SPANSE 1

Unlikelihood
stems from
a ubiquitous zero.

I
go there
over again so.

That
slow sea
slaps slow water

on
the ever
farther shore. You

are
moving accordingly
never ahead of

the
movement never
behind the movement

you
are carrying
the weight from

outside
being the
weight from inside.

You
move. You
are being moved.

These
are the
lilacs that look

like
spiders. “There's
been a great

upsurgence”
said the
announcer. FOR ME

ENTER
GO. Are
History’s pure vowels

personal
or statistical?
The cream made

an
“e” in
the tea. Easy

prolongation
of deglutition
by the obscene

trismegistic
mouth of
a brown-bellied

marsh
sticky sundews
of a happy

muck
listening in
their lips what

sororofraternal
news their
days are de

rigueur
in this
world knotted by

too
much smoky
breath masking the

peppery
verve of
the storm. Glowteth

glant
équalté fine.
Rinnzeketé bee bee

nnz
krr müü.
“The subject of

philosophy
is already
dead,” IT’S WHERE

THE
LIGHT COMES
FROM THAT CASTS

OUR
SHAPES UPON
THE BLACKENED WALL …

[Note: I think this is the beginning of SPANSE, pt. 3 of Zeitgeist Spam (No Sounds is pt. 1, FCF is pt. 2). SPANSE has the same skeleton as FCF: my (more-or-less) post-Allen-anthology library. Except when it can’t, in which case it covers parallel ground. Where I have interpolated I can interpolate differently. I can repeat. I can omit. And I can substitute. And, of course, since life intervenes, I can incorporate my proverbial “and”. (Some changes do not eradicate “identity”; cf Becky and her pet bone “Bob”).

Title: Kenneth Irby, “The Roadrunner Poem”, in The Intent On: Collected Poems, 1962-2006; Edric Mesmer, “Lauren Shufran and/or Mark Dickinson: Unpublished and Published Works to Watch For”, in On: Contemporary Practice (eds. Michael Cross, Thom Donovan & Kyle Schlesinger); Kathy Acker, Pussy, King of the Pirates; Charles Bernstein, “Castor Oil”, in Girly Man; Theresa Hak Kyung Cha, Dictee; Geoffrey Gatza, “Lilacs in May”, in Not So Fast Robespierre; Anselm Hollo, “Lost Original”, in Notes on the Possibilities and Attractions of Existence; Susan Landers, translating Dante, “Vestibule to Hell (Canto 3)”, in Covers; bp Nichol, “untitled”, in Zygal: A Book of Mysteries and Translations; Thomas Pynchon, “Introduction”, in Slow Learner; Aram Saroyan, Complete Minimal Poems; Aimé Césaire, “Permit” (trs. A. James Arnold and Clayton Eshleman), as quoted in Steven Fama, “Extra! Extra!”, at the glade of theoric ornithic hermetica, 10 Jan 010; Eileen R Tabios, “From the Gray Monster in a Yellow Taxi”, in I Take Thee, English, for My Beloved; Kurt Schwitters, “Unstupid” (tr. Pierre Joris), “Ur-Sonata”, in pppppp: Poems Performances Pieces Proses Plays Poetics (eds. and trs. Jerome Rothenberg and Pierre Joris); Ray Brassier, Nihil Unbound, as quoted in Daniel Miller, “Nihil Unbound by Ray Brassier”, at New Humanist.org, vol. 122 no. 6 (“Brassier has a particular end in mind. This is the inexorable fact of extinction, the polemical pivot of this book. ‘[T]he earth will be incinerated by the sun 4 billion years hence; all the stars in the universe will stop shining in 100 trillion years; and eventually, one trillion, trillion, trillion years from now, all matter in the cosmos will disintegrate.’ … For Brassier, these facts are of central philosophical import. In his view, because extinction is the inevitable fate of existence, in logical time it has already occurred. ‘The subject of philosophy is already dead,’ Brassier writes, ‘and ... philosophy is neither a medium of affirmation nor a source of justification, but rather the organon of extinction.’”); Lew Welch, How to Give Yourself Away”, in Ring of Bone: Collected Poems 1950-1971]

Comments

[sam]

so you were quiet for about 10 minutes i see.

[John Bloomberg-Rissman]

Yeah, and it drove me crazy!