In the House of the Hangman 1010

When I get on the bus, there are eight women and children and I cannot help but feel as if this is the Titanic and we’re all going to go down, deep into the dark concrete, deep down underneath the soil towards the center fire core. There are eight women and children on the bus and we are stopping at every stop, every single stop is requested but no one gets off and no one gets on. Still. We jerk past the stops the way your arms tingle before a heart attack. I thought I was having a heart attack once, I threw up on myself in my car on the way to the hospital. So there we were working, me spooning up the thin layers of sand, and the dog keeping watch out for marauders, and we came upon a large culvert and inside that culvert was sand and magnetite but it didn't just feather into thin layers, it went all the way down to the bottom, pure magnetite sand, I would never have to order it off the internet again, it was more magnetite than I could ever want to make my foot poultices, my baths, my hex breakers, my shampoo, the you have a body salt scrub, the magnetite shirt, the plant fertilizer, the children’s toys, the adult toys, the you are not lost goggles, the van van, the arthritis bracelet, the monarch flight helmet, and the capsules that you swallow if the world was to end not because they would kill you but because, for all intensive purposes, the world will never end. But the real genius lies in the format: two speakers give back-to-back presentations on seemingly unrelated topics, such as Hegel and spontaneous human combustion, or fingerprinting and traditional Sumatran architecture, then the audience does the work of synthesis. We can see it in this bit from The Tennis Court Oath: “undeniably an oboe now the young / were there there was candy / to decide the sharp edge of the garment” – like a De Kooning, mixing on top of slashed-up mixed pigments until “emotion felt it sink into peace.” Interestingly enough, this doesn’t invalidate sincerity – it makes it more sincere. “Sincerity” becomes a text that is an empty body, or a total body (depending on how you want to read D&G). What size shoe do you think Walter Benjamin wore? Yodaville is a fake city in the Arizona desert used for bombing runs by the U.S. Air Force. When the flageolets verts are finally cooked I shall be high on Mississippi rock water. The midline position was an experiment in posture that alternated with unconsciousness, with dreaming, with waking up and shrugging off the dream. Placing the hearing aids on my lap, I instruct the four speakers to change position: to speak more loudly or more softly, and all this time -- I write down what they say, thus inventing a new form of literature. “Someone disorient me and press me gently and I will be the thing.”

[Note: Sources: Dina and Dan, “Dina and Dan Ride Pubic Transportation”, at Boys With Short Hair, 5 Jul 012; Bett Williams, “magnetite”, at Everyday Genius, 4 Jul 012; JBR; Nicola Twilley, “Artificial Flavours and Archigram”, at Edible Geography, 5 Jul 012; Carina Finn, “Look! The Sincerity of Surface”, at Montevidayo, 5 Jul 012; Lily Hoang, “What size shoe do you think Walter Benjamin wore?”, at HTMLGIANT, 5 Jul 012; Geoff Manaugh, “Urban Target Complex National Monument”, at BLDG/BLOG, 5 Jul 012; Barbara Guest, “Eating Lake Superior Cisco Smoked Fish”, as quoted in John Latta, “Pebble”, at Isola di Rifiuti, 5 Jul 012; Chana, Robin, Les, as quoted in Bhanu Kapil, “Thursday: Performances (2)”, at Was Gertrude Stein a Punjabi?, 5 Jul 012]

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