When taken, the medicine goes up the down like climbing a slide at the playground, the side effects closed on my nose. I like to say, “How are you?’ answering to the calm light of it – wow – stick to the dark of this. There, garland dandelions round that corn husk face & beard patched with rat stubble from a barber’s dust pan, parade float driven by a carriage pulled by a cake frost pig. My music with the loud noise of happy onions. My noises with orange and pink air. Nor is my invisibility exactly a matter of a biochemical accident to my epidermis. The days of short shadows gave us a trace of aplomb that we could call fear. In the days of long shadows, a pioneer said yes to pumpkin. Right to the pumpkin’s face! When you’re born you’re assigned a monster. KEYWORDS: Dust veil, 536 / 537, abandonment of casting place, leaving an open air offering place, cultic events indoors, permanent inhabitation, bread as grave gift. X had barely survived, and all the other passengers as well, the black tree took root in seconds, its branches piercing all their heads simultaneously, a black iron tree. The agents arrived soon after, but the tree was gone. Everybody should press as much of the front surface of their body against the wall as possible. Everybody should press very hard and concentrate on the image of pressing very hard. Sometimes my sneezes smell like my dog after he’s rolled around on a rotting bird carcass – I think it’s a good thing. Pin peer pire app rap rope. Now we ask Thoreau: what is the meaning of all your beans? We get lost in the desert, lost very lost, and although we aren’t going to tell anyone that we can’t possibly be any more than two miles from civilization, the fact remains that we are lost very lost in the desert very desert, and the car is having a hard very hard very hard time getting started up again, it happens to be the size of an ant, the back of an earring, the buttons on my cell phone, the bubbles in fizzy mineral water, I put them all in a glass jar, I put my hand in and the ants go wild. I don’t always herdy dur mur flerpty floopin, but when I do, I yer der shmer dor her der foompty, der shoopin flerpty dur. And then it would go pop, pop, pop. And you could put clouds over it. I could throw a hundred clouds over it to make it quieter. They could move to a house in the factory, made of candy, so it was like only two inches. That invisibility to which I refer occurs because of a peculiar disposition of the eyes of those with whom I come in contact. But I wanted to find something good in Barbie’s Dream House. I find it hard to believe humanity could build something that has no redeeming qualities at all, even in an alligator-shaped mall that plays artificial bird sounds on loop. The day drips, too, and we are one with the tiny lessons, we are one with the fried exoskeletons of toads. Don’t shower yourself in chlorine. A gymnasium = mint tea and chorizo hash > salvia 2:52 algebra plaid. The edge of the water begins about a hundred yards beyond the edge of the spiral. It was like snow. It got deep very fast. And I heard the Mayan women sing.
I took the basket, I received the bottle, I was given incense, I was
shown the Book.
Saint Mother, Godmother, I am drunk.
My heart is spinning.
You gave me my spirit. You gave me my death. You put my soul inside.
The Moon is full.
I’m telling you this to your nose, your ears.
[Note: Source: Kevin Killian, “Water Colors”, in Kindergarde: Avant-garde Poems, Plays, Stories and Songs for Chldren (ed. Dana Teen Lomax); JBR (for Soul, Pace and Ever); Robin Blaser, “8:25pm – Nov. 6, 2006”, in Lomax; Cathy Park Hong, “Ensor”, at Poetry Foundation; Kit Robinson & Flora Beatrice Breitbard, “The Happy Onions”, in Lomax; Ralph Ellison, Invisible Man; Allen Bramhall, “This Article Is About Heat resistance”, at Simple Theories, 14 Jul 013; Mark Latiner, “So-and-So’s Monster”, in Lomax; Lanny Quarles, “Bo Beskow (Klaatu barada nikto)”, at Jellybean Weirdo With Electric Snake Fang, 14 Jul 013; Juliana Spahr, “Everybody’s Performance Art: Ten Possible Reenactments (Body Pressure Piece, after ‘Body Pressure’ by Bruce Nauman)”, in Lomax; Andrew Choate, “Worm Work (‘A Dog is a Wolf is a Dog’, ‘Very Sophisticated, Like Intergalactic Velcro”’)”, in Lomax; Sawako Nakayasu, “Battery”, “7.9.2003”, in Lomax; George Takei, image embedded in Mike Cannell, FB post, 14 Jul 013; Brent Cunningham, “Young Willie Wonka”, in Lomax; Mitchell Sunderland, “The Barbie Dream House Experience Is The Scariest Place On Earth”, at Vice, 14 Jul 013; Noelle Kocot, “Serious the Light”, in Lomax; Aquasana, FB ad posing as a post, 14 Jul 013; Tan Lin, “Maybe”, in Lomax; Donna de la Perrière, “Surface Tension”, in Lomax; JBR’s half of “Sonnet 30”, from a collab with Richard Lopez; the italicized text undoubtedly derives from Incantations: Songs, Spells and Images by Mayan Women (ed. Ambar Past)]