FCF 116

Happy
New Year.
Happy ‘pataphysics. Get

another
blanket. The
shelves are almost

empty.
A crossroad
of sunbeams. Spinoza

was
brilliant. I’m
like one who

loves
Greece fantasizing
about everywhere else

while
living in
Greece. Remove the

vectors.
“One day,
I awoke” “&

found
myself on”
“a subway, endlessly”.

Bweeth.
Mahkeeng oon
eer gant. A

last
word as
but a reference

to
another luminosity.
What’ll it be

this
time? Nietzsche
mused that no

writer
should read
in the morning.

Well,
fuck a
duck, as Henry

Miller
would say.
Have you tasted

me
yet with
the black hairs

of
your feet?
I could be

fucking
a micro-
waved cantaloupe, but

I
choose celibacy.
Sometimes I feel

like
I have
nothing to say;

I
often want
to communicate this.

And
that ringing
in my ears

is
the bell
of existence, ooo-

eee-baby, wizened abandoned paleography offing woodwind sporty onion analects okey-doke dryness,
wizened cense, bop boysenberry, hartebeest, volley

the clank
of metal follows
the hiss of steam

each suggestion of a gentler
mood is fiercely

it’s 12 .99
it’s 18 .99
it’s 29 .99

Panic (supposedly) modifies memory

sleeping and yet awake like a fantastic dragon
a sacred rhinoceros whose cage is the sky
a stalactite organ playing softly
a symbol of something and treasures of dried-up lakes

Although
digital compositing
is usually used

to
create a
seamless virtual space,

borders
between different
worlds do not

have
to be
erased; individual multiplicities

can
retain their
deterritorialities and

lines
of flight;
different worlds

HAYY!
AIE! YRAHHROOOO!
can clash semantically;

take
care, aluminium;
who can think

of
a flower
that is read?

[Note: Sources; Thomas A Clark, sixteen sonnets, in The Reality Street Book of Sonnets (ed. Jeff Hilson); Linh Dinh, “The Wrong Meat”, in Borderless Bodies; Bruce McCaffery, “Death of the Subject”, in George Hartley, Textual Politics and the Language Poets, p. 67; Alice Notley, The Descent of Alette, in American Hybrid (eds. Cole Swensen and David St John); Michael McClure, Ghost Tantras, 23; Bruna Mori, “Roads to Wait”, in Dérive; Paul Violi, “Counterman”, in Overnight; Kate Zambreno, “My Vomitous Blog Manifesto”, at Frances Farmer Is My Sister, 31 Dec 09; bits chosen from those quoted or linked to by Steven Fama, in his year-end review, “Poetry, Published in 2009”, at the glade of theoric ornithic hermetica, 31 Dec 09: Rachel Loden, “Belial”, in Dick of the Dead; Derek Fenner, I No Longer Believe In The Sun: Love Letters to Katie Couric; Fama himself, “Pre-amp Soothe Forearm Theodolite Dazzle”, an n+44 version of Elizabeth Alexander’s inaugural gibbering; Rick Snyder, Escape from Combray; Tony Trehy, Space The Solider Who Died For Perspective; David Buuck, “Stanza In Mediation 6”, in The Shunt; K Lorraine Graham, “Terminal Humming”, in Terminal Humming; Vítezslav Nezval, Prague With Fingers of Rain (tr. Ewald Osers); Nathan Austin, Survey Says!. End of the Fama thing. Lev Manovich, The Language of New Media; MS Word; Robert Adamson, “Sonnets to be Written from Prison”, in Hilson; Laura Mullen, “Plans”, in Swensen and St John]

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