FCF 75

– this is wonderful –

give
me a
minute – wonderful – the

demented
musical cousin
of Baboon Ass

Habañero
Hot Sauce –
wonderful – “Death is

so
great because
it’s the attachment

you
can never
open” – wonderful – wonderful –

twenty
years later,
when the essay

was
reprinted in
an academic anthology,

I
edited out
the shit eating

episode.
I’m pissed
at myself for

that –
wonderful – wonderful –
the combination of

magic
calls that
made their secret

way
by psychic
pipes along the

nucleotidic
vehicles and
a textile whose

crossed
fibers are
knotted at the

intersections
forming a
pliable grid of

squared
spaces that
can be used

to
snare fish
or fowl and

to
hold things
like groceries or

hairdos –
wonderful – wonderful –
in such a

situation
it does
not make sense

to
ask what
the original of

Di
Gi Charat
is, who the

author
is, or
what kind of

message
is implied.
The entire project

was
driven by
fragments; projects such as the anime or the novel, formerly discussed independently as “works” are merely related products, just like character mugs and loose-leaf binders. The narrative is only a surplus item, added to the nonnarrative – wonderful, right? wonderful.

Bite
the head
of the uke.

The
tune will
vibrate in your

mouth.
And fuck
up your skull.

Why
Head     Inflammable
delic’ (delish?) tinsel –

“Truly do we know that a mirror was hung up, that jewels were spat out, and that then an Hundred Kings succeeeeeeeded each other; that a blade was bitten, and a serpent cut in pieces …. Unf=comfortable kyber-body bangs among itselves

skin’s
tight enough
to be a

window.
A film
Of black ampersands

on
white background.
Any trace of

certainty
conceals. To
this point we

should
add the
oft-repeated comment

that
the problematic
is not a

world-
view. I
like to oat

oat
oples and
bo no nos.

> So: Tomorrow when you wake up and stagger into the bathroom to take a leak
> you can squint into the mirror and say "Good morning you magnificent holy
> fool! ...

But
what is
crucial for us

is,
of course,
Beardsley’s critique of

the
“relativistic theory”
(to which, as

I
see it,
the so-called

“emotive
theory” can
be reduced). The

permutational
scheme is
as follows:

1    1    2    1    2    3
2    3    4    4    5    6
3    5    6    7    8    9   
4    8    9    10  11   1
5    9    10   2   3     4   
6    11  1    5    6     7
7    2    3    8    9    10
8    4    5    11  1     2
9    6    7    3    4     5
10   8    9    6    7    8
11  10  11    9  10    11

Although the method seems simple, it yields results that are emotionally and poetically complex:

woods    woods     lands    woods    lands     meadows

lands     meadows    rivers     rivers    brooks    to

meadows    brooks    to    them     and    their

rivers    then    and     heirs    forever    woods

brooks    their     heirs     lands     meadows     rivers

to    forever    woods    brooks    to    them

them    lands    meadows    and     their     heirs

and     rivers     brooks    forever    woods    lands

their    to    them     meadows     rivers     brooks

heirs     and    their     to     them     and

forever     heirs      forever    their    heirs    forever

try
to forget
he may have

thrown
his wife
out a window.

Deer
slept &
we slept beside

them
in the
radish garden; b.

starts
if an
angel counts with

his
eyes / or
a fish with

fin
caresses / poor
native and gallant /

frankly
I go
forward. / All

are
poor, all
around me. And

ends
my words /
are like fish /

in
the darkness
of their sea /

they
object to
ichthyology. 1+X=0 (always)

or
maybe not –
wonderful – typo – wonderful.

[Note: Sources: some books stacked next to the bed … and. Enough to supersize a sonnet. kari edwards, “wonderful”, “dear to those not driving the car,” in Iduna; product description at Hotsauce.com; Eileen Myles, as quoted in Dodie Bellamy, and Bellamy herself, Barf Manifesto; Hélène Cixous, Manhattan (tr. Beverley Bie Brahic); Hannah B Higgins, The Grid Book; Hiroki Azuma, Otaku: Japan’s Database Animals (trs. Jonathan E Abel and Shion Kono); Bruce Andrews, “Danger Risk Hazard Jeopardy Peril”, “Reverb Sallies”, in Designated Heartbeat; Yasumaro, The Kojiki, Records of Ancient Matters (tr. Chamberlain), as quoted by Alan Sondheim, and Sondheim himself, “#!/usr/local/bin/perl”, in The Wayward; Caroline Bergvall, “8 Figs”, in Fig; Louis Althusser & Étienne Balibar, Reading Capital; K Silem Mohammad, “Anti-Ass”, in Breathalyzer; JBR email to Ed Baker, 1 June 09, 7:52 a.m.; Gerard Genette, The Aesthetic Relation (tr. G M Goshgarian); Liz Kotz, and Carl Andre, “Ode on King Philip’s War” (?), in Kotz’s Words to be Looked At: Language in 1960s Art; Joshua Marie Wilkinson, “still life with satellite, radish garden, mailboxes, & deer”, in The Book of Whispering in the Projection Booth; Tom Mandel, “To the Cognoscenti” VI.b, in To the Cognoscenti]

Comments

[Edward Charles Baker]

i just straight away
pee
in the sink

turning around / too complicated

[John Bloomberg-Rissman]

at that time of day most everything's complicated. But I don't pee in the sink. Kathy gets up the same time I do and, well, I'd be a dead man, that's all.

[Ed Baker]

noh
matter

Kathy
or
not

one
day
you'll
be

a
dead man

anyway

just remember to put the seat back down
when you finish

and Lysol the rim