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]
This seems like the most comprehensive blog on this niche
Posted by: hockey fights | 01.11.2009 at 11:29 PM