Approximately 50 years later we meet Mr. Tung Chien on a street in downtown Hanoi, sometime after the US has lost the Colossal Final War of National Liberation to the Chinese. There are, nonetheless, Pentagon remnants still in the Catskills, lingering resistance in Tennessee and a hardcore pocket holding out in western Oklahoma’s Red Hills. Chien is a government servant who attended Beijing University and now works for the Postwar Ministry of Cultural Artifacts, a job which pays him four times a week in inflationary bills. One day Chien finds himself “facing a legless peddler who [rides] a little wooden cart,” advertising a wide array of herbal remedies. He tries to ignore him. But, this peddler is a war veteran who lost his “pedal extremities at the battle for San Francisco,” so he can’t; Chien must buy from him. Thus begins Philip K. Dick’s “Faith Of Our Fathers,” which was initially published in Harlan Ellison’s Dangerous Visions in 1967. The controversy about it also began at this time: was Dick tripping when he wrote it? Though Ellison says very possibly yes, in a February 1974 interview Dick says: “That really is not true. First of all, you can’t write anything when you’re on acid. I did one page once ... but it was in Latin. Whole damn thing was in Latin and a little tiny bit in Sanskrit, and there’s not much market for that. Second of all, po pa iteh pigi cilene soreta surel na: Meho yacuf acacor ses, godasa tahagar renasa domicax gi pemi nid ieficose. Teti lem kilocal; ila pureni ramiese oparoci. Gehote tituci iranerut pulon picotod gegosel iresumek apelon ta etetehu. Omole eyietatal ta redeg lisixib. Onosihi ureleda meloper ixupalap niroho yipa bama ves ayolupem. Fierepien royepe efic neruhuy agonogef. Oror dico neyotol lese ramolie hefet rini cu boxasos yo! Sa meloca re rege lihapem iteri da irune opitehey rilo; hon poripu ce mukaso areg lesir nin na! Rilehop isiet eniri pitane cosi lie eti rieruco. Kiefo vif tifori. Ete nalef odorid hekol de inenege! Amelege rer ura ninif nel noneya soma meniepef! Da etebin osiememo pinen. Cexo reso mulaser ri tot siban resemu. Lesonir cerag co oyehimat ried ipo: Omido danab bisi ceb eromila ielenaruk. Piconal tecilos muh hale? Radihib nenol relab ne tipolas mi hoy arenas nalutu. Wakapo noqa civas potaru rajol! Tahol le giroleg hen mehel aso rat eriemeh emolan. Lar sagit fonos, revie yef nie saze to hi magisir. Ucerin lidel tiliseb maririt afevar abilaror rar ifoda tena; da naradi ki nal hisecax? Hunici fune mesad ta tupeteg salo! Can anober ani ucerad ravor erem! Acataror ageyejor niekumem tupos sun sucevi retey tib. Mepura iekile tore re lati! Gayos ielepisem eboneye olitalec osad liga dame vefape etitunim. Omasalon tet ozefet fehum ruy. Nolirar tariede gecenit; nib hosiyib yiemotel. Onenuw malike nameput gulatit ranay no dim san: Yiril so nal abie ti; giyi latuca upelih setici. Adoy ne ratorug rieti so iratalit. Tarep ipetilup moretis horegel! Liliesay atayora ke fa rotac lede. Enesa si rohetir. Osuli setiga deharup debisay doriekon. Ihelot binac licemi lapir; cox ne facica larebu onaluse ti ucavi co licerev rebemu. Li oresoce si rietet da oliciw ror? Eteradez ne cineli ticip misaba demin. Moteboc ri linusuc. Casete nuloni sod man tap! Tinete ceyap esot silielec pe giyoyo macasi mob deg? Ni ateral po wesel wolere masor obat ilonet cecib. Zese la depera onesotal. Efanepo hawepes be de ne lesin tan cap ma, rocino nasir ra eto tieler gieyenef hede suh wabe: Ofur renes pulib ibu, itan ati iedibeti: Tan pofa senonaj neta cirad. Rihurie ci lo hal le otar narura oci, olego cepica ironepin. Rien data rewego sat, vip riteyi sodemoy esosoha ni sosaces rik per! Lapel tesone ape binur cop le tuhar sozoc. Etig ko hasin yenur mirigi lid car hohorir. Papaya refadag pipica ganay tetena lin dera. Net atiraga kete conuqer poriepep wen onenar rucecin wuticim heleso. Eriritoh mocesed iloneni kite tesehej yehite delel lotaqer uriluhaf. Maloruf rosal taro voy ipesof noni la rate tetot ates? Utatasa cece tepab lemari emige lefoma lihela ohe ratad eveleta; onode la mocabo. Eno gilic ulacarac orolebi hacage tac me irilama, sasecib pahoret neron. Yoxec siset nitorar obogac ciehesa manul forelan foho leriedar yeso: Itoc sihe setot roku ode raka sefo inen otus. Cuc soradog ros! Di nineso etir libace tecilet ca ponih sey tawarin, legel tic gi sonoy ni ni enet lisiko hon erieyacep. Kidate oruh he ret si meku enebebom cudoluh yoc. Mifupo menat irelana filuniet sere qipi deye nat: Tinepa uciro cidu ha sarupar xani udil! Horedab te tawopep. Atileli erarela itate lie eme; sos etanopib fapab rop racano let oginaku. Mel ulep te he. Lodi tibe mosarir bedamet gele elenem tekieyo. Rugidie rufin fadeco tehuh! Hales enone adatapa ka holunus ti bena cocogiet raca. Tatota mati abi lefop cimo nar coyieyoy! Reqis erat bo. Sosiedo eney ri tafe oritowem onehexe: Isela riye qid geyosien icitefo ner pusut rapuh nepa wiketeg. Isis apegef vecupig mavu afodatak yeb: Rolo ere nep te erelit pabor. Go dile po anuy mumit yara rulece culeh maraf, enopamen yob mepede ora ebozibit recaqe tohar, veni mode resar birama osec noti tiesila etic senawo. Inapise lemi fe lona. Tob yan ra siyora denetib yab wiha! Loge ruyaso resudos le iyamie ya cep awelag wieliyu. Xateye sesih casir nadeni rivera obi gim cen, li irus taray ayitu rarivel lorelac lier tomoh ozura. Ucet pied wi honen erecu ese edu lata hodie ho: Vo ierap he ofi afeb tol cunace minog toce, retie nelico ayu natip. Laditin avarapie ferew te geda! Coqulie ino refenir ce iha nerotal anecir. Bos he rone nenilo yenerel ened ilo nih tadapum! Subame hogo yone! Ramera amayawo nezen non ke tono afil. Ro ema tup, cenito cehigey ni raseda nuhe kipiso. Ratol imin tebig ilaloy sacubo. Ireyefa leruh rafig natarut ramoye pot. Awon unonamer vielu inirabe; marihi nit ti saco hac emetun asuvice apebesit obale? Sepace gizen fo ten der ahoho. Inereyar gief dokenor mukageb nacie ramurin. Ri unidowe pud ineli! Ga tekie ta ripi daguto efobeg isefelut rac. Yo rawite ijovur tieso ifal itaraper ora ninehar. Lacici onun si sud. Uhaqatit tepusi ri rete opo sute rinela icowohe pas no! Dapey porig senodo. Unure yin agetic: Ditot ra ieriral! Nelieno agade dusa sobe pi teripun ase! Olidibel ro odoyeda avie gecaro nosit: Mobun usi dobaba edepap sona soc ihap! Ti yihefin lemacob pe sim cutoh lac uho pi, tirirev netidom lugil tona sis mida rasane rabuhe. Retodo erenacim dienil mig. Hiesul epucane mec agag co yirotu sim lomuc iriko yepi? Lanemul segiey dira. Anetol sibu rav ma urel mecerud vepie nipodor hetofa ape. Le dina te. Tatara igiroy liyo ula se pe ogop rere esitine biren. Odinogag holelo hay taca yod olise yotelis ipegub disa ce, inet meloya dat ver yiniel rir iliemodeb otayijo tolehe. Third, Fred told me that he read a whole book in Arabic once, a language of which he knows nothing, and found it to be the best book he’d ever read.” The first ode ends with:
The code belongs to a Hotpoint dryer;
You’ll find out nothing if you look
it up through the sky in the screen, the vault
of exchangable passion, Vertigo at
the horizon prostrate as an outstretched
cheek; but in the mouth that grows
in capacity behind that overflow,
Nobody can take away the word for it:
love, the end until death;
TL61P its provisional perfected shadow
opposite; Now go back to the start.
Anemal, utter meck. Three daughters,
two hens, one puppy, one geologist, hot
pepper and rot to ghost my nose awash in
silent waves, but whatevz — i’m here now,
passing out of another study on
young black queer male[ish] suicides,
~~~X X X X X X X~~~,
an isotonic rehydration sport drink,
the Coca-Cola corp, the Rainforest Café.
Over overThrow there is nothing
But the Unlikely a-Voidance of all rays,
of all right. For a chorus is incarcerated
in every point of space. Think, thank,
thunk: from the vulgar Latin
meaning undergo, meaning
transmogrify, “just like a person with a
device” because she doesn’t have one —
snomal slebs socru deeibs sbieed
mayrac caryem — “As if the so-called
world were seriously the point, which it is,
and we could actually live in it, which we do.”
More or less. What do I remember? I remember Jim Carroll had a really huge cock, and I remember having great conversations with Lee Harwood. Frank O’Hara and John Ashbery would go out to dinner and joke hilariously about New York City. I was interested, but I never thought I would be in that. I liked their poetry, and I was happy about that aspect of things. Here I was in a room full of poets. I have to tell you about my funny John Ashbery story. I was at a buffet table in New York City, and somebody pinched my ass and it was John. He said: “Oh, I’m sorry, I thought you were a guy.” What did I say? I just laughed. Oh, and when I worked at Fry’s my coworker said Suge Knight liked her hairy legs, she said he bought the diamond necklace she wore every day, and my sister bumped into Hugh Hefner once at a sushi bar called Geisha House in Hollywood he really had on a purple crushed velvet jacket and he really did say Hey honey. She just wanted some California rolls fer Crissakes. But the greatest guide throughout is Fanon. Fanon’s “situated thinking, born of a lived experience that was always in progress, unstable, and changing,” provides a model of “critical thought” that was “aimed at smashing, puncturing, and transforming” ... His was always a “metamorphic thought,” and as such an ever-present and ever-relevant guide through the ruins of ... fuck, name something that isn’t ruined. Anything. Please. But why start with a self-reflexive question? Dusk begins my day, and continues in lengths,
They say when you encircle the entire field, red baby
becomes white grandma
The bloodshot eye opens deep in the ground
which reminds me of the title, not the contents, just the title, of Kim Yideum’s “The night before opening a Barbie repair shop in an abandoned mental hospital” ... which reminds me of that something “crawling with things that go missing”, of fat rats in swamps and temples, I mean,
“What the hell did this used to be? What a piece of junk.
No need for a processing fee, because nobody will claim this package.
This flotsam, which used to be some sort of organism, is quite political.”
It is a face which hiccups ‘self /object’ while sheathed in PLAY-DOH, exactly like “what’s there when you snap a heavy blank book shut on life and then prise it open again.” Zam, Bonk, Dip. Speaking of flotsam, remember when Achilles said, “Glorious Odysseus: don’t try to reconcile me to my dying. I’d rather clean as many Porta Potties as there are sands on all the world’s beaches with my tongue, and be alive on Earth, than be lord of the lifeless. Being dead sucks”?
Livia says bread is in the nose
So what is a crypt? Not a crypt in general, but this one, in its singularity, the one I shall keep coming back to? The form of this question will henceforth precede those that, ever since philosophy began, have been called first: what, originally, is a Thing? What is called Thinking? The Wolf Man's Verbarium (here I’m vaulting ahead) indicates that the Thing is to be thought out starting from the Crypt, the Thing as a “crypt effect.” The Verbarium no longer conforms to any law and order ... What is a crypt? ... It must be designated immediately as the very condition of the whole enterprise, its element and its method. Instead of claiming to have access to this crypt through the ordinary meaning or common figure of a crypt, we must bend with a movement that it would be too simple, linear, and unilateral to think of as the opposite of that type of access, as I hastily described it above, as if, by anasemia, the movement consisted of going back toward the rightful place and the proper meaning from out of this crypt. Nevertheless, it remains that the question “What is a crypt?” can no longer, it seems to me, be posed. What is a crypt? What is a crypt?
A blind bear biting my pumpkin.
Which is to say that last night, I spent half an hour with “Fearless Girl,” the bronze sculpture created by Kristen Visbal and installed by State Street Global Advisors (SSGA) on Wall Street for International Women’s Day. I watched people pose for photos with her in nonstop succession — young and old, male and female, literally everyone wanted their picture taken with “Fearless Girl.” I listened to a young man compare “Fearless Girl” to his sister. I got yelled at by a group of photo-takers for blocking the view of “Fearless Girl” confronting the “Charging Bull.” I heard a man who was shooting a long exposure of “Fearless Girl” strike up a conversation with a nearby woman about the sculpture. “It’s complex,” he said. “It IS complex!” she exclaimed. Another man joined the conversation and offered that “Fearless Girl” was “pretty profound.” Oh dear god. SSGA is the world’s third-largest asset manager. But don’t worry about the contradictions of capitalism — “Fearless Girl” will sublate them! She has, as a visitor commented last night, “no doubt” and “no fear”! Therefore, before we even look at the Kamaitachi images, I want to stress the importance of distinguishing them from staged photographs. Hijikata is a man who can transmogrify in an instant into a phantasmagorical bird. Then, voluntarily or involuntarily, we may reach the lights of purgatory, for which we have yearned. So what are kamaitachi? My father was a country doctor, and several times I saw farmers, claiming to have been bitten by one, carried to the threshold of our house. But no one bore a grudge against that invisible weasel. In fact, a family of actual weasels made their home in the loft of the thatched shed. Hairy vacuum! Bloody vacuum! Biting vacuum! The excrescence will head for the huge void, and vice versa. The vacuum theater, too, is part of the
and then oh
And so police use force indiscriminately against the crowd, which produces exactly the chaos and disorder that police attribute to the crowd, which in turn rationalizes an expansion and constant escalation of police violence. The image I saw was not some insubstantial reflection of a corporeal thing, as a crude dualist might hold, but literally the universe itself. Somehow the world manifested as an impossible curve. My mind swam in the sensory vortices. I felt I was being dragged down into a superabundant luminous abyss. There was no respite for hours, and I was overcome with a terrible anxiety, unable to subdue this incessant and grotesque violation of every last one of my nerves. So I sequestered myself in the darkest room of my house and pulled all the curtains, battened down the windows and painted the walls black. I would stay there until I felt safe once more. I cancelled my lectures and arranged for food to be delivered. For many days I languished in the homespun night. After three years I emerged. The double-sided curvature greeted me. Not only could I see again, I could see sight itself, hear hearing, and touch touching. In the process of achieving this result Peirce and Jastrow not only pioneered the field of decision theory but also laid down the foundations for the rigorous validation of experimental psychology through randomized control trials. Though the paper does not explicitly acknowledge any philosophical implications, and is mostly an account of an innovative experimental setup and a sober explanation of its results, it clearly bears on the “continuum,” which is a problem found at the very inception of Greek philosophy, expressed in the antithesis of the One and the Many; the proto-synechistic Heraclitean principles of the Doctrine of Flux and the Unity of Opposites; the dialectical articulation of the discrete and continuous in the Eleatics, and the speculative refutation of this apparent dilemma in the atomism of Democritus and Leucippus. It is central to the Platonic notion of the indivisibility of ideal forms, as well as to Aristotle’s formulation of the categories, and his distinction between actual and potential infinity. By putting two quantities into continuous correspondence the Greeks could calculate a variable quantity, so that for example motion could be determined as a factor of distance and time. However, this was restricted to extensive magnitudes (such as mass or volume), so they did not allow for the computation of a variable quality such as brightness or loudness, and the intensive as such was considered unquantifiable. Stay us wherefore in our search for righteousness, O Sustainer, what time we rise and when we take up to toothmick and before we lump down upown our leatherbed and in the night and at the fading of the stars! For a nod to the nabir, etc. Cropherb the crunch-bracken shall decide. Or not. Onto the floor of the stage, Gozo began to spread a collection of fetish objects: stapler, pebbles, hammer. All the while he chanted and rang a little sheep bell hanging from his neck. He began to unroll a long copper scroll along the floor. The volume of his chanting increased.
“soft flames of the earth’s surface
“no, I don’t like this and I’m rephrasing it
“I felt like a most courteous, giant tree
“ri-ri-gya (reversing the syllables
“here, this narrow road, where does it lead?
“was it a trifle recidivist of me
[Note: Sources: JBR; Frank C Bertrand, “When ‘Faith’ Untuned The Sky”, at Academia.edu; JBR; text generated by “gibberish generator”, at Weirdhat; JBR; John Armstrong, and Keston Sutherland, quoted in Armstrong’s “Keston Sutherland’s Odes to TL61P”, at Bebrowed’s Blog, 11 Nov 010; Mg Roberts, Anemal, Uter Meck, and author bio, at SPD; Kamden Hilliard, “Notes from the Port, Anthropological Thots: Catalogue in Twelve”, in Perceived Distance from Impact, at SPD; Nina Puro, blurb for Kamden Hilliard, Perceived Distance from Impact, at SPD; Andrew Joron, “First”, “Illocutionary Reels”, in The Absolute Letter, at SPD; Samia Bashir, “Notions of temperature”, in Field Theories, at SPD; Bernadette Mayer, Daniel Wenger, and Robert Creeley, quoted in Dennis Cooper, “Spotlight on … Bernadette Mayer Studying Hunger (1976)”, at DC’s, 8 Mar 017; JBR; Adam Fitzgerald, and Bernadette Mayer, in an interview with Fitzgerald, quoted in Dennis Cooper, “Spotlight on … Bernadette Mayer Studying Hunger (1976)”, at DC’s, 8 Mar 017; JBR; Khadijah Queen, quoted in Wendy Xu, “Two Poems by Khadijah Queen”, at Hyperallergic, 8 Mar 017; JBR; Laurent Dubois, introduction to Achille Mbembe, Critique of Black Reason (tr. Dubois); JBR;
arrive on wave: Collected Poems (eds. Trace Peterson, Gregory Laynor and Eli Goldblatt); Kim Hyesoon, “A Hundred Year Old Fox”, in Mommy Must Be a Fountain of Feathers (tr. Don Mee Choi); JBR; Dan Disney, and Kim Yideum, quoted in Disney’s “Cheer Up, Femme Fatale by Kim Yideum”, at World Literature Today, Jan 017; Francesca Lisette, Timothy Thornton, Jonty Tiplady, quoted in John Armstrong, “Better than Language, Lisette and Tiplady”, at Bebrowed’s Blog, 23 Sept 011; JBR; Homer, Odyssey (tr. AS Kline, revised by JBR); SJ Fowler, poem from The Guide to Being Bear Aware, translated into Hungarian by Orsolya Fenyvesi, and back into English by Google, at Szif; JBR; Jacques Derrida, “Foreword: Fors: The Anglish Words of Nicholas Abraham and Maria Torok (tr. Barbara Johnson), in Abraham and Torok’s The Wolf Man’s Magic Word: A Cryptonomy (tr. Nicholas Rand); SJ Fowler, poem from The Guide to Being Bear Aware, translated into Hungarian by Orsolya Fenyvesi, and back into English by Google, at Szif; JBR; Jillian Steinhauer, “The Sculpture of a ‘Fearless Girl’ on Wall Street Is Fake Corporate Feminism”, at Hyperallergic, 10 Mar 017; JBR; Jillian Steinhauer, “The Sculpture of a ‘Fearless Girl’ on Wall Street Is Fake Corporate Feminism”, at Hyperallergic, 10 Mar 017; JBR; Shuzo Takiguchi, “Kamaitachi: Toward a Vacuum’s Nest” (tr. Connie Prener), Shiraishi Kazuko “Song of Praise Dedicated to Ohno Kazuo” (trs. John Solt, Keiko Inoh, and Hollis Goodall), in Art Gallery of New South Wales, Eikoh Hosoe: Theatre of Memory, 12 May – 7 August 2011; David Correia and Tyler Wall, A Field Guide to the Police, quoted in Verso Books, “Looking Ahead”, email rec’d 11 Mar 017, approx. 7:02am PST; Inigo Wilkins, “The Sharpest Point of Sensation is Pointless”, at Academia.edu; James Joyce, Finnegans Wake; JBR; James Joyce, Finnegans Wake; JBR; Forrest Gander, “The Beyond of Gozo Yoshimasu”, and various poems, in Yoshimasu Gozo, Alice Iris Red Horse; John James, “uuhhh”, quoted in John Hall, “Dress and Address: ‘John James’ in John James”, in The Salt Companion to John James (ed. Simon Perril) (hat tip Alan Baker)]