That was when someone had the idea that the money itself was innocent, even if it had been the result of killing and crime, it should not be considered guilty but neutral, a sign whose function depended on the use to which it was put. ‘Burning innocent money is an act of cannibalism.’ And the first thing I saw, when I walked out the hotel door, was a seagull eating a pigeon. Serious. Right there in the middle of the road, tearing it to strips, swallowing the motherfucking thing. There was nobody around. Just the sea, some pebbles. And this peculiar compressed violence I was staring at. I couldn’t move. I just stood there, staring, wishing I could reduce it down to some kind of metaphor, or analogy, or starting point for a bit of bourgeois literary criticism, something to add to my CV, anything, rabies, anything. The gull, the pebbles, pronouns, the rolling news, the sea, the muscular people, the dead thing, all of them forming into some kind of knot or eclipse. Nearly nonexistent light increases rapidly … wow, such a small coffin! Then he makes glass boil, presently paining by going or having waves, YELLOW AND BLACK, black and yellow, I give gold cushions or seem to do so, shaggy as grass, dark ‘o the moon, but I get by, is / somewhere, and / wrapt / / in the bulb / of its / voices. But perhaps their most remarkable conjecture is that future humans could start to blink sideways like owls to “protect from cosmic ray effects”. SOMEONE [says]: How can you fault anyone for turning into a lunatic? As if SOMEONE were talking to Dante, I hear a voice asking, “So which garbage flotilla are you from?” Which brings me to the two lone images on page 30: a fish icon paired with a speech bubble icon. Or consider page 55: two heart icons, one dagger icon, a full-lips icon, and two dollar sign icons. “I think I’ve somehow wound up in the penal colony,” says XXX. Descriptions of webcam-recorded self-mutilation quickly follow and XXX finds herself shamed and Lindsay Lohan’d; she finds herself in the trappings of a cyclical “Vision Machine”. The later surveying of the “meat brothel” describes the sculpting of a variety of fake cocks. Blubber Socket exclaims, “Pop Corpse rapidly became one of the most challenging nights at the opera I’ve ever survived. Its perplexing emoticons, neologisms, digi-syncope, and other downright extravagant shit will leave you thinking, ‘The glass elephant in the painting of the lilacs floating in the photo like a thought over the three of us, for the world is either small dark and ugly or small dark and beautiful.’” Edward Snowden used the code name Verax. Which translates loosely as Truthteller, or You Will See My Ass Moses Parted With a G-String of Butterflies. The lyrics to “Salt Peanuts” are salt peanuts salt peanuts. “Japanese anime characters always land face first in boobs ...” Lava from Mt Etna, I understand, is flowing at the rate of 120 feet a minute; the United States Atlantic seaboard under 26 feet of water; and the Belgian coast under the heaviest fog in its history. Aside from these prodigies of nature — including a wind of 120 miles an hour on top of Mt Washington in New Hampshire (though what anyone is doing up there I haven’t figured out) — we have such ingenuous contributions of human origin as the Long Island Railroad, and the little girl with the sunflower growing in her lungs.
[Note: Sources: Ricardo Piglia, Money to Burn, as quoted in Benjamin Noys, FB post and comment, 10 Jun 013; Sean Bonney, “Letter Against Sickness”, at abandoned buildings, 10 Jun 013; Jackson Mac Low, “59th Light Poem: for LaMonte Young and Marian Zazeela – 6 November 1982”, “1st Dance – Making Things New – 6 February 1964”, “6th Dance – Doing Things with Pencils – 17-18 February 1964”, in Postmodern American Poetry: A Norton Anthology Second Edition (ed. Paul Hoover); Gregory Corso, “Italian Extravaganza”, in Hoover; Michael McClure, “The Butterfly”, in Hoover; Diane Di Prima, “The Loba Addresses the Goddess / or The Poet as Priestess Addresses the Loba-Goddess”, in Hoover; Gustaf Sobin, “What the Music Wants”, in Hoover; New York Daily News article, as quoted in Jacob Sloan, “What Will Humanity Look Like In 100,000 Years?”, at Disinformation, 10 Jun 013; Dante, “Astray: Inferno, Canto 1” (tr. Susan Landers), at Shampoo 17; JBR; Lara Glenum and Paul Cunningham, as quoted in Cunningham’s “GUEST POST: Attending Lara Glenum’s Emoticon Operetta by Paul Cunningham”, at Actuary Lit, 10 Jun 013; Laura Moriarty, “from Spectrum’s Rhetoric”, in Hoover; Eleni Sikelianos, “Essay: Delicately”, in Hoover; Alexandra Petri, “From Edward Snowden to ‘Verax.’ What’s in a code name?”, at Washington Post ComPost, 10 Jun 013 (“Snowden, the man behind the leaked 41 PowerPoint slides revealing the PRISM intelligence-gathering program, chose ‘Verax,’ from the Latin for ‘truth teller.’ Verax. As The Post reporter working with him noted, this was a loaded pseudonym. It had been taken twice before — once by a 19th-century writer who earned plaudits on the pages of newspapers, the other by a critic of Parliament who died in the Tower of London.”); Lanny Quarles, “You Will See My Ass Moses Parted With a G-String of Butterflies”, at Jellybean Weirdo With Electric Snake Fang, 10 Jun 013; John Sakkis, “Japanese anime characters …”, at BOTH BOTH, 10 Jun 013; William Gaddis, letter to Edith Gaddis, 9 Jul 1949, as quoted in John Latta, “Notebook (Caroline Knox, William Gaddis, &c.)”, at Isola di Rifiuti, 10 Jun 013]