility and asceticism that one finds in this austere and beautiful place.

Click
Here. This
is the end

of
“Misrepresentations”: It’s
a commitment / Slivers . . .

trailing
off, &
deep, deep echoes,

god
it’s like
Schroedinger’s cat, you

say,
the father
has vanished, but

why
not the
mother? Isn’t the

mother
really just
a father in

the
end, and
the father a

mother?
I saw
a shadow on

the
water. …

[I know this situation makes a perfect poem.
But I will not.]

           I
want to write

that
I’ve already
been to Jupiter …

Click
here. Click
here. Click here.

Since
it is
impossible for more

than
four souls
to be together in

ONE
BODY (cf.
“Sefer Hagigulim” 5)

the
caress seems
to me an

exemplary
gesture; such
a musical ethos

might
inaugurate a
musical society, everything

is warm and covered
in dust and on the table there are sometimes
new notes in handwriting that I don't know in
two colours and secret signals flying to and
fro

what gift in the windless smoke

We
both nodded.
Do you know

where
these files
are coming from?

Time
to put
my mind in

the
sine waves
of the trees.

New galaxies form like droplets,
mirror universe pulls back the shade
(enjambment from heat to sub-zero).

as
the distance
penetrates the disappearant

like
dye (a
thoroughly poetic process).

For
a long
time only the

fire-
swallowers brought
back to mind

an
order not
quite les mots

et
les flesh
of dreams excised

by
the postman
LIKE quantities of

glass
ground small
in the molars

LIKE
in the
ideogram which reads

“mountain
of the
moon” the word

tsuke
(“moon”) can
also mean “ended”

“crumbled”
or “exhaustion” …
NO TALKING sayeth

the
Phoebe …

[Note: Sources: The 2nd 14 items linked to along the right-hand margin of Great Works 12, plus …

Sam Osborne, “from a novel”; a description of works by Keith Smith and Anselm Kiefer, as described in David Pearson, Books in History (not in Great Works); Alasdair Paterson, Noctivagator; Ernesto Priego, on Eileen Tabios’ new masterpiece, at Never Neutral, 27 Jan 09; Ian Pople, ‘A Version of Cavafy”, “The Hospital : für Eugenie Geisbrecht”; Stephen Van-Hagen, “Rosenhan's ‘Thud’”; George Schneeman (i.m.), at Cue Art Foundation; Stephen C Middleton, “Misrepresentations”; Catherine Hales, “quantum sonnet”; Elisabeth Roudinescu, Philosophy in Turbulent Times (not in Great Works); Sasha Steensen, “The Stranger at the Gates”, in The Method (not in Great Works);The Kabbalistic Tradition (ed. Alan Unterman) (not in Great Works); “Thinking Life as Relation: Conversations between Luce Irigaray, Stephen Pluháček and Heidi Bostic”, in Luce Irigaray, Conversations (not in Great Works); Babbette E Babich, Words in Blood, Like Flowers (not in Great Works); Norbert Hummelt, “rooms” (tr. Catherine Hales); Niall Quinn, “Phlebas IV, 1”; Rupert Loydell, “Running Away From the Clock”, “Disorienteering”, “The Museum of Lists”; Andrew Jordan, “Inside Mary Millington”; Johannes Jansen, untitled (tr. Amos Weisz); Amos Weisz, ‘of mutabilitie: a night with will self”; Sascha Anderson “Jewish Jetset: Thus Weird It Spake” (tr. Amos Weisz); Amos Weisz, “tinfoot”; Bashō, The Complete Haiku (tr. Jane Reichold), note to no. 547; Phoebe is Sasha Steensen’s and Gordon Hadfield’s daughter]

Comments

[Ernesto Priego]

I was starting to worry there was no wifi in denver

[Februar]

As with Bruno, missing hitasricol records have made it hard to always know fact from fiction.Plus both Bruno and Hypatia have been used by various groups to further their agendas, muddying th waters of hitasricol truth as usual.I first became familiar with Hypatia from Carl Sagan's Cosmos series, but even that had its biases and flaws. I wonder how much better the film will be?

[Edgar]

Hola genial la p{gina, pero tengo un gran pborlema, dejo descargando el archivo, en la computadora, pero cuando voy a ver como va la descarga, ya ha finalizado, pero con menos GB de los que son, por tanto no la reproduce. ojala pudieras ayudarme con un consejito, gracias por tu pe1gina.