So I check my klout score: down 0.04. I attenuate this anxiety with a one hitter, the neon purple bat. The ellipses would disappear in later editions that gave the poems titles and organized them into sections. One sample can be broken up according to the rhythm of another one. A voice, for example, can break up into the scattered patter of hi-hat beats or snare drum shots … The frozen bile stream have we unelected of us to threnetical sing / Listen as closely as you are possibly able / To Cyclopean lashes now cling us and chug / Lava puker flick us off / Away from the couch that all serpents and toads is / Beyond long any hope at all / Of parity morphic and purity total / I’m going to miss you when you rebrand. Palm trees pulled upward in a constant state of abduction. Think of a straight line. Then break it into two pieces by chopping the middle third out. Now you have a beat, the space between the lines, and two beats, the lines. Then chop the middle thirds out of these lines. You have some more beats. And more beats-as-lines. Eventually you end up with Cantor dust. Hence the straight lines curve at the corners of the sidewall of the Turbinehalle, and contradict their verticality with horizontal stripes copied from the facades of Florentine palaces. Happy birthday, Buster Keaton! The screech owl with a dead rat. (Scree, scree, scree, scree.) I never knew nuttin. (Biff bam!) (Scree, scree, scree, scree.) Should the activities of insects commit us to mathematical Platonism? Outside there floats an allegory / materialist like the paste that formed / on the surface of the oven. Life is life, money is money, the wind is the wind. It is not true that you get what you pay for. A shadow moves across the road and is something something I lost the page twice replaced I think by a human. I was shocked when my lover was caught stealing / from Dean and Deluca / I was thinking of a line / by Robert Hass / the floor manager stopped us / we simply went to a different store. But this very idea -- that there is as it were “raw data,” pristine and unspoiled until I mine it and turn it into bad bad information is the ultimate sadistic fantasy: a plastic, Easy Bake Substance that is just bla until I sprinkle it with candies, concepts, put it into molds and so on. I can do what I like in a riot of whateverness. What Sade says about nature. The evening will get fleshy on meat and will map the meat landscape of in vitro spam. I watched him cut open a rock with his teeth / there were twenty emerald mountaintops trapped inside, / scratching at the walls with their knuckles, / this is, after all, a store thatstocks Fruitrients, W3LL PEOPLE, Topricin, Alaffia, Cowgirl Skincare, and GladRags (“eco-friendly menstruation support made simple”). But if I had to pick a current favorite from the Pharmaca shelves, it would be Mandelay “climax control gel.” What? Yes. Ideally, the lines should have four major stresses with fairly long rushes of unstressed syllables between, and should be recited “trancily”: i TOO have been to CANdyland but i FOUND myself missing the DEATH cult. I took a bottle, mashed its bottom into a thick coat of paint. Then I stamped a ring of kisses into the palm of my hand. I guess I’ll have to make it all up again / from scratches. In the future all the ladders arrive from the past & the people step off of them, tired & dirty from their long journeys down. You have a mechanical pencil with no more leads; you repeatedly press your thumb to the eraser & it clicks. A high-pitched whine oscillates in & out. Suddenly I realize I’m absolutely interested in signs, traces, borders, explanations, asemic areas, glyphs, arrows, cacography, alphabets, open fields, blurred images, distant grass, abstract figures and movies, glitch in sound and vision, ripped cardbox, scratched wood, scratched tapes, uncanny machines, lack of meaning, naive drawings, art brut, lowrez shots, random shots, bad photos of notes and things, boring manuscripts, boring explanations, boring graffiti, handwritten lists and instructions, weird diagrams, diaries, “action writing” / action painting, mixed excerpts of any kind, verbovisual chaos, contradictions, plain statements, twisted sentences, heaps of words, chalk drawings, empty rooms, empty squares, pseudo-fields of forces, found items, readymades, unfinished sketches, bad prose pieces, cut-up prose, diagonals, bunch of diagonals, ugly scribbles and doodles, fake math, stains and lakes and wires and snakes of black ink, ideograms, fake ideograms, cursive overwriting, collapse of sound, and noise, superimposed images, collage, digital collages, disturbed texts, écriture, walls and sheets of words, handwritten papers, rough handwriting, incomplete transcriptions, photos of manuscripts, scanned fragments, bad scans, arte molto povera, installances, lost leaflets, dirty ones, old and new ephemera, marginal events, short movies, b/w works, out-of-focus, stones, written stones, my bad English ... Man, it’s like a hundred dollars and its got drawings of trucks with human heads, skeletons getting fitted for new bodies, weird animals that don’t exist and shit, like from a whole ‘nother universe, the apparitions / for example / a ball of hay / eternally / on fire / the spider webs / enlacing the hands.
[Note: Sources: JBR; Ben Fama, “Sunset”, at Boston Review, 4 Oct 013; Jacques Rancière, Aisthesis ( tr. Zakir Paul); Timothy Morton, Realist Magic: Objects, Ontology, Causality; Justin Katko, “Mantras In Defence of Non-Violence Against Everyone”, in Songs for One Occasion; JBR (Keaton’s b’day is 4 Oct);
Poems and Poetics, 23 Aug 08; dmfant, “The Ontological Extravagance of Honeybees by Joe Morrison”, at ANTHEM, 4 Oct 013; Danny Hayward, “A Family Drama”, “Transitional Poetry”, and I dunno, in People (half of A shadow … by a human is by JBR as the book flipped closed and I lost precision); Ben Fama, “Flaneur”, at Everyday Genius, 4 Oct 013; Timothy Morton, “There Is No Raw Data”, at Ecology without Nature, 4 Oct 013; “WORK > DINNERS > ARTMEATFLESH – NETHERLANDS”, at The Center for Genomic Gastronomy; Aaron Samuels, “Translating Jacob”, at Thrush, Sept 013; Nancy Friedman, “Name in the Wild: Mandelay”, at Fritinancy, 4 Oct 013; JBR; Anthony Madrid, quoted in “Melanie Hubbard With Anthony Madrid”, at The Conversant, Oct 013; Lanny Quarles, “100 Bonbons”, at Jellybean Weirdo With Electric Snake Fang, 4 Oct 013; Mathias Svalina, “The Future”, “You Are an Island”, at Big Lucks; JBR; Marco Giovenale, “the shape of the field”, at TEXTIMAGEPOEM, 27 Sept 013; Em, “Codex Seraphinianus: A New Edition Of The Strangest Book In The World”, at Dangerous Minds, 2 Oct 013; Franck André Jamme, “from To the Secret” (tr. Norma Cole), at The Altered Scale 4]