…
No,
sire, to
die not, but
to
live, to
live, TO LIVE!
in
the interstices
of global agribusiness …
BAM!
asterisk BAM!
asterisk BAM! asterisk
RUNZEIT:
lie
face down
on the carpet
all
day sliding
fingers rapidly over
a
tiny flash
of light, stalking
the
doled out
wonders, 0%, Hello
Little monk
Welcome to the world
It would be a mistake to try to define this piece of writing’s purpose
Peep
Peep. A
bomb falls very
close,
our growing
heavy furry tongues
accustom
to the
what-is-the-
word-
that-is-
not-here-in-
this
a sound
I nvr see(n),
When I asked, Will it be OK?
No one would answer: Yes.
Figure
6. A
number of Gaussian
noise
blobs with
increasing levels of
variance.
Crawlin king
snake Crawlin king
snake
I was
looking for graphical
representations of static,
Carry the dust, carry the sands,
==========
=================
===============
this is] this is
this is] this
how
a sonnet
ends: a dust
bunny’s
reclassified fish
or fruit &
eaten
under the
subterfuge of natural
language,
just like
someone crumpling plastic
from
a jar
filled with true
or
false: water
on the eye’s
surface
freezes at
10 below zero.
Ziiip
zaaap ziiip,
zaaap ziiip, you
stood
under the
chrome and trembled,
the
richer the
veils, the deeper,
more
absolute, the
penetration. The teaching
begins:
well the
no rock sits
on
a ledge
spacespacespacespacespacespacespace after you
leap
upon it
you can rock
slowly
to and
fro spacespacespacespacespacespacespace it
isn’t
exactly astral
and it isn’t
exactly
imaginative it’s
just that you
can
climb upon
the rock and
sit
down. And
you can climb
upon
the rock
and sit down.
Structure contains a few repeating formulas: “years of days”, “writes a tiny letter”, “they have fought till summer day noon”).
The number three is used to such extremes that, for example, if something breaks, it always “breaks into three halves”.
Quick history:
There were tribes and kingdoms and stuff.
Done and done.
May it thicken the soup just a little...in case you are all still actively processing.
Things we might have expected to find, and did:
a person talking to other persons.
Where?
“Under the crooked pear tree”.
“Under the crooked pear tree” is a set phrase in Bulgarian, meaning “right in the middle of nowhere”.
“What is, then, writing which has an accent?”
[Note: Sources: Rodrigo Toscano, “Connectivity, Polonius, Soil Science, and You (and Your Diet)”, in Platform; Laynie Browne, Daily Sonnets “24”, “75”, in The Reality Street Book of Sonnets (Ed. Jeff Hilson); Alan Baker, “Joseph Wright”, “Trajectories”, in The Strange City; JBR, some lines near the end of “Autopoiesis XXII (Sonnets, Set 2, No. 2)”, “Tête d’otage no. 1 (Jean Fautrier, 1943)”, in The Haynaku Anthology, Vol. II (eds. Jean Vengua and Mark Young); Kamau Brathwaite, “Hawk’s Last Body_Soul @ Ronnie Scott’s in London 11 Sept 1967 _ Counting”, in Born to Slow Horses; Martin Espada, “Because Clemente Means Merciful”, in Alabanza: New and Selected Poems 1982-2002; Ken Greenebaum, Ronen Barzel, Audio Anecdotes, p. 101, as seen at Google Books; Drummond Hadley, “From the White Cowbones / The Call of the Desert Rangelands”, in Voice of the Borderlands; Myung Mi Kim, “Siege Document” (?), “Sawing Song”, in Commons; Sharon Mesmer, “Diarrhea Permutation”, in The Anthology of Spam Poetry; Geraldine Monk, “51”, in Ghost & Other; Shin Yu Pai, “Poem [for Wolfgang Laib]”, “True or False”, in Equivalence; Jerome Rothenberg, “The Lorca Variations XIII (“Fireworks Suite”), XXIX (“Lunar Grapefruits”), in The Lorca Variations; Gustaf Sobin, “The Heart, Too, Goes Untitled”, in In the Name of the Neither; Hannah Weiner, “From Sonora”, in We Speak Silent; Structure … accent?”: a number of posts and authors at New European Poets, 15-22 Feb 09]
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