“Is it good, melatonin?” “Yeah!” OK. PLACE A DISPOSABLE PLASTIC KNIFE ON THE EDGE OF A TABLE. WITH YOUR LEFT HAND HOLD DOWN THE PORTION OF THE KNIFE WHICH IS ON THE TABLE. WITH YOUR RIGHT HAND PLAY THE KNIFE& BY BENDING DOWN THEN RELEASING THE PORTION OF THE KNIFE WHICH OVERHANGS THE TABLE. PLAY SOMETHING THAT SOUNDS LIKE MUSIC. Reed suggests Strauss waltzes, but I don’t know any. Feral Chi. Topple / Glassy / Hopes / Biases / Arise / Around / Antimatter / … / Tiny pewter speck / Been dead, bones heave. Rain by my throw in a wood jelly. An incredible film, don’t get me wrong, it just required a superhuman suspension of disbelief. Which at the time was fine, because “special effects” like George Reeves flashing across the sky were meant to be “special,” outside of the ordinary, and didn’t need to look as if they were of this world or obeyed its laws of physics. It’s like some old joke: “What do Georges Bataille, Nick Land and Harry Potter have in common?” Punch line: they cannot speak the name of that “which cannot be named”. Well, of course, this is a ruse, for the truth of it is that they all name it, yet do they? What is materialism? More specifically what is libidinal materialism? Or, closer yet, What is base ;materialism? And, to top it off: What is Lord Voldemort, he-who-must-not-be-named? Hyperbole, superbole? A switch and bait routine? I too have been nuts, I think the woods is made of many minor keys. Thus far we have only spoken of the air handling side of the unit. A big blue color takes place in that space. Misquote. The personality syndrome and there is one turns out to be a splendid undertaking. ‘Among the lost manuscripts of Franz Kafka are some letters from a doll, written to an unknown girl. Kafka had encountered the girl while walking in a park in Berlin in 1923, in the company of Dora Diamant, his last companion. The child was weeping in despair at the loss of her doll. He talked with her. Unhesitating, he told her that the doll was not lost, but travelling. She had sent him a letter.’ True or false: Chocolate is Mexico’s great contribution to Surrealism. With unbroken incantations in the voice of a lion prepare (on wild rocks) a soup made of half a pink onion, a bit of perfumed wood, some grains of myrrh, a large branch of green mint, 3 belladonna pills covered with white swiss chocolate, a huge compass rose (plunge in soup for one minute). Just before serving add a Chinese “cloud” mushroom which has snail-like antennae & was grown on owl dung. So. “We hereby declare this to be a most awesome assembly. In the name of the people of this place — which is to say: IN OUR OWN SOVEREIGN NAME — we command you to immediately LEAVE US THE FUCK ALONE. If you do not do so, your violence may be repelled, your authority will be mocked (which may result in a permanent feeling of humiliation), and we know for a fact that the injuries you inflict upon our persons shall afflict each of your souls for the remainder of your days. We prohibit you from fucking with our most awesome assembly. If you attempt to arrest us, history shall prove your folly absolute. If you do not leave, LYRICAL AGENTS will be used, which may result in unmitigatable sensations of bliss. GO HOME. We liberate you in the power of, well: in the power of YOU declared by WE in our sovereign autonomy. WE COMMAND YOU TO BE FREE OF YOUR COMMANDS & remind you above all to LEAVE US THE FUCK ALONE.”
IN THE NOISE
& WHIP OF THE
The new time that is urged as coming in history is already present in its own prose.
[Note: Sources: Kathy Iandoli, and Jessie Ware, as quoted in Iandoli’s “Jessie Ware Likes It Animal Style”, at Vice, 28 Jan 013; JBR; Reed Altemus, “DISPOSABLE KNIFE INTERLUDE”, in Repeatedly Tipping My Hat: A Collection of Performance Scores, at Reed Altemus; JBR, but see previous; Brian Laidlaw, “Terratactic (II)”, in The Arcadia Project: North American Postmodern Pastoral (eds. Joshua Corey and C G Waldrep); Brenda Iijima, “Panthering ϕ”, in Corey and Waldrep; Peter Inman, “Subtracted Words”, in From the Other Side of the Century: A New American Poetry 1960-1990 (ed. Douglas Messerli); SEK, “Peter Jackson and ‘Competitive Realism’”, at Lawyers, Guns & Money, 28 Jan 012 (writing of Clash of the Titans); S C Hickman, “Base Materialism: Bataille, Land, and Harry Potter”, at Noir Realism, 28 Jan 013; Lyn Hejinian and Jack Collom, “The Woods”, in Corey and Waldrep; Alan Davies, “from NAME”, in Messerli; JBR; Kenneth Gross, On Dolls, as quoted in Gary Barwin (Moribund Facekvetch), FB post, 28 Jan 013; JBR; Peter Lamborn Wilson, “For Leonora Carrington”, at The Noise in Me, 5 Oct 012 (“Soup recipe by L. Carrington”), via Darren Bauler, “The Noise in Me: FOR LEONORA CARRINGTON by Peter Lamborn Wilson”, at theater of diminished faculties, 28 Jan 013; JBR; A Twenty-First Fiery Flying Roule, and Gwendolyn Brooks, “The Second Sermon on the Warpland”, as quoted in same, at A Fiery Flying Roule;
Ballerinas Dance With Machine Guns, 28 Jan 013]