Zeitgeist Spam

“in consequence, of affinity, through proximity” (Autopoiesis 2.11) (58th Birthday Poem)

in consequence, of affinity, through proximity

one November I began to glow. Blank space peopled with empty shapes

gold pailletes of stars to die for

“lyric valuables” shot thru with the square hole of [I don’t know] in the center of each video still

“ … bite your own teeth … ”

glimmer of oh

_____________________________ (try saying that out loud)

opening any small orifice or enclosure of the self – be it ear or mouth or tightly clenched fist, asshole.

OK. in consequence, of affinity, through proximity

one November I began to glow. Blank space peopled with empty shapes

gold pailletes of stars to die for

“lyric valuables” shot thru with the square hole of [I don’t know] in the center of each video still

“ … bite your own teeth … ”

glimmer of oh …

[Note: Sources: this is the 2nd of what started out to be 3 sonnets in which I will work through On: Contemporary Practice (eds. Michael Cross, Thom Donovan & Kyle Schlesinger). This is also part of the series that makes use of material relating to my trip to the UK. In the 1st sonnet I skipped Jason Christie (god knows why; I’ll work him in somewhere). Michael Cross, Thom Donovan & Kyle Schlesinger, “ON: For a discourse”; Alice Notley, Above the Leaders; Pierre Martory, “Obscure Gestures”, in The Landscapist (tr. John Ashbery); George Oppen, Rob Halpern, Taylor Brady, Yesterday’s News, respectively, in Rob Halpern, “Sensing the Common Place: Taylor Brady’s Dialectical Lyric”; Alan W Watts, as quoted in Andrew Levy, “Biotopology With No Annual Fee”; Geraldine Monk & David Annwn, It Means Nothing to Me; Martin Corless-Smith, “The Garden. A Theophany or ECCOHOME A Dialectical Lyric”, in Complete Travels; Sawako Nakayasu, in Jen Hofer & Sawako Nakayasu, “On Jen Hofer & Sawako Nakayasu”]

“But how might one consider these works?” (Autopoiesis 2.10)

But how might one consider

these works? I want to

begin with the photograph opposite.

On the left a torn

scrap of orange foam sits

upon a slanted strip of

wood, a smoking cigarette at

its end, the wood lying

across the cut upturned base

of a plastic bottle (that

was previously used to store

paintbrushes, it would seem) which

in turn is angled upon

the shaft of a hammer

the metal head now acting

like a pair of splayed

feet. In the middle a

russet pear has been placed

upside down in the neck

of a cardboard tube, a

bottle-top for its crown,

while rusted metal tubing sweeps

down, a strip of wire

hooked to its end, across

which is stretched a paint-

stained yellow rubber glove. To

the right, the metal tube

rests on the toe of

a dusty blue plimsoll that

stands back on its heel,

another lit cigarette here held

nonchalantly in its laces, as

if on a bottom lip.

[Note: Source: Jeremy Millar, describing Fischli & Weiss’s Mrs Pear bringing her husband a freshly ironed shirt for the opera. The boy smokes, 1984-6, in Fischli & Weiss The Way Things Go]

“Out of Office AutoReply …” (Autopoiesis 2.9)

Out of Office AutoReply: If you drop the weapon maybe. --------- -------------------. A

look on the child’s face as if running through a trashy jungle with her tiny broken penis out. That's

true, you could hang your hat on the wind, and when you opened your mouth it was like True or false: I LIKED THOSE PEOPLE, EVEN THE MOST HATEFUL AMONG THEM. This

is not the “Oh!” of Eureka! but the “O” of a

vocative.                                But the thing

that worries me most

                         is that even in this neighborhood

if you wave to someone

                              they don’t wave back

                                …

What are they thinking?

                                 Are they scared?

                                                            Scared of

waving people? An

acre of soil might contain 130 pounds each of algae and protozoa, 890 lbs. of insects, nearly 900 pounds of earthworms and about 2,000 pounds each of bacteria and fungi as well as  … mega processes … the soil is charged I say, with iron, so you might have tasted its slightly bloody meat flavor. ‘Thought

is in the mouth’ wrote Tristan Tzara. There’s Leonardo’s dream, one he dreamt when an infant and recorded in his notebooks and which is recounted by Freud in his ‘psychobiography’ of the artist. A bird – a kite – flies in through the window, into the bedroom where he Leonardo sleeping, and it thrusts its tail into his mouth. Otherness of ‘I’, sky bursting in on him through the medium of this bird. Is this consciousness, as if it were something out there? Flight bursts into a room and is trapped here. Leonardo’s dream – you could interpret it as something exciting; mouth-flights, flights

of, flights of, flights of, flights of, prayers that leave tears in their objects of devotion, loosening, overlapping, frbrloping [huh?] an intimate proximity other

than. The same thing applies to the other who enlightens us, notably through desire, as is the case for the

sun, the “forming

blank”: if you want to know what you look like stick your face in the blind mirror and feel the mirror with your

face. Is there water in water? “Once you try to embrace an absolute geometric circle the naked loss stays with you like a picture echoing.” Here’s

a “funny story”: When I was alive I would type like this    the three fingers of the right hand

and the two of the left    or hold a pear    thus    or

take the skin off a cucumber with a device in the right hand and the pleasure

of the [illegible]

flesh          “what feeds me to ashes”         “it’s a little scraped up and it has
a lot of”         the tree collects moisture in this case rain sweat blood urine
stinging eyes open she------random not random from the closest

[…]

------of an age to------
opening eyes------from

[…]


fur yanked off

[Note: Sources: except as noted, this is the 1st of 3 sonnets in which I will work through On: Contemporary Practice (eds. Michael Cross, Thom Donovan & Kyle Schlesinger). Since there are 21 articles in On, I will use the 1st 7 here, the 2nd 7 in the next, and, well, duh. Angela Genusa, “DISSOLVE TO: Ext. Merry-Go-Round”, at Fiddling While Rome Burns, 8 Nov 08; Yedda Morrison, Girl Scout Nation, as quoted in Taylor Brady, “A Few Possible Trailheads for Hikers in Girl Scout Nation”; Aaron Kunin, The Mandarins; Elias Canetti, The Torch in My Ear, as quoted in Kunin (typed w/caps lock on); Brandon Brown, “Reflections on the Human Voice and the Poetry of Dana Ward With Special Reference to Pindar”; Bernadette Mayer, “Summer Solstice 2006”, in Poetry State Forest; Brenda Iijima, in CA Conrad & Brenda Iijima, “An Interlude on Poetics as Dirt”; John Welch, “Something About It”, at LitTeR; Michael Cross, “Tearing at the Veil: Some Thoughts on Donovan’s Devotions”; Luce Irigaray, Sharing the World; Thom Donovan, quoting Madeline Gins, Helen Keller or Arakawa, in “A Work of the Actual: On Brenda Iijima”, my description of Cildo Meireles’ Espelho Cego/Blind Mirror, 1970; Eli Drabman, “On Michael Cross”; Jack Spicer, as quoted by Cross, as quoted by Drabman; Omo Bob, email, 9 Nov 08, 8:46 a.m.; Tim Atkins, “215 for – as all – for & for Koto”, in Hilson; Michael Cross, in Drabman; Alan Gilbert, quoting DJ /Rupture quoting someone, “Challenging Transmissions: DJ /Rupture Breaks the Global Beat”; Brenda Iijima, Rabbit Lesson]

“We deserve the warmth of baths” (Autopoiesis 2.8)

We deserve the warmth of baths. May the days be aimless.

The steamed snow is good to breathe.

Defeat always improvises. Because I like the pronoun “we”

Dead hair, brushed against an electric nerve,

Animates the garbage mask into an erotic wreath.

This is why cellophane is odd; it’s a simulacrum of glass you can crumple.

Cellophane music scares the ghost and occupies the

Skyward falling.

Kk kk kk. Kk

Kk. This poem is a holocaust poem in a special sense, it doesn’t narrate anything really, it doesn’t retell that story.

We are here for good. There is no one

To be us instead. Bricked up but not bricked over. Darkly green. Lemon red.

Waiting in a bath of sand. And there I sat, and there I stayed.

The man across the park will be many people.

[Note: The first of a new series of sonnets, inspired by the release of The Reality Street Book of Sonnets (ed. Jeff Hilson). All sources will relate one way or another to our 15 Oct – 1 Nov visit to the UK. Sources: Luther Blissett, Q (tr. Shaun Whiteside); Bill Griffiths, “The Everest Poem”, in The Lion Man & Others; Steve McCaffery, “Opposite Poems”, “Ghost Poems”, in Slightly Left of Thinking; Robert Sheppard, “Empty Diary 1932”, in Complete Twentieth Century Blues; Cildo Meireles, describing his Através, 1983-1989, in Cildo Meireles (ed. Guy Brett); Geraldine Monk, “52”, in Ghost & Other Sonnets (I told you I'd quote you as soon as I got home, Geraldine); Martin Corless-Smith, “Worcestershire Mass”, in Complete Travels; Tony Lopez, “Not Reading ‘After’”, in Covers; Aram Saroyan, as quoted by Sephen Rodefer on the part-title page to One or Two Love Poems from the White World, in Call it Thought; Jen Hofer and Sawako Nakayasu, “Or Wall Or Wall”, in “Can Can”, in On: Contemporary Practice (eds. Michael Cross, Thom Donovan & Kyle Schlesinger); Cralan Kelder, Lemon Red; Andrea Brady, “To Quit Fear”, in Cold Calling; Peter Riley, in Best at Night Alone; Alan Baker, “The Man Across the Park”, in Hotel February]

Sudden colors and plain spices or is it Waking (Autopoiesis 2.7)

1.

In sweetness
In solitude
The peace of chaff
A spice
Fetching potential

To ascertain
Of death
Wasting against a
    batch

In bliss
To grow

A right of orchards
At a sudden color

What are we to make of this window, banners, discourses, men, the waking
          ears, like immortal fields?
What are we to make of this drawer, like a round angel?
What are we to make of this face, ticked as fear?

Must we be a record?
May we be a cup?
Must we be a great line of poetry?
(“Everything in the world to do. I must be lying already. And the sacred is
          sacred.”)

Is this red then, this celestial strife?
Is that wilderness then, that amber hurry?
Is that air then, that young old old?

What did our hair do until it picked us?
What did our throat do before it heard us?

What did our hand do until it suited us?
What did our rib do before it defeated us?
What did our finger do before it heard us?
What did our face do until it thought us?

What are we to make of this brow, newer than a winter?
What are we to make of this verb, astonished as a friend?
What are we to make of this ecstasy, our arms simple with news?
What are we to make of this bough, newer than an ecstasy?

When I say “bless” I mean a cat blesses the shaft of light that enters a room by sleeping in it.

2.

Passing near the black hole
in a civil war ahead of the traffic
“hiding jokes in mud bricks” and “listening watching waiting”
I would be eight people with the rib-cage of an elephant.

Stick a tester in it.
Is it ready?

A?
B?
C?
D?
E?
F?
G?
Yes. Yes. Yes. Yes. Yes. Yes. Yes.

The passive ornate—of temperature—is half-stone—is delta—tone measure—of crystal—ruby lost—a toilet mechanism—sounds like—whistle—or
where
to just reside—

The passage is wide
open
to the solar
system.

It’s vowel time now and
the jury sweeps by in a cause and effect maneuver –
imagine all the filth of time
the bones that have been crushed in machines by machines or become
machines …

Cupids and Bacchus
          Have given me carpet burns …

Someone was silent, and we wonder whose voice it had been.
               A. indefinite / relative / relative
               B. indefinite / personal / personal
               C. definite / personal / personal
               D. indefinite / personal / personal …

… the UN Convention against Torture and the US revisions of and exceptions to that convention, a dictionary of non-lethal weapons terms and references, the report reviewing Department of Defense detention operations, technical works on game theory and strategy, declassified White House memos, transcripts from animated video games, Emily Dickinson’s poem “Split the lark,” the song “The Big Rock Candy Mountains,” and Louis Zukofsky’s “A” …

icons
& the toxic halos
licked
all over like a stamp, my every garbage at
the actual border,
making it, making it over, taking up the slack.

The bottle broke in your bag & you're
getting flammable, very flammable.

No special name.

            Your name here.

wwww lllluuu kkkhhhaaa.

An equivalent stretch of sand
or an equivalent stretch of sand
a definition of sand
the hair on your balls or if you’re too busy for balls
the tears like elves

Shiva Elijah Delphi achara Bruna leche flan Lama Vegas tidal volta destitute Alma then to write, in chalk, the final result, on the slate flagstones of the park,

Faint carvings base the moon, moonfaced seashell, cottontail, wind. loose pyjama ship’sprow, little empire, little amusement drawer, the no-it’s-not banquet, the carousel’spull. no, we are not accidents
of long ago, the tongues made
of tiny little tongues, call monsters to the walls.

When you sleep you miss / the courtesy service dream
where there was first aid
but no Inspector.

[Note: Sources: most of title and the 1st 13 lines: Erica T Carter, the poem generator, on automatic mode; last word of title and next 19 lines: ETC again, on directed mode, using words from Emily Dickinson (apparently ETC is the author of the for godot anthology, and a damn fine poet). Jared Schickling, “(bullets)”, in Aurora; Tony Tost, “The leafless American: Edward Dahlberg”, at Octopus 3. Part 2: the authors whose names appear along with the covers of their books on the home page of O Books, in order of appearance, top left to bottom right, reading boustrophredontically, left-right, right-left. Except as noted by links, the bits used come from the O Books site. I only touch each author once and I skip the anthologies. Tom Raworth, Tottering State; Susan Landers, 248 mgs., a panic panic, “no clearance in niche”, at DC Poetry; E Tracy Grinnell, Music or Forgetting;Brenda Iijima, Around Sea; kari edwards, Iduna; Tim Atkins (and the ghost of Quintus Horatius Flaccus), Horace; Padcha Tuntha-obas, “trespasses”, as quoted in a review by Craig Perez, at Zoland Poetry; Judith Goldman, letter to Leslie Scalapino, at Jacket 31, “rotten oasis”, at onedit 1; Sarah Anne Cox, excerpts from Parcel, as quoted in a review by Mike McDonough, at coldfront magazine; Tenney Nathanson, “MADAME BOVARY, THE NATIONAL INQUIRER, CAPITAL, AND THE HARDY BOYS, PUBLISHED FOR THE FIRST TIME TOGETHER IN A SINGLE VOLUME”, at RIF/T; 3; Paolo Javier, 60 lv Bo(e)mbs; Michael Coffey, “Poem of the Park” at Free Biennial; Elizabeth Treadwell, Lilyfoil + 3; Heather Fuller, Startle Response, “full logic system”, as quoted in Tom Hibbard’s review of Dovecote, Jacket 18]

Divined (Autopoiesis 2.6)

Impossible are you
      who welcome the red
           of your east
You pronounce you pain in piles of
      red
What if you should
      divine in late autumn, in late autumn,
           purple but little?
You face you

Crowns must transform into tops
Is it any wonder that there
      is no stagger purple than sustenance?
The crown dies in
      autumn–the prideful crown
Jaggedly, auburn wind sways, like
      a crown

A sort of hole
A sort of time
A sort of coast

You dig
Because red is jolly,
      you have red
           in your progress

Nullifies and validates
Avoids and formalises
Evades and avoids
Evades and faces

[Note: A poem I did not remember writing til I saw it in print, but as soon as I saw it I was all like AH! First published in Principal Hand (??) Issue 1, Fall 2008 (eds. Stephen McLaughlin and Jim Carpenter, pub. by for godot.com), pp.2556-7 (this is actually a "hoax" (??) consisting of thousands of "flarflike poems" (to quote Geof Huth) perpetrated by for godot, but, happy to be included and to participate in the tossing of another handful of dust on the grave of the author function and to allow for the truly posthuman polyvocal and to at one and the same time disown any such actions/intentions (don't reify nothin, jack, that's my motto) I now and forever claim this poem as my own)]

“meaning small waves each” (Autopoiesis 2.5)

meaning small waves each

Bird’s eye bullweed
banewort
............................pensée
heartease

flying lions:

“before we feel the
breeze we see
the weeds folded over”
a snail’s vacated shell lies next to a wad of gum

a glass of water. Ah!
just clarity some to clear
a little throat.

corresponding dashes of lane dividers painted on the road:

and in the late day the rocks shade and go on down:

                                                     Total thing
                                                     Noise is made
                                                     Total thing
                                                     Noise is made

because you’re empty & I’m empty
Because every thing is beyond description be-cause

Heaven is a truck: With rain-ripped debris on the windshield:

Between the tracks a rat nudges a Duracell
The horizon’s plum bloomed
a colored dozen

the way tires squeal

Through this room
where you stand nude.
Finite, in its most suggestive

sense bright pouring over.  i sees no sin in grief.

[Note: Sources: authors who have published volumes with fewer & further press, as found bottom of page to top, tho I begin as I end, with Jess Mynes. Text stands as edited by Jared Schickling. Thank you, Jared!

Jess Mynes, “beach ball delay”, at Shampoo 25: Aaron Tieger, as quoted in a review of February, by Logan Ryan Smith, at Do Gummi Bears Dream of Rubber Passion Fruit?, 11 April 2006 (dots in line ending pensee added by Smith); Michael Carr, “The Greatest Prawn on Earth”, at Shampoo 8; Joseph Massey, as quoted in Matthew Henricksen’s review of Massey’s Bramble, The Burning Chair, 1 December 2005; Christopher Rizzo, “A”, at Shampoo 19, and “about ‘Zone’”, at H_NGM_N 6; Clark Coolidge, At Egypt, at EPC; Andrew Mister, “Seven Eleven”, “Drag City”, “Out Hud”, at H_NGM_N (storage); Shannon Tharp, “Nebraska”, at Shampoo 23; Brenda Iijima, “Shorn of Its Habitat”, at Omnidawn Blog, 5 July 2008, and “Periodical”, at Shampoo 15; Jess Mynes, as quoted in a review of his birds for example by Anthony Robinson, at Geneva Convention, 24 March 2006]

“Touch the porcelain Moon corn, sleep you off” (Autopoiesis 2.4)

“Release the brain from the walls of the skull.”

“Relax the molars.”

“Breathe into the legs.”

    -gurus of Shin Yu Pai


Touch the porcelain Moon corn, sleep you off,

        pure output of teleological

                intentions, a sheen, pretty but false as

a stunned light. The photocopier al-

        ways captures your whole thing back on the side

                of a Manhattan skyscraper, crunching

the phyllo and chasing her down with an

        espresso, I wasn’t sorrowful. Watch

                your footprints; footprints rhythmically appear,

a supplemental income, all of the side

        effects, old haircut, published by Exxon

                as part of the settlement. The orga-

nized chaos appears as rainfall on the

        pages following spaced out wording such as:

                tier/  tier/ tiers/ destitu/ its ettrs/ … ,

beliEve Hermes, Know that the Secret of

        everything and the wedding soup never 

                tasted better. Where holes get Out of their

Os the stairs are drawn of chalk, a mobile

        hung in bones — YES AND NO — Voluptas  the

                sun’s rays  the sun doesn’t have any rays —

why revert to Myth  where vein purples the

        surface, (“If only I could get my lit-

                tle doggy to bounce. But see, he has no

helium. He is a rain cloud on a

        string, how sad he is.”). Let’s get serious,

                say good-bye, I love you, so long, been nice,

someone's got to die, let's get personal,

        get serious and translate violence

                into a form, wondering are there more

morals coming,  wouldn’t some Pumpkin Roas-

        ted in a Banana Leaf  with Thai Lime

                taste real good about now, watch the bookends

of the head crinkle. Hands in your pocket —

        I'm not looking for your money, I of-

                fer no proof for any of this, music

slides along the wall. Honorary As-

        tronaut, Shrug, Sensational Spectacu-

                lar, just ball up tight like skin, froth up, out-

ward the day abrasion with its low il-

        lumination. Outward the day abra-

                sion with its low illumination, a

“shitload” is a huge amount, “show me what

        you have” — “I am after a butter knife

                which has defected from its overload-

ed appropriate slot in favor of

        consorting with the soy sauce collection,

                packet upon packet you know you’ll nev-

er use” — bring fireflies, a light bulb and

        a broken sword, the phone rings, it rings a-

                gain, it rings again, it stops ringing.

[Note: Sources: except for the epigraph, BlazeVOX Books authors, taken in “A complete listing of BlazeVOX [books] Catalog: By Book Cover” order. Starting with row 5 and ending with Michael Kelleher in row 14. With three exceptions (Kyle Schlesinger, who ends a sentence and begins the next, Justin Sirois, who ends a sentence to make up for a skipped anthology in the row above, and Douglas Manson, because I liked the music of the repetition), and a stretch or two, each row = one sentence. This is the 3rd and last in a series. The series is for Geoffrey Gatza.

Shin Yu Pai, “anatomically impossible” and “anatomically impossible part two”, at Makura no Soshi, 17 September 2008. Peter Ramos, “Mid-Century Modern”, “Crossing Minnesota at Night”, at Rooftop Poetry Club, “PLEASE DO NOT FEED THE GHOST”, at Verse Magazine, 24 June 2004; Anne Waldman, “Philosophia Perennis”, at Poetry Foundation.org; Eileen Tabios, “R-Factors”, “The Piano Keys”, as quoted in Anny Ballardini, “Eileen Tabios and the upturning of codified needs”, at Jacket 35; Davis Schneiderman, “Baron Samedi Clan vs. Authority of the 1st-World All Stars”, at absent magazine 2; Didi Menendez, “The Day After The Plane Went Down”, at coconut 9; Pat Lawrence, “wire train”, at BlazeVOX 2k6; Lisa Forrest, “Wintering”, at Rooftop Poetry Club; Megan Punschke, “Didn’t You Get the Memo?”, at Sawbuck Poems; Chris Pusateri, VI Fictions, as quoted in a review by Lauren Grewe, at Verse Magazine, 4 December 2006; J Michael Wahlgren, reviewing Joel Chace’s Matter, No Matter, and Chace himself, “Upstate”, at Gently Read Literature, 1 September 2008; Michael Basinski, “The Atmosphere of Venus”, at Intermedia Art; Kyle Schlesinger, “Liner Notes”, “Shedding”, at Rooftop Poetry Club; Chad Sweeney, A Mirror to Shatter the Hammer, at Tarpaulin Sky, An Architecture, at Shampoo 29; Lance Phillips, “Cosa mentale”, at Slope 18; Aaron Belz, “The Conversation”, at Jacket 15; kari edwards, “let us say goodbye”, at Tarpaulin Sky, Summer 06; I skipped Trees of Sleeping and Thanksgiving Poems because they’re anthologies – not quite true vis-à-vis the latter, because I did touch on Geoffrey Gatza’s menu for Ron Silliman, Thanksgiving 2007, for the roasted pumpkin; Justin Sirois, “fool proof” at DC Poetry, 2005 anthology; from this point on, each sentence consists of bits from the 2nd and 3rd authors in a row and the 1st in the row following – a decision that I now see will lead to perfection, which is an understatement; Wanda Phipps, “a fool for the breathing”, at Big Bridge 2; Amy King, “The Living Still Have Their Names”, at Fieralingue; Mark Wallace, “I Was Dreaming of Alleys”, at Tinfish 2; Honorary Astronaut and Shrug and Sensational Spectacular: titles of books by Nate Pritts; Evan Wilner, “thirty-ninth state” as quoted by Jeff Gibbs in a review of homemade traps for new world Brians, at Word Riot; Douglas Manson, “At Any Point (to becoming normal)”, “Blossom Tenors”, “Thousand-mile Marker”, at Rooftop Poetry Club; Sandy Baldwin, “Plustig Coggulate” II, IV, at wire sandwich, issue APG; Megan A Volpert, “margin of error”, from domestic transmission, at Madelyn Hatter; Michael Kelleher, “firefly”, EPILOGUE”, “CUBA”, as quoted in Eileen Tabios, review of Kelleher’s Human Scale, at Galatea Resurrects 8]

“Amor / is one word of two syllables …” (Autopoiesis 2.3)

            … you, incommensurate, therefore the hours shine:
            if I say to you “To you I say,” you have not been
            set to music, or broadcast live on the ghost
            radio …
                      -Reginald Shepherd, “You, Therefore”

Amor / is one word of two syllables, / spoken en two voices together / on invisible but bright planes, / mobile and at high temperature. We are all happening at once on a collapsible line, / and this is no test, underground river, / flowing eight hundred feet beneath us — a physically beautiful book. For even as infinity poured forth from zero This Cry, in its groundlessness, is heard as a (n)ever-arriving wave. “Look at this, a Chinese apple!” she will say, as if it suddenly dropped from a perfumed cloud, “lyric” — except for the 87.9% for whom it’s still just oxygen — “extravagance,” color & glitter, and a predilection for the (always almost excessively) sensual, along with the notion of “reinvention,” with its insinuation of a rescue operation, like you get on those well-intentioned radio stations that boast they’re “Keeping Jazz Alive.” Yet who would believe this creature next tilted back his head and yodelled oldle-oh-dee-odle-oh-dee-oh-de-odle which I cannot accurately reproduce here except to say that Woodchuck is said to have found it the most beautiful thing he had ever heard on earth and perhaps for this reason also the most unearthly detached and terrifying. Aphorism: Whereas History must be steered by the four elements, the fifth is crystalline, “Of fled immensities …” & The stars, which are cherished / Objects in a long dead / Game. Engulf me, ’til you thrive. Psych! / Ha! / A little less reverb on the veranda, s’il vous plait … the sun warm as ever, had grown somehow to be ripe beyond blue. “Did you say something tomorrow?” Think feedback, think big guitar god solo, “just for kicks” and “for keeps,” Did I say that it's good? It's fucking awesome. Expanding wave-front Boiling-over. As usual, the fire blazes like crazy / Only as loud as all kinds of sounds — (Does this put me at odds with the list members? To an extent with some. But to no avail, to no purpose; OH I can JUST ABOUT MAKE OUT the shape or ENVELOPE of this REMARKABLE BLUE HAZE which perneates [permeates? No, perneates] THAT VERY ATMOSPHERE KA KA KA OVER AND OVER AGAIN. / / I am writing this under the rose perfection of Bach's sonatas and par- titas for solo violin. You will be duly noted, your presence, your essence. The ocean looks the same, shallow. Who knew frog embryos and beetle larvae could be so beautiful? (Reversing earlier Romantic representations of bliss as ascension toward a kind of Neoplatonic disembodiment) “… This useless senseless loss is sovereignty.” You are contaminated within a great contamination upon the earth. The infectious disease of the soul/gram flesh-module. Cyber dog of God of et cetera! Oh! Oh, / gentle people who have made it / this far, twirled among red gourds in the yard. Perhaps there are metals in the wine we will never be able to urinate. Do not dupe the poet! Your farts have a Harry Partch musical quality. Boundaries lack edges. Such curvatures reach down to noise. Today / the still slow war / has gotten beyond me … (If anybody feels like perspiring [cough], I'd advise you to go ahead, because I’m sure going to. The skies the limit –– you’ll cap the warp you hatched. He is not in
his childhood bed. n
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bloom in high contrast. Tulips. To paraphrase Gödel: Hello. My name is http://.org/. Feel free to read me, to fill my blanks, to click all my buttons. We are precisely where we think, no more. Let me show you my unfolding sunny spots of machinery. As sure as angular momentum is conserved, our luminously degenerate love will endure the entropy of the universe. … feel it in the one steak knife at a time. More water? Sure. It’s a mistake for you / to writhe in the passenger / seat. For instance. That reckless / Silence / The falling / Fruit. Here, then, is the gift of your exhaustion –– a precious animal stroked to transparency. I have dreamed great dreams … Question: Is

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http://mappemunde.typepad.com” somebody’s poem? If so, I’m sorry for stealing it without leaving a note.

[Note: Sources: epigraph from Reginald Shepherd (i.m.). Text begins with a bit from Alfred Arteaga (i.m), and includes one from David Foster Wallace (i.m.) somewhere in the middle. The rest is mostly BlazeVOX Books’ authors, taken in “A complete listing of BlazeVOX [books] Catalog: By Book Cover” order, and a thing by Tim Peterson. This time I begin at “the end” (which will no longer be the end once more titles are published; by the time you read this?) and work back. Not all the way; that’ll have to wait. This is #2 in a series … Bits from the Andrew Joron’s The Cry at Zero are interspersed after each BlazeVOX row (and are dedicated to Jared Schickling). And there are occasional other bits.

Reginald Shepherd, “You, Therefore”, at Harriet; Alfred Arteaga, “hair”, in flesh and verse: la vida nueva, at Alfred Arteaga.com; Amy King, “The Arm of Eden”, at ; Jacket 35; Kazim Ali, “The Year of Winter”, at The Drunken Boat, Fall/Winter 2006; Raymond L Bianchi, from his review of Truong Tran, Within the Margin, at Bookslut, June 2005; Andrew Joron, “The Cry at Zero”; Forrest Roth, “Chinese Apples”, at Rooftop Poetry Club; Rodney Koeneke, “The New Lyric”, at Modern Americans: Poetry, Poetics, Portland, 4 September 2008; Ted Pelton, “Woodchuck and hank Williams Zombie”, at Brooklyn Rail, October 2007; Andrew Joron, “The Revolution by Night”; Mark DuCharme, “Infringement”, at Grist, “Dude Do Not Pander”, at Shampoo Twenty; Noah Eli Gordon, as quoted by Thomas Fink in a review of The Area of Sound Called the Subtone, at Octopus Magazine 5; “The Year of the Rooster”, at word for / word 9; Joe Amato, “(this evening)” and “36 theory bananas”, at Jacket 10; Laura Mullen, on Joe Amato’s Pain Plus Thyme, at Joe Amato; Andrew Joron, “On Neo-Surrealism”; Michael Ruby, “A Fire”, at Cranky One; Alan Sondheim, “Fame”, “PROPHECY TO THE MULTITUDES KNOWN AND UNKNOWN::::”, at The Gates of Paradise.com; Francis Raven, “A tree is almost always reduced to a few nuts and stump.”, “Abrupt Appearance”, at Turntable and Blue Light; an email, advertising something, received from CREDO Mobile during composition of this piece; Andrew Joron, and Georges Bataille, as quoted by Joron, “Wine + Hashish”; Geoffrey Gatza (I think, hope; at least it follows a couple bios of Geoffrey), “Veritasis”, at Fieralingue; I couldn’t find anything by Joseph S Cooper so in this particular “stanza” I thought I’d run two BlazeVox rows together; Kenji Siratori, “nonexistence”, at Poetry Sz:demystifying mental illness, 2 July 2006, “hardcore”, at Poetry Magazine, November 2000; Daniel M Nester, “Altar Boy Highlights”, at Cortland Review 11; John Bradley (as Tomaz Salamun), “Sonnet of Questions for John Bradley by Tomaz Salamun”, at Fascicle 3; Abdellatif Laâbi , "L'Automne Promet" (tr. Jared Schickling); Kent Johnson, “Lines for the Freeport Illinois Happy Wok Fortune Cookies”, at Fascicle 1; Andrew Joron, “First Drift”; Ed Baker, “Face Turned to the South” (not BlazeVOX; rec’d via email 13 October 2008); David Foster Wallace, commencement speech, Kenyon College, 25 May 2005, at Marginalia.org; Michael Magee, “War Sonnet”, at Shampoo 13; Rick Henry, Sidewalk Portrait: Fifty Fourth Floor and Falling, at BlazeVOX Books ( as “understood” by my Mac’s version of MS Word’s cut n paste); Andrew Joron, “Pink Noise”; I skipped Here Comes Everybody, as it’s an anthology; Patrick Herron, “Hello. My Name Is”, at Proximate.org; Ryan Daley, “Tables”, at The Hold, where I also picked up Jnana Hodson “BLUE ROCK LXVIII” (not BlazeVOX); Michael Kelleher, “CUBA”, and “PIE IN THE SKY”, as quoted in Eileen Tabios, review of Kelleher’s Human Scale, at Galatea Resurrects #8; Andrew Joron, “The Removes”; Geoffrey Gatza, “Kenmore: Poem Unlimited”, at Geoffrey Gatza.com; Tim Peterson, every word that appeared on his blog one day, as thrown through a cutup engine – he has given me permission to use – as seen at Poetics archive at listserv.acsu.buffalo.edu when I searched Ruth Lepson and Walter Crumb]

After Roland Barthes (Autopoiesis)

Hello! Hello! Can Anyone Hear Me? hELLO? hello? CAN ANYONE HEAR ME??? hello hello. can anyone hear me? hello hello. can anyone hear me? Hello, hello, can anyone hear me? (please pull string tight for better reception). Right, that seems to be working … Hello!!!...........Hello!!!...........can anyone hear me?......Hello!!!!.......is there anybody there? Hello? Hello! Can anyone hear me? I'm I'm not sure how I got here or where this is, Is anyone hello, hello can anyone hear me i’m crying out hello, hello can anyone see that i’m about to HELLO? HELLO!!!! CAN ANYONE HEAR ME? SASUKE! (waving hands in his face) HELLO! HELLO!? CAN ANYONE HEAR ME!? CAN ANYONE HEAR ME THROUGH THIS BOX!? I KNOW YOU CAN SEE ME! IT IS AN INVISIBLE BOX! HELP! WHY WON'T YOU HELP ME! ... ... hello hello hello hello hello hello hello hello hello hello hello hello hello hello hello hello hello can anyone hear me? hello hello ...... Hello? Hello?? Can anyone hear me? For God's sake let me in out of this terrible downpour. Whaddaya mean, it's just drizzle? DRIZZLE? ... Hello? Hello, can anyone hear me? Can someone tell me where our base is? How do I get to the...” Hello! Hello! Can Anyone Hear Me? hello, hello, can anyone hear me. Hello….hello, can anyone hear me? I’ve Hello...? Hello...??? Can anyone hear me????? Seems pretty quiet to me so far! “Hello? Hello? Can anyone hear me? Please—please help—. GUNSHOT. Okay, okay, I’ll read it! I’ll read it. i got him!!! hello !! hello !! can anyone hear me. Time Stamp, Hello, hello, hello, can anyone hear me? Hello. 0:05-0:09, [Music - Fastbeat] Hello Hello! Hello! Can Anyone Hear Me? Hello? Hello! Can anyone hear me? This is an emergency. Can you hear me? Sinclair? Sind sie das? Warum rufen sie an? My God! Neville Sinclair is a. Hello? Hello? Can anyone hear me? This is Senior Citizen Mr. Invisible, the lowest level of corporate consideration in history. ... Hello. Hello. Can anyone hear me? Hello, Hello. Can anyone hear me? Boom brake. Hello Hello can anyone hear me? RING!!!!! Hello, hello, can anyone hear me, LOL. “Hello! Hello! can anyone hear me?” No Unauthorized, ... Hello, hello...can anyone hear me? Have 194% I ceased to exist? Have I become invisible? Sybil, Sybil, Sybil... 194% can you see me? ... Ummm.. hello? Hello? Can anyone hear me? Figure: Yeah, they’re us, we can hear you. Guy: Loud and clear. Screen: Okay, umm, could you like help me ... Hello hello?..can anyone hear me..this is Dr Brian Orac Oblivion, I wish to speak to Mr Gant on a matter of great urgency! hello Hello HELLO can anyone hear me? Here is my hair... do you think I am weird! ... Are we forgetting exactly where we get oxygen from? HELLO? Hello? Can anyone hear me? Carbon Dioxide+Water+Light Energy = Glucose+Oxygen+Water ... Hello? Hello? Can anyone hear me? Gods! Whomever takes care of this node must be out at the moment. Nothing but salt crystals on the floor. ... Hello...Hello...Can anyone hear me...We’re lost...48 survivors...We’re on an. island somewhere...We need help...We are lost...” hello hello can anyone hear me pink floyd · Hello?!? Hello?!? Can anyone hear me?!... my head is about to roll off my neck my face is a... I think I'm dying....I havent left my house ... Hello? Hello? Can anyone hear me? :-). The test protocol could be a lot easier than any of the above. “Hello? Hello? Can anyone hear me?” In a whisper, Suzu explained to Stake, “It’s a Ouija phone.” Jeffrey Thomas 29 “Ah.” He nodded. ... hello, hello

[Note: I googled “hello, hello, can anyone hear me?” after reading Roland Barthes’ “From Speech to Writing” in The Grain of the Voice: Interviews 1962-1980 (tr. Linda Coverdale) (where the line reads “Hello, hello, can you hear me?” Ain’t memory wonderful?). For Angela Genusa. Feel better soon]