Zeitgeist Spam

Soul,

Ernesto,

Lolabola, Amy,

sings the entre-

nous.

Sounds just

like Curtis Mayfield.

[Note: See The Window and Morning]

Autopoiesis XCVI (“Surprise-desire-light-ongoing …”)

Surprise-desire-light-ongoing always

alreadys into an extraordinary

borderline-incomprehensible en-

twining located richly amidst the

delicious everything-perpetua-

ting naked glowing house of cards spanning

from to. Kiss noise. Sweet mojo. Blurfract.

“The tidal wave enters the room.” Not su-

perficially but at its emotio-

nal root. Bearing what body parts have been

allotted an itinerary of

no subjecthood, just tenderness, paea-

ning all that can be paeaned, the crack in

the sidewalk, the green babe, the and molecule.

[Note: sources: (mostly) SPD blurbs 3. Chris Green, The Sky Over Walgreens; Stephanie Gray: Heart Stoner Bingo; Dieter Graf, Tussi Research;Carol Darnell Guerrero-Murphy, Table Walking at Nighthawk; Phil Hall, White Porcupine; Sarah Hannah, Inflorescence; Maggie Harris, From Berbice to Broadstairs;   Carla Harryman, Open Box (Improvisations); Karen Harryman, Auto Mechanic’s Daughter; Anthony Hawley, Autobiography/Oughtabiography; Brent Hendricks, Thaumatrope; Juan Felipe Herrera, 187 Reasons Mexicanos Can’t Cross the Border: Undocuments 1971-2007;   Kathy Bloomberg-Rissman (not in SPD catalog); Jibade-Khalil Huffman, 19 Names For Our Band; Mary Rising Higgins, )Joule Tides((; Dale Jensen, Cyclone Fence; Richard Hoffman, Gold Star Road; Laura Kasischke, Lilies Without; Christine Kennedy, Nineteen Nights in San Francisco; Kim Hyesoon, Mommy Must Be a Mountain of Feathers; Robert King, Old Man Laughing; Uncontained: Writers and Photographers in the Garden and the Margins (ed. Jennifer Heath)]

Autopoiesis XCV (“Add 4” to your penis …”)

Add 4” to your penis. Hit peo-

ple with it. Only fools fall in lava.

I said I wouldn’t steal that. Worry a-

bout you. The baboons have all been dead for

ages. The ophthalmologist reads my

eye. I do what I need to do. Listen

to the great Teddy Limit. You’re lying

to me about the turmeric, no? From

fissures psychic gouts, screech of gauze, reeking

ass hole of the onion. No hay cami-

nos, hay que caminar.  Kids probably

don’t know what they’re saying. I’m fat and pur-

ple, full of sweet delight, hidden among

bright gold leaves. Squall of feathers of the loud.

[Note: sources: JV cento 12; Coolidge/Henning 4. A painting at ART LA; I wish to hell I could remember who painted it. Horace, Odes I/23, I/14 (tr. Tim Atkins); Barbara Henning, “4”, in My Autobiography; Jean Vengua, “Drought”, “Two”, “Frequenting”, in Prau; Clark Coolidge, “Any Limit?”, in On the Nameways and “Hey I’m Fragmentary”, in On the Nameways Volume Two; Pablo Picasso, “The Parchment Notebook”, The Corrida” (tr. Jerome Rothenberg), in The Burial of the Count of Orgaz & Other Poems (eds. Jerome Rothenberg and Pierre Joris); something attributed to St John of the Cross by Anselm Hollo, “49”, in rue Wilson Monday, as collected in Braided River: New and Selected Poems 1965-2005; John Ashbery, “So, Yes”, in A Worldly Country; Philip Whalen, “Plums, Metaphysics, an Investigation, a Visit, and a Short Funeral Ode (In Memory Of William Carlos Williams)”, in On Bear’s Head. For Horacio and Ernesto]

Autopoiesis (And Not Autopoiesis) XCIV

Yesterday I was at ART LA. “The exhibiting galleries at ART LA are … all presenting the most progressive, international art work being produced today.” If you say so. I met an artist named Brian Kennon. He produced and was selling a book called The Cindy Shermans I’d Like to Fuck. “Cover, inside title page, and dividing pages copyright 2003 by Brian Kennon”. The rest: Sherman’s photographs. “Is this serious? Your real taste?” I asked. He swore: “No irony. Yes, these are the Cindys I want to fuck.” I was all like tase me bro but couldn’t decide whether to plunk down my 50 bucks. Then he told me when he had a table at an NYC equivalent of ART LA a guy walked up and said: “Is this authorized?!?!?” “No.” “Great, then. I’ll take a copy.” The guy was Richard Prince. Kennon told me Prince and Sherman had been an item once. I know nothing of their private lives so why not? I plunked. I wondered whether Prince uses The Cindys as a jerk-off book. Later Sam called. I told him his mom was worried he might be mad at me for buying this since Kennon hadn’t gotten permission. He laughed and said: “If this doesn’t constitute fair use nothing does.”

[Note: Source: Da-Sein’s life on earth, of which, somewhat poignantly, the art world is an authentic/inauthentic subset. Re: Kennon and the book: “Sherman’s photographs of phantom female identities are appropriated and reorganized into 7 chapters based on the sex drive of the book’s author. Removed from their more traditional manner of organization (Untitled Film Stills, Centerfolds, History Portraits, etc.) The Cindy Shermans I’d Like to Fuck does little to shed light onto the development of Sherman’s body of work, instead the author uses Sherman’s myriad of self-portraits to create his own form of self-portrait (or at least a portrait of his libido.)” (2nd Cannons)]

Autopoiesis XCIII (“Exploding worlds into each other …”)

Exploding worlds into each other with

tremendous speed, the mirror for the in-

exhaustible hearsay, somehow it will

all fit, and what doesn’t you can bring a-

long too if you’d like, as melancholy,

as the tax we pay to Rome, a language

even dogs and cats can read, the hardest

thing in the world to write well. Imagine

a gallery in which Cornell boxes

talk back, a Maya Deren film in which

the audience dissolves into projec-

tor light, a Philip Glass composition

played exclusively on medieval wea-

ponry, a meta-river under the house …

[Note: Sources: SPD blurbs 2. Norman Dubie, Insomniac Liar of Topo; Don Domanski, All Our Wonder Unavenged; Brenda Coultas, The Marvelous Bones of Time: Excavations and Explanations; Thomas Devaney, A Series of Small Boxes; Benjamin Friedlander, The Missing Occasion of Saying Yes; Gary Gildner, Cleaning a Rainbow; Noah Eli Gordon and Joshua Marie Wilkinson, Figures for a Darkroom Voice; Jasper Bernes, Starsdown; Ted Berrigan and Gordon Brotherston, River under the house]

Autopoiesis XCII (“If there’s a footnote to absence …”)

If there’s a footnote to absence it’s the

bric-a-brac, the body’s exhaustive (do

I mean exhausting) (tho I could mean ex-

haustive) task of flesh. Sometimes you just have

to count the grapes and the plums while garlands

of goldfish nibble bits. O Simplici-

ty the Exemplar, O odd intransi-

gent openness, the sky is a swimming

pool and the signs and the stars and the hy-

phens and the irreconcilable ver-

naculars and the tens and the 10s give

us back the world as if oh the pure hi-

larious ache of ontology is psyche-

delic horse sense while wind sits on a bench.

[Note: Sources: blurbs in the Spring 2008 Small Press Distribution catalog, taken pretty much A-Z. A new project-within-project? Kristin Abraham, A Useless Window; Robert Allen, The Encantadas; Aaron Anstett, Each Place the Body’s; Tim Atkins, Horace; Margaret Avison, Concrete and Wild Carrot; Jasper Bernes, Starsdown; Sherri Benning, Thin Moon Psalm; Catherine Bowman, Notarikon; Alex Boyd, Making Bones; Anne Carson, Short Talks; Matt Cook, The Unreasonable Slug; Jack Collom, In the Wind]

Autopoiesis XCI (“Sun buried in the sea …”)

Sun buried in the sea, the angel at

the open gate warms her winter feet on

me. One day, quite suddenly, after so

many years, before so many years, blood

started to flow out of the little black

heart box.1973. Do you

remember Muggins Mouse? I read: Once,

on some opiate I confused that street

lamp for the full moon. Tonight, stone sober,

I almost make the same mistake. Mistake?

What do the moths think? I flip to a

random page: “Ode to Enchanted Light”: To-

night the world is a full glass of water.

This room will glow in the dark while we sleep.

[Note: Sources: JV cento 11. bp Nichol, “Ancient Maps of the Real World”, in The Alphabet Game; Laura Moriarty, “Golgonooza”, in A Semblance: Selected and New Poems 1975-2007; Yoko Ono, Exhibit C: Box and Blue Room Event, in Yes (eds. Alexandra Munroe with John Hendricks); Jean Vengua, “Wednesday, August 25, 2004 (for Mark Young)”, in Prau; Pablo Neruda, “Ode to Enchanted Light” (tr. Mark Strand), in The Poetry of Pablo Neruda (ed. Ilan Stavans). For (who else?) K]

Autopoiesis XC (“In the godness or badnage of time …”)

In the godness or badnage of time, the bea-

tings of the daily gel, though there is gra-

vy on my flag, stumble, stumble, but why

should it be different? A girl clings to her

stuffed Dalmation. So long Mr Man-Who-

Founded-Wham-O. Pour ten thousand or-

anges onto a highway. Malingerers.

You know how says can shatter body sense?

I think the body is a wish to pro-

pel itself a while. Contemplate with dazed

astonishment who will. I for one can’t

help myself. Take the air this morning. It’s

been thingified. Bluish shot with rose. Win-

dified. Like someone tuning a piano.

[Note: Sources: JV cento 10; Coolidge/Henning 3. Kamau Brathwaite, “JerryWard & the fragmented spaceship dreamstorie”, in Worlds Need Love Too; Clark Coolidge, “The Delirium Tree Men”,  in On the Nameways and “The Meat Statement” in On the Nameways Volume Two; Horace, Ode III/1 (tr. Tim Atkins); Geoffrey Young, “Discover Mexican Pizza!”, in Fickle Sonnets; Ron SIlliman, 2197, in The Age of Huts (compleat); Jean Vengua, “Not Always” and “Erosion”, in Prau; Barbara Henning, “3”, in My Autobiography; Hoa Nguyen, “[Pause       Rate the Fall]”, in Your Ancient See Through; Jean Valentine, “The Harrowing”, in Little Boat]

Autopoiesis LXXXIX (“Sincerity! …”)

Sincerity! Cultivate this virtue

and realize the profound truth that the

manifest and hidden are one. Borders

ooze. Somewhere in your other self a thought

is riding, cleaved up the middle, a hairy

sliver of moon. You haven’t seen a storm

like this since nailed boots burnt down the Apple

Sutra Karma Factory. Encore you’re

logorrhealistically mute. HMMM.

“I don’t remember saying that at all,

saying it ever, but it was good. Could

I have said it?” And you wrote it on your

sneaker. You’re not stupid. This is not de-

cisionism. It’s history from below.

[Notes: Sources: JV cento 9; Coolidge/Henning 2. Morihei Ueshiba, as quoted in Torben Bech Dyrberg, The Circular Structure of Power: Politics, Identity, Community, and Dyrberg himself; Katerina Clark and Michael Holquist, Mikhail Bakhtin; Jean Vengua, “Cross-Town” and “Turncoat”, in Prau; Clark Coolidge, “Born in a Hole”, in On the Nameways, and “Weapons of Mere Distraction” in On the Nameways Volume Two; Barbara Henning, “2”, in My Autobiography; Taylor Brady and Rob Halpern, Snow Sensitive Skin; Robert Grenier, “HMMM”, in Phantom Anthems; Nathaniel Tarn, “Home One: Seven”, in Recollections of Being; Peter Gizzi, “A Panic That Can Still Come Upon Me”, in The Outernationale]

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