So you called me to them arching over themselves as mirrored spectra.
Faculty housing park
a slab of mountain
a Pacific bank of cumulus
a man walking his dog
a potted chilly plant
no-one falling out of the sky on burning wings either
“What was your face before it had a skin to split? Kid icarus’s heart is great with piss; a star pulls on it, the ideal tidal hand-job ends with never a bang but sustained spaghettification. Simon says jump out of the window; you grow fins
on a trellis of nerve-
ends through which impulses cross synapse,
or fall in the gaps.”
‘Critique is the philosophical art of pure chemistry.’ The interface we see is heavily sedated warfare, totemic radar guilt lining our pockets: ‘goodbye immunity’. Joysticks wild détourning, spinning through a set of invasive procedures, secret pingbacks bounce between the Gloss and its Carriers.
echo, and a blue
on the star
the numbers flip
the land is
Every new day is the century kerfuffle on infinity speed that you would need to define ventilate. “Mayakovsky” said Tear Happiness. I need you to triple that by the end of the month. Pestilence is a voice made up of actual biceps turning cold submarines of souring hog brew into helicopters of cloud senator testicles. Typically, spikes of pressure are ironed out by enlarging the size of the sample (“incision”, “splinter”, “punch in your offer”, “the cudgel”, bone splinters) as it spins out. All targets are “pretargets”, blows issue (or “reissue”) from “receipt fists”, and “terror” is not just wrought but “restitut[ed]”: “the twin pistons / avenge the catacombs.” I cut limbs / from my Axolotl and they re-grow.
today I paint them
in the Image of a flying Head
that knows the Desire
to live is a political Decision:
When filler words like um and uh and er rise in frequency, it can be a sign that something difficult is being talked about. Where do fillers normally appear? Firstly, more or less corralled in their proper language. In Portuguese, é and hum are common. Also. The usual uh purpose of fillers is to “hold on” to the speaker’s “turn” – to indicate that they intend to carry on talking (in my case, forever).
[Note: Sources: Adam Aitkin, “The Double Rainbow (Mānoa Valley)”, in Tonto’s Revenge; Peter Manson, Critical Documents blurb for Mike Wallace-Hadrill, Instar Zero; Jack Marshall, “Apologies to the Spider”, in The Steel Veil; Karl Wilhelm Friedrich von Schlegel, as quoted in phaneronoemikon, “soignée génoise”, at Jellybean Weirdo With Electric Fang, 6 Apr 012; Luke Roberts, Critical Documents blurb for Ian Heames, Gloss to Characters; Eileen Myles, “The Nervous Entertainment”, as quoted in Edith Zimmerman, “An Interview With Eileen Myles, and a Poem From Her New Book”, at The Hairpin, 3 Apr 012; Joe Luna, “Ultimate Realism Versus Ultimate Subjectivity Was Played By Everyone Who’s Ever Known You”, at “THAT MERCILESS AND MERCENARY GANG OF COLD-BLOODED SLAVES AND ASSASSINS, CALLED, IN THE ORDINARY PROSTITUTION OF LANGUAGE, FRIENDS”; Zack Sternwalker, “In a God War Wonder of Snore Experimentation Hissed At”, “Navy in the Life Blood and Weather in the Green Feet of Hands”, in “Zack Sternwalker – 4 poems”, at Gobbet, 6 Apr 012; Ryan Dobran, Your Guilt Is A Miracle, and Stuart Calton, as quoted in Calton’s “Your Guilt Is A Miracle by Ryan Dobran”, at Intercapillary Space, Dec 09; JBR; Luke Roberts, “Colossal Boredom Swansong”, as quoted in Rich Owens, “LUKE ROBERTS HIS FALSE FLAGS”, at Damn the Caesars, 23 Jan 012; Frances Kruk, “From ‘A Discourse on Vegetation & Motion’”, and ??, “Grout Note (1/2)”, at Sad Press, 4 & 1 Mar 012]