FCF 103

A
lot of
our work here

is
this scarring.
The site of

construction
begins with
vertical and horizontal

interrogatives
cutting along
the body. See

open
yourself to
the Antisentence Genitals

roam
freely. Inhabiting
the forms of

in
disguise / with
an edge predicament

invoking
Deleuze: co-
existing sheets of

time
wrapped in
gauze, a shroud.

I
have no
control over the

fizzurezzzzzzzzzz
in the
everyday. However much

signifiers
lack essence,
however much most

meanings
may be
said to be

unhinged
from a
referent, some meanings

are
not so
unhinged. For instance,

however
much the
traits of a

gender
may be
viewed as cultural

constructs,
not essential
qualities of biology,

the
fact that
some bodies don’t

bleed
unless they’re
in pain, while

others
shed blood
for the sake

of
the species,
means (!) that the

subjects
of these
bodies live the

signifiers
of gender
differently. The cultural

attribution
of instability
to a body

that
smells and
swells and leaks

and
gushes out
blood, and which

may
host other
smaller bodies, dead

or
alive, is
lived by its

“subject,”
however “structurally
neutral,” quite differently

from
the subject
of a body

U
(a universe,
expressed as a

vivid,
hexadic prism);
that’s a very

cool
word, “hexadic”
(it somehow almost

looks
like what
it means) and

the
phrase “vivid,
hexadic prisms” suggests

something
so unusual
and marvelous that

AOIEAIOUEUEOEUOEE
EIAIUEUEOUOAIAEAEE
AOIOEEUEOUEEAAE
UIOIEAUOUEUAEUUEE

are there words hidden, puzzle style, within the strings of vowels? How about patterns – repetition and variations – within and between the lines? Regardless of what you do or do not find that way,

a cerebrated celebration of vocalized vowels,

profound ones too, what with the relatively free passage of breath through the larynx and oral cavity

here again is the poem’s first line, hyphenated to help the eye-mind-larynx coordinate:

A-
O-I-
E-A-I-

O-
U-E-
U-E-O-

E-
U-O-
E-E itching

to
leap into
action as if

writing
were the
legacy of the

umpteenth
century, the
wars between the

words
harmlessly occupying
the fringes of

space
while nimble
fingers sew and

stretch
the Earth
into recognizable activity,

“ … I
dream and
that I am

a
dream and
that without my

love
my soul
runs into the

sun.
Hey, wait
for me! But

no.
it is
a crazy mofo.”

“I
see you
on the moon

with
your mirror
catching action on

the
parallax.” “The
sun is like

an
omen. The
moon, a variable

drip.
My heart
is like a

tire
fire. Okay,
enjoy this flat

mechanism
which is
maybe your hand.

Save
it until
you find a

use
for it.
Love, Love, Love,”

“I’m
a flame
I’m a card,

a
king! A
burning king card

with
a heart!
With many hearts”

over two hundred trillion trillion trillion massless earths
are passing through the sun every second

they close and open like a clam

crazy
Yoko-ish
singing, bodies, films

of
film strips,
filed scratched words,

like
a parody
of an art

film,
guns, clutched
breasts, wailing, jumping

bodies,
more scratches,
hands on bodies,

masturbation,
“Men Must
have dreams but

they
should never
be asleep”, oh ugh, “there’s

violence
breeding inside
this tube of

lipstick”
solarized, gels,
effect, hexagonal light

forms,
crunchy scratchy
sounds, giant bees

flapping,
breathing noises,
underwater, OK got

it,
amniotic, “avant-
garde” screeching, little

sexy
panting noises,
I suppose this

is
cutout paper
dolls in natural

settings,
OK, I
like this, some

kind
of feathery
net with orchids

and
uh maybe
uh milkweed seeds?

My
mother dresses
me funny. I

am
so much
in contact. I

think
it is
very to incessantly

want
to do
something. We love

our
solutions almost
as much as

our,
like, (The
speaker is ever

confounded,
as is
the bug of

whom
she speaks,
by yet “another

outrage
of the
bug/person barrier,”

but
over and
over, between us

non-
bugs and
bugs, a place

for our
mutual pursuit
to turn itself

into
i.e. all
of the following:

“diagram,
game, bug
sound or anatomy,”)

got
it where
it hurts, i.e.

in
the synthesis-
of-all-modes

mode,
don’t you
think compulsion might

be
transnational? What
would you like

more of, exactly  ???  =hyperfretted and fraction-precise lugubrious, half loopy/half calamitous monononologue fueled by a heroic dose of the slyly impetuous fractal-jazz pulse from a hilariously steep brain-grade – a little like what a late Beckett voice might sound like if it could manage for a moment to talk about “Bird dogs in space.”=

[Note: Sources: Ron Silliman’s links, 5 Oct 09; and. Michelle Naka Pierce “Adfempo. Constellations.”, at michelle naka pierce: no use in a centre; Christine Wertheim, introductory essay, Feminaissance, as quoted by Nada Gordon, “Adfempo Report Part 1”, Nada Gordon, “Adfempo Report Part 2”, “Adfempo Report Part 3” (w/comments by Vanessa P(lace?) and Stephanie (?)),at ululations, 26, 27, 30 Sept 09; Christian Bok, “Vocables”, “AEIOU”, in the new and improved Eunoia, as quoted by Steven Fama, and Fama himself, “A-E-I-O-Upgrade!”, at the glade of theoric ornithic hermetica, 3 Oct 09; Peter Seaton, “Persuasion”, in Agreement, at Eclipse; Ish Klein, poems from Union! as quoted in Nick Demske, “My Mission Is Kindness”, at Gently Read Literature; Bernadette Mayer, “A Neutrino Casino”, in “Jennifer Karmin & Bernadette Mayer on Neutrinos”, at Delirious Hem, 28 Sept 09; Jordan Davis, “Narragansett”, in The Nation, 23 Sept 09; Paul Ebenkamp (ed. Meg Hurtado), “Bay Area Lit Scene 4: The (New) Reading Series at 21 Grand” (on Laura Moriarty, Clark Coolidge), at Omnidawn Blog, 4 Oct 09]

Comments

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