and the strong ones whom Nietzsche praises are often the weakest, the most exposed – because they are risking everything, they have everything to lose – and they are the most apt to get infected by appropriated materials, Xylene ink transfers, why, hyacinths and biscuits, why, great wheels covered in eyes, bosons & fermions (symmetries and braid statistics), Cervantes & whiskey, skull perfecting the triangle, making nothing out of three, why. What I erase out here repeats forever. And from “Insomnia”: “Jesus, why must it / be so late, so bright, and so early?” O WORLDSTARHIPHOP BUTTER DANCE WOMAN. “O human child”. Is it the sick whom one can count on? The left hyphen, between vision and in, corresponds to the term of movement and exposure, the extensive vector of secret: seeing the unseen (what no one sees, where no one sees) [mystical vision] and seeing what is not (what no one is, where no one is) [desert]. The right hyphen, between in and raining seed – I’ve watched too much television. Come down with your wrath (wraps?) and run your mojo. And the wheels on the bus spins bump bump bump. The text in this box is designed so you feel smarter now. Like people who talk about themselves in the third person. “Double corneas” and heavy earlobes. Human body fat is worth $60,000 a gallon. But if you don’t give a dollar to Di Prima … And when Death overlooks ‘you’, ‘in a fit of irresponsibility’, go get the red handkerchief dropped by the astronaut onto Earth Earth planet Earth is red and a mushroom smile. Could we have those trees cleared out of the way? And the houses, volcanoes, empires? This establishes a paradigm of packaging, beeperless, walking across the room. “What a hat!” says the hound, amused at last. When a body rises into metaphor, it can easily be “assumed” to be something. It must be the heat but I keep looking at these little Chinese Feeling Dolls wistfully. I ask my daughter: “What was this science module about?” For such tiny little fluffy babies, they sure can chirp LOUD and I just flow like a penis. Strands of chimp hair were sticking to the pieces of tape. What kind of fromage is that, please? I call this negotiation of intensity “political physiology” because it involves finding ways to allow a political action that normal physiology prevents (by triggering inhibitions, as in this account of Breivik’s testimony: “I thought about it for 1 minute. Whole body resisted. Felt like a year. 100 voices in head saying STOP.”) Beginning, middle, etcetera. There’s always someone who is in pain on the news and suddenly you stand without pants and has not defended itself and it overflows only. But this week … While people crawling around and gnawing on roots in North Korea Anders thinks that life is hard for someone stole his friend’s brother’s iPhone … So it was something on TV about cosmetic surgery … So I happened to read some of those bloggers … When the hell do we stop talking about this? Your body is fine. Your pussy is amazing. If we are to reach the space of our dreams and ideas so we can not keep on starving and cut us, we have like no time for it. So they talked about Bahrain and Iran, and then baked someone a fucking stupid cake … Or maybe not? It's all well that you should not be too black and white in his thinking huh. Yada hi. But. Pigeons hi. But. Pigeons and People and the text has never been so fine. It was heartfelt and pompous and totally bad.
[Note: Sources: Avital Ronell, in Fighting Theory: Avital Ronell In Conversation with Anne Dufourmantelle (tr. Catherine Porter); Robert Fitterman, as quoted in Michael Leong, “Words on Edge (Plan B Press, forthcoming)”, at michael leong’s poetry blog, 19 Apr 012; Delete Press blurb for Michael Leong, THE PHILOSOPHY OF DECOMPOSITION / RE-COMPOSITION AS EXPLANATION: A POE AND STEIN MASH-UP; Matthew Cooperman, “STILL: AS A STAY, MOMENTARY”, at Octopus 11; Matthew Henrikson, “Afterlife with Still Life”, “Gorge”, “Insomnia”, in Ordinary Sun, and Elisa Gabbert, as quoted in Gabbert’s “Matt Henriksen gives good ending”, at The French Exit, 19 Apr 012; JBR; Clive Martin, “THE WORLDSTARHIPHOP BUTTER DANCE WOMAN: IS IT ART?”, at Vice, 20 Apr 012; W B Yeats, “The Stolen Child”; Ingeborg Bachmann, “So it is the sick …”, from the Todesarten cycle, at Spurious, 20 Apr 012; Nicola Masciandaro, “Foretaste of Vision-in-Black”, at The Whim, 19 Apr 012; Stina Kajaso, “Motrot”, at SONOFDAD, 19 Apr 012; Canaan Morse, as quoted in Lucas Klein, “Canaan Morse on Contemporary Chinese Poetry”, at Notes on the Mosquito, 20 Apr 012 (these are references to Xiang Yu and Liu Bei, two great Chinese heroes); Jack Kimball, “There’s a term in physics …”, at Pantaloons, 19 Apr 012; Amber Tamblyn, “A Very Personal Message To The Poetry Community On Behalf Of Diane Di Prima”, at Harriet, 17 Apr 012; Ian Pople, and Mourid Barghouti, as quoted in Pople’s “Ian Pople reviews Midnight and Other Poems”, at Mourid Barghouti, 11 Feb 012; Filip Marinovich, “Belgrade Eyes”, in Zero Readership: An Epic; Barrett Watten, “Mode Z”, in Frame (1971-1990); Daniel Davidson, “Product”, “Image”, in Culture; P D Eastman, Go, Dog, Go! and Jeffrey Conway, Lynn Crosbie, David Trinidad, as quoted in Conway, Crosbie, and Trinidad’s Phoebe 2002: An Essay in Verse; Susan M Schultz, “New thresholds, new anatomies!: Trans-pacific gender / genre in work by jai arun ravine, Eileen Tabios & j/j hastain”, at Jacket2, 20 Apr 012; Nada Gordon, “Often I am permitted to a diorama”, at Ululations, 20 Apr 012; JBR, more or less as overheard at lunch (in NOT a French restaurant), 20 Apr 012; John Protevi, and Anders Breivik, as quoted in Protevi’s “Breivik”s political physiology practices”, at New APPS, 20 Apr 012 (interestingly, in preparation for the massacre he did 6 yrs of meditation as part of his “deliberate dehumanization”); Stina Kajaso, “Böligt”, at SONOFDAD, 20 Apr 012]