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you are the
mare …”) (after
Octavio Paz) (For
Alan Baker and
If you are the hummingbird flying backwards
I am the foucaultian porn site and the vampire ideologies on daytime t.v.
If you are the far-away detonations and the dismemberments
I am the money that was still softening while symbols were still averaging out
If your cellphone has no reception
the floor fell out of the studio along with the dancers but the dance didn’t die
If you are the forest on the sky the veins of your hands startle and
the vortex, or is it the chaos (the blurb’s kinda sketchy), searches for the
geometric center of our modern-day mal de vivre
and if that, then (intensified color of the light principle)
and if that, then both of us are very small, drawn on bits of paper, yellow
flowers on a black background, something we could never explain
and if that, after more silence, feeling that I need to add more, I say, “It has
been many days since I spoke my name”
you look at me encouragingly, as if now I will recite the whole thing with all the
traditional bows and squeaks, and if that,
Rotating Superfly Periodista is correct.
But the empirical evidence gathered
without correct Dialection of the Social
is like a mop without a handle, hard on the knees.
If Heidegger poses himself as a kind of unscreambling device for a massively
entangled historical narrative whose other end somehow involves a
James Moody was right when he said “You fall on the floor – it makes sense. You
fell, didn’t you?”
If you are seemingly voided by cactus & unreason staring from a mythological
Paramos where the glaciers blow where the lava seems transcended
passing through the arc of great circles much like lavender in the mantra
of singed optics
I am a thought and a molecule
If you are some deep rain drums
I’m all like Oi, if, I, say, I done my sums and I need more plums
If you are the street too large to be directly perceived: “street” as a result of a
generalizing mental operation
I am Tephromancy- “divination by writing in ashes”
If you had nine dimes as a child and now you have bubkas (potlatch)
I wade over steppingstones at the mouth of a pill
If you I mean the wind had seized the tree, and ha, and ha
I sat watery-limbed at the rhythm table … a place of encounter and connivance
… we were what was left …
I mean, the incinerated girl might have glued all her ashes back together and
gone to work again as a makeup artist for a revived Ancient Executive,
everyone having woken up still alive after the World Crisis
I mean the days are not full enough and the nights are not full enough and life
slips by like a field mouse not shaking the grass I mean that’s not what
I mean At. All. Not even close
If you are a pinhole camera I mean if many thousand years elapse I mean if in
huge say 64 point type Great implications I mean if all those dashes
are some kind of code I mean if you say Comprenez, cher amis, que la
musique ne se mesure pas au chronometre, as Andre Francis did after
Trane et al performed A Love Supreme in Paris, ’65
then I say eruptatin
I say gneenaerla
I say clies?
I say borht
I say Oh excuse me!
Oh will you excuse me?
I’m just trying to find the bridge ...
Has anybody seen the bridge?
(Have you seen the bridge?)
I ain’t seen the bridge!
(Where’s that confounded bridge?)
( ) ( )
( ) ( ) ( ),
( ) ( ) ( ) ( ) ( ) ( ),
( ) ( ) ( )
( ) ( )
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[Note: Sources: Octavio Paz, “Moviemento/Movement” (tr. Eliot Weinberger), as seen at Ernesto Priego’s Never Neutral, 14 Feb 09; through Rodrigo Toscano, authors listed in Ron Silliman’s new acquisitions list, posted at Silliman’s Blog, 18 Feb 09, as found on the web. Kristin Bock, “Return”; Rob Budde “Indices: Third Quarter Returns (The Bay Street Buyout)”; Mary Burger, “Blush”; Joel Chace, “bookkeeper retreat”; Del Ray Cross, title unknown, from LUB LUFFLY; Jessica Dessner, “The Beauty of the Percolation”; Jennifer Firestone, “Sun Stream”; José Mario Silva, blurb for Tiziano Fratus; Carla Harryman, “Light Poem (a composition)”; Amina Cain, “Two Dimensional War”; after … squeaks: Renee Gladman, The Ravickians; Rodrigo Toscano, “Writing”. Now we return to our regular programming. Avital Ronell, The Telephone Book (I let my typo stand); James Moody, as quoted in George E Lewis, A Power Stronger Than Itself: The AACM and American Experimental Music (which is also where I got the bit about the performance of A Love Supreme in Paris, ’65); Will Alexander, Exobiology as Goddess; Mei Mei Bersenbrugge, “The Four Year Old Girl”, in I Love Artists: New and Selected Poems; a mix by Ernesto Priego; Jeff Hilson, In the Assarts / naïve sonnets “12”, in The Reality Street Book of Sonnets (ed. Jeff Hilson); Vito Acconci, “A situation using streets, walking, running”, in Street Works (0 to 9, 6 (supplement)); Clark Coolidge, “Bauxite On the Books”, in On the Nameways Volume Two; Giles Goodland, “Helford Passage to Lowland Point. Buldery”, in Littoral; Wallace Stevens, as quoted in Susan Howe, Souls of the Labadie Tract; Nathaniel Mackey, “Sigh of the Moor”, Édouard Glissant, Poetics of Relation, as quoted by Mackey, and Mackey again, “Sound and Cerement”, in Splay Anthem; Alice Notley, “What you might need to know is you might not make it …”, in Above the Leaders; Ezra Pound, “And the days are not full enough”, as quoted in Omo Bob, Ghost; Kyle Schlesinger, “Discography”, “Bigfoot: An Essay in Abjection”, “Moonlighting”, in Hello Helicopter; Aaron Tieger, The Collected Typos of Aaron Tieger; Led Zeppelin, “The Crunge”]