Zeitgeist Spam

It'll probably be sorta quiet around here ...

Dear whoever or whatever is out there, it'll probably be kinda quiet at ZS for a while. I've got a publisher for FCF, and it's quite a task getting a 750pp poem and another +/- 250pp of notes ready for publication.

Flux, Clot & Froth - Program Note, Dedications, and Acknowledgments

Written 23 Nov 08: I have just finished putting my stash of later c20 anglophone lit in author-alphabetical order. 10 shelves, not counting anthologies. I know, I know, there should be 20, or 50 … apologies to all worthies I’ve missed (feel free to send me your books …!!) Anyhow, I’m going to “unpack” those shelves in a longish poem that begins here. Method: find something in the 1st book on the anthology shelf. Follow it with something from the 1st book on the 1st of the single-author and collaborations shelves. Follow that with something from the 1st book on the 2nd shelf. Etc etc. Intersperse whatever I like from whatever source appeals to me. Intersperse a number of Autopoetic recursions. Form: hay(na)ku. I expect this to go on for several months. It will be presented in sections (one section = one round of shelf 1 through shelf 10) …

Written 24 Nov 08: “2 modifications to yesterday’s process note: 1. Instead of the 2nd book on the shelf, I grabbed the last one. I will use the 2nd book next, the 2nd-to-last book after that, and work toward the middle. Why? So I can minimize the number of times I will use the same author twice in a row. 2) At least one bit in each section may NOT [Inserted 23 Dec 09: MUST NOT] be hay(na)ku. Anyhow …”

Written 23 Dec 09: I ended up shooting for 120 sections because Pound’s Cantos end with number 120 though since some are fragments of others no-one really knows how to count them. Tho composed in parts, FCF has been intended as an “onflow” since Day 1. I also interpolated from many many more sources than originally planned. I also routinely included a number of anthologies in my “hit each shelf” routine: On: Contemporary Practice (eds. Michael Cross, Thom Donovan & Kyle Schlesinger), The Reality Street Book of Sonnets (ed. Jeff Hilson) and American Hybrid (eds. Cole Swensen and David St John)

The best laid plans etc etc. I let life intervene

FCF is the 2nd part of my ongoing project, Zeitgeist Spam. No Sounds Of My Own Making is Part 1. At the moment I’m envisioning a four part ZS, but then again …

Dedicatees along the way: Ernesto Priego, Ginger Stickney, Jared Schickling, Omo Bob, Sam Bloomberg-Rissman, Eileen Tabios, Tom Beckett, Alan Baker, Kris Hemensley, Linh Dinh, Shin Yu Pai, Jean Vengua, Mark Young, Chuck Richardson, Carolyn Morris, Geof Huth, Jen Hofer, Robert Archambeau, Kathy Bloomberg-Rissman, Richard Lopez, Rebecca Loudon

In memoria: Emma Bee Bernstein, George Brecht, Nanao Sakaki, Inger Christensen, George Schneeman, Franklin Rosemont, David Bromige, Nancy Spero ...

Acknowledgements: Here is a list of everyone I can name whom I’ve sampled one way or another for FCF, listed in order of “first time used”, except for those sampled in repurposed bits of Autopoiesis and/or Marcos Lopez Light Poems and/or “Painting Bodies …” and/or “Haayo Means Welcome” and/or “For Frank L Vigoda” and or … their names will be found at the end of the list, unless they were sampled elsewhere in FCF 1st. There are a number of people I can’t name, for reasons that have to do with “personal chaos theory”, e.g. certain “recursive” “recombinant” and/or “aleatory” “algorithms” used when cutting the above-named repurposed texts into FCF, and e.g. “personal chaos theory” as in pure personal chaos. I do have really good notes, tho. And there are a number of people I do name who won’t find a word of phrase of their own making left after the “algorithms” did their/my work … I am utterly grateful for everyone’s unwitting contributions. Everyone. And I mean everyone. I apologize for the imperfections of the following list

Though I claim copyright in FCF, I hereby renounce it in every way that will ever even possibly affect anyone’s copyright over what I’ve sampled. This renunciation covers all those I may have inadvertently omitted from this list, and/or simply not known how to name

[Note: If your name does not appear below, and you think it should, please contact me at j at johnbr dot com]

Edric Mesmer, Kathy Acker, Charles Bernstein, Theresa Hak Kyung Cha, Geoffrey Gatza, Anselm Hollo, Susan Landers, bp Nichol, Thomas Pynchon, Aram Saroyan, Eileen R Tabios, Wikipedia, Autonomatrix: Guild of Chaosmagic, Van Morrison, Kurt Schwitters, Lew Welch, Leonard Cohen, Beverly Dahlen, Tenney Nathanson, Bill Berkson, Angela Genusa, Joseph Ceravolo, Kathleen Fraser, Piero Heliczer, Joann Kyger, Eileen Myles, J H Prynne, Michael Rothenberg, Cole Swensen, Andrew Zawacki, Geraldine Monk, Gavin Selerie, Gwendolyn MacEven, Nathaniel Tarn, Bruce Beaver, Ann Choi, Melanie Neilson, Joe Amato, Barbara Guest, Marjorie Welish, Charles Bernstein/Brian Ferneyhough, Frances Chung, David Giannini, David Raffeld, John Martone, Ann Lauterbach, Leslie Scalapino, Steve Benson, Thomas Fink, Danielle Ramirez, Al Martinez, Bill Berkson/Frank O’Hara, MS Word, Garrett Caples, Alain Badiou (tr. 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Murphy, Stephen Paul Miller, Molly Sutton Kiefer, Kim Addonizio, Thibault Raoult, Lightsey Darst, Eduardo Galeano (tr. Cedric Belfrage). Karen Alkalay-Gut, Rafael Campo, Bruce Andrews & Sally Silvers, Allen Bramhall & Tim Peterson, Paavo Monkkonen Ewa Chrusciel, Ewa Chrusciel & Kate Dusenberry, Wystan Curnow, Jackie Clark, Thomas Cook, Maria Damon, Bodyhose.com, Cornelius Castoriadis (tr. David Ames Curtis), Kenneth Delfik, E Benjamin Skinner, Holly Delaney-Wade, Thom Donovan Georges Bataille, Alberto Pérez-Gómez, Ben Nicholson, Peter Hallward, Cliff Fyman, Drew Gardner, Niels (trs. P.K. Brask & Patrick Friesen), Jamey Hecht, Mitch Highfill, Jen Hofer & Dan Machlin, Allen Mozek, Ngugi Wa Thiongo, Sarah Blaffer Hrdy, William Shakespeare, Jeff Koons, Jennifer Scappettone, Robert Kocik, Pat Clifford & Aryanil Mukherjee, Jill Magi, Stephen Walter, Scott Malby, Filip Marinovich, Michel Foucault, Marty Northrop, JoAnna Novak, Maurice Oliver, Evelyn Reilly, Eric Rzepka, Frank Sherlock, Marie Buck, Amy Catanzano, René Char, Jordan Davis, Olena Kaltiak Davis, Brad Flis, Celia Gilbert, Kevin Goodan, Linda Gregg, Ruth Lepson, Paul Pines, Amelia Rosselli (trs. Lucia Re and Paul Vangelisti), Tomaž Šalamun (trs. Thomas Kane and Tomaž Šalamun), Rachel M Simon, Stacy Szymaszek, Gail Wronsky, Deborah Woodard, Harry Gilonis, Pablo Neruda, unknown, in Cy Twombly: Cycles and Seasons (ed. Nicholas Serota), George Orrimbe, Michel Clavel, Kathleen Sheeder Bonanno, Corey Zeller, Joseph Woods, Juliet Cook, Letizia MerelloJennifer Coates, Patrick Donnelly, Cheryl Dumesnil, Lene Anderson, Can Yücel (tr. Talât Sait Halman), Changming Yuan, Alison Hawthorne Deming, David Buuck, Bhanu Kapil, Eric Baus, Elizabeth Marie Young, Keith Tuma, Anonymous (Sixteenth Century, Mexico, Aztec Nahuatl) (tr. David Guss), another (tr. John Bierhorst), Inca Garcilaso de la Vega (trs. Rosa Alcalá with Cecilia Vicuña), Popul Vuh (tr. Dennis Tedlock), Sandra M Castillo, Alonso de Ercilla y Zuniga (trs. Charles Maxwell Lancaster and Paul Thomas Manchester), Ruth Stone, Frances Leviston, Mateo Rosas de Oquendo (tr. G J Racz), Felipe Guaman Pomo de Ayala (trs. Simon Pettet with Cecilia Vicuña), Geoffrey Young, Gregório de Matos (tr. Mark A Lokensgard), Lorna Dee Cervantes, Sor Juana Inés de la Cruz (trs. Jerome Rothenberg and Cecilia Vicuña), Aaron Belz, Etel Adnan, The Book of Chilam Balam of Mani (tr. John Bierhorst), Simón Rodríguez (tr. Mónica de la Torre, Albert Goldbarth, Anonymous (Seventeenth-Eighteenth Century? Peru) (tr. James Scully), Juan Gregoria Regino (tr. Eliot Weinberger), Christian Hawkey, Cristina Rivera-Garza (tr. Jen Hofer), Tonik Nibak (tr. Ámbar Past), Maria Ernándes Kokov (tr. Ámbar Past), Gloria Vando, Loxa Jiménes Lópes (tr. Ámbar Past), Xunka’ Utz’utz’ Ni’ (tr. Ámbar Past), EF, Patrik Ouředník (tr. Gerald Turner), L R Melvern, Josely Vianna Baptista (tr. Odile Cisneros), Myriam Moscona (tr. Jen Hofer), Valerie Martinez, Elikura Chihuailaf (tr. John Bierhorst), Humberto Ak’abal (tr. Dennis Tedlock) (trs. Sylvia and Earl Shorris, Damien Hirst, Jorge Santiago Perednik (tr. Molly Weigel), Russ Juskalin, Reina María Rodríguez (trs. Kristin Dykstra and Nance Gates-Madsen), Emeterrio Cerro (tr. Kathryn A Kopple), Elvira Hernández (tr. Daniel Shapiro), Coral Bracho (tr. Forrest Gander), Raul Zurita (tr. William Rowe), Daisy Zamora (trs. Margaret Randall and Elinor Randall), Dionisio D Martínez, .::NAG::Net.Art.Generator, Juan Felipe Herrera, Néstor Perlongher (tr. Molly Weigel) Wilson Bueno, Arturo Carrera (tr. G J Racz), Matthew Cooperman, María Mercedes Carranza (tr. Michelle Gil-Montero), Paolo Leminski (tr. Odile Cisneros), Soledad Farina (tr. Jen Hofer), Gloria Gervitz (tr. Mark Schafer), Juan Luis Martínez (tr. Robert Tejada), Maurice Kilwein Guevera, Rodolfo Hinostrata (tr. William Rowe), Jose Kozer (tr. Mark Weiss), Gary Barwin, Allen Ginsberg, Osvaldo Lamborghini (tr. G J Racz), Eugenio Montejo, (tr. Jen Hofer), Óscar Hahn (tr. James Hoggard), Ray González, Frederick Seidel, Alejandra Pizarnek (tr. Lynne Alvarez) (tr. Susan Bassnett), Jonathan Littell (tr. Charlotte Mandell), Farid Matuk, Adam Fieled, Roque Dalton (tr. James Graham), Nicolas Bourriaud, Susana Thenon (tr. Renata Treital), Sergio Mondragón (tr. James O’Hearn), Isabel Fraire (tr. Thomas Hoeksema), Richard Garcia, Gerardo Deniz (tr. Monica de la Torre), Alfredo Silva Estrada (tr. Jen Hofer), Yahoo! headline, 2:42 p.m., 8 Aug 09, R Crumb, Michael Jacobson, Bruce Covey, Amy Gerstler, Russell Jacoby, Reb Livingston, Reb Livingston and Ravi Shankar, Sherman Alexie, Natalie Knight, Jennifer Bartlett, Elizabeth Bachner, Joshua Corey, George KucharMarc-Olivier Wahler, K Lorraine Graham, John D Caputo, Abraham Abulafia, Fernando Pessoa (tr. Margaret Jull Costa), Michele Leggott, Jean-Luc Nancy (tr. Charlotte Mandell), Lynne Behrendt, Kenward Elmslie, Roberto Harrison, Catherine Malabou, everyone excerpted in the “Documents” section of The Artist’s Body (eds. Tracy Warr, Amelia Jones), Rachel Levitsky, Jean Day, Samuel Makidemewabe (tr. Howard Norman), R Zamora Linmark, Gherasim Luca (tr. Julian Semilian), Eric Basso, Jacques Khalip, Kevin Killian, Nicholas Manning, anon, Simone Muench, Tim Rutili, Joey Madia, Victor Burgin, Iain Sinclair, John Welch, Vahni Capildeo, Giorgio Agamben (tr. Georgia Albert), Jean-François Lyotard (tr. Iain Hamilton Grant), Gilles Deleuze and Claire Parnet (trs. Hugh Tomlinson and Barbara Habberjam), Stendhal, I think, as quoted in Giorgio Agamben, The Man Without Content (tr. Georgia Albert), epigraphs to ch 14 of Maxine Sheets-Johnstone, The Roots of Thinking, Tom Clark, Ray DiPalma, William Fuller, Arthur Vogelsang, siglio press, Elaine Randell, Gevorg Emin, Vivek Narayanan, Mohammad Rafiq, anon., Brian Marley, Esa Mäkijärvi, Alana Madison, “Ryan B Richey, Ernest M Robson, Robert J Baumann, Rob McLennan, Lucas Bernardt, Michael Montlack Ricky Garni, Suejin Suh, Steve Tills, Alexander Jorgensen, Megan Breiseth, Eli Halpern, erica lewis, Alexander Pushkin (tr. Alistair Noon), Alain Wittman, Alisa Heinzman, Anjali Khosla Mullany, Luke Humphries, Thomas Svolos, Will Burke, Dana Ward, Daniel C Remein, Denise Dooley, Ian M. McCarty, Caroline Klocksiem, Tom Chivers, Marisa Crawford, Christoph Girard, Christopher Cheney, Aaron Crippen, Susan Denning, Christopher Dewdney, Rusell Jaffe, Anthony Madrid, TC Colbert, Laurie Duggan, Amy Garrett-Brown, Julia Kristeva, jeroenn, Abu Salam, Pinkie and the Brain, Philip Kuhn, Eleanor Antin, Jack Sharpless, Sandra Simonds, Philippe Julien (tr. Devra Beck Simiu), Norma Cole and Michael Palmer, Joan Larkin, Camille Roy, Jane Joritz-Nakagawa, Andrea Hurst (paraphrasing Zižek), Steven Shaviro, critical comments, and description of a photo, at Francisco López.net, Frances Presley, Susan Stewart, Maurice Scully, Karen Tsujimoto, Joel Betrridge, chax press blurb, Mark Bibbins, Gillian Conoly, Doug Lang, Gillian Jerome, Chris Nealon, Robert Fitterman, Mel Nichols, Catie Rosemurgy, Matina L Stamatakis, Matthew Thorborn, Michelle Taransky, Dodie Bellamy and Kevin Killian, Michelle Naka Pierce, Christine Wertheim, Stephanie (?), Peter Seaton, Ish Klein, Paul Ebenkamp, Jonathan Brannen, spelchek, Ken Edwards, Carol Snow, blurb for I Feel Different (curated by Jennifer Doyle) at LACE, 20 Oct 09 – 24 Jan 010, Mónica de la Torre, Marc Nasdor, Cathy Eisenhower, Gladys González (trs. William Allegrezza and Galo Ghigliotto), Camilo Brodsky Bertoni (trs. William Allegrezza and Galo Ghigliotto), Carlos Henrickson (trs. William Allegrezza and Galo Ghigliotto), Dennis Barone, anon, Marco Giovenale (tr. Linh Dinh), Jukka-Pekka Kervinen, Harold Jaffe, Stephen Vincent, Ogonna Agu (tr. Obododimma Oha), Paul Éluard (tr. Barry Schwabsky), Celia Dropkin, (tr. Yerra Sugarman), Penelope Bloodworth, Lynn Xu, Matt Turner, Lanny Quarles, Tetman Callis, Kristin Gallagher, Mahmoud Darwish (tr. Fady Joudah), Jon Bird, Shelley Jackson, George Landow, Brenda Laurel, Peter Lunenfeld, Nancy Spero, JoAnna Isaak, Norman M Klein, Guns’n Roses, English language pamphlet from the Roman church Santa Barbara dei Librari, Amiri Baraka, Gaston Bachelard, Lorenzo Chiesa, Paul Blackburn, Brian Blanchfield, Timothy Donnelly, Dan Farrell, Lewis Warsh, Jeff Derksen, Barrett Watten, Emily McVarish, Ernst Bloch (tr. Anthony A Nassar), Bob Flanagan, Robert Pincus Witten, Ross Sinclair, Mars$, Traffic, Jake Chapman, Christine Kennedy, Emily Horne and Joey Comeau, Chus Pato (tr. Erin Moure), Lisa Samuels, Juan Gelman (trs. Katherine M Hedeen and Victor Rodriguez Núñez), cris cheek, N Tomalin and R Hall, Christopher Taylor, Alli Warren, Francis Ponge (tr. Beverly Bie Brahic), Angela Gardner, Adell Joan-Elies (tr. D Sam Abrams), Jean-Marie Gleize (tr. Louise Højgaard Marcussen & Lasse Gammelgaard), Arkadii Dragomoshchenko (tr. Genya Turovskaya), Emily Critchley, David Kennedy, Alan Bernheimer, Peter Hughes, Amy Hollywood, Fredric Jameson, Bruce Sterling, Paul Violi, Reginald Shepherd, Laurie Duggan, John A Scott, Mel Nichols, Maurice Blanchot, Jam Ismail, Howard N Fox, Brandon Downing, Levi Lehto, Taylor Brady and Rob Halpern, Catherine Wagner, Brian Massumi, Nada Gordon and Gary Sullivan, Eugene Gloria, Tada Chimako, Jerry Ann Flieger, Jason Smith, Franco “Bifo” Berardi (trs. Francesca Cadel and Giuseppa Mecchia), Linh Dinh, headline in The Independent, 23 Nov 98, reproduced as figure 4.3 in Geoffrey C Bowker, Memory Practices in the Sciences, William Burroughs, Aaron Shurin, Barbara Claire Freeman, Rachel McGibbons, Peter Campion, Christine Hume, Rolly delos Santos, Markus Gabriel, Jim Brodey, Kenneth Goldsmith typing Gertrude Stein, Tim Gaze, I Dencker, Larry Eigner, “Heather Christle, Theodor Adorno (tr. C. Lenhardt), Aase Berg (tr. Jöhannes Goransson), Joseph Massey, Law & Order: SVU, Frank Stanford, Rick Snyder, D W Lichtenberg, Suheir Hammad, Lohren Green, The Clash, Kathryn Cowles, Jonathan Ball, anonymous, Sonnet L’Abbé, Scott Abels, Maureen Alsop, Takako Arai, Wyatt Bonikowski, the authors of some bits from (almost) every chapter of The Sound of Poetry / The Poetry of Sound (eds. Marjorie Perloff and Craig Dworkin), Ian Wedde, Donald Revell, Patrick Durgin, George Bowering, Kit Robinson, Jed Rasula, Stephanie Berger, Rauan Klassnik, Matt Turner, Dana Guthrie Martin, John Most, Jared White, W B Keckler, Brigitte Byrd, Lee Ann Roripaugh, Snežana Žabić, Catalina Cariaga, François de la Mothe le Vayer, Kenneth Irby, Lauren Gudath, Michael R. May, Mitchell C. Provance, Andrew C. Sanders, Norman C. Ellstrand, Jeffrey Ross-Ibarra, David Highsmith, Alison Stine, Joel Toledo, Patrick Rosal, Mabi David, Tisa Bryant, Denise Dooley, Ellen Baxt, Denise Duhamel and Sandy McIntosh, Tom Hibbard, Neil Aitken, Virginia Konchan, Steven D. Schroeder, Filip Marinovich, Jack Lynch, Sebastian Agudelo, Amanda Reynolds, Dan Albergotti, Robert J. Baumann, Jörg Piringer (or rather Jörg Piringer’s software), Johan de Wit, Bruna Mori, Kate Zambreno, Derek Fenner, Vítezslav Nezval, (tr. Ewald Osers), Nathan Austin, Lev Manovich, Robert Adamson, the code gods at play, SpinozaBear.com, Architexturez > E-Mail Lists > [ Deleuze-Guattari-L ] (mirror) Archive of Deleuze-Guattari-L1994 -- cont'd...RE: “speaking as if castration doesn't exist!”, Gizmodo - Call Me panties, Nietzsche: Superman Seduction, John Welch, Catherine Clément, Language Is A Virus Cutup machine, Jane Miller, Mark McMorris, The Random Sentence generator, Muhammad ‘Afifi Matar (trs. Ferial Ghazoul and Desmond O’Grady), Ko Un (trs. Brother Anthony of Taizé, Young-moo Kim, and Gary Gach), Stafanie Marlis, Qian Xi Teng, Partow Nooriala (tr. Sholeh Wolpé), David Merchant’s random sentence generator, Peter Dent, Paul Klee, Harry Matthews, David Bergman, William Carlos Williams, Albert Cook, Robert Creeley, Morton Feldman, Nicole Brossard, Carolyn Forché, Crg Hill, Letter Machine blurb for Sawako Nakayasu, Travis Nichols, Donna Haraway, Felix Fénéon (tr. Luc Sante), Jean Arp, Gabriel Gudding, Percy Bysshe Shelley, Gillian Allnutt, Bolaji Campbell, David Trinidad, Jeremy Reed, Randy Blasing, Apollodorus (trs. R Scott Smith and Stephen M Trzaskoma), Tu Mu, Yunte Huang, Adam Czerniawski (tr. Iain Higgins), Zygmunt Bauman, Pablo Lopez, Segun Gbadegesin, Richard Doyle, Frances Hutcheson, Stefan Benjamin, Hans Moravec, Johann Wolfgang von Goethe, Mary Grey, Susan Foster McCarter, Andrew Jones, Carol Mavor, Susan Zwinger, Jan Walsh Hokenson and Marcella Munson, Christine Brook-Rose, Somaprabhasuri (tr. Phyllis Granoff), Ulli Freer, François Villon (god knows which translation) Dale S Wright, Forrest Gander and Kent Johnson, Alexey Titarenko (tr. John Nicholson), Captain Beefheart, Webster’s Third New International Dictionary (unabridged), Martian radio, Oren Izenberg, Anne Dufourmantelle, Claire Goldstein, A M Pires Cabral (tr. Richard Zenith), João Cabral de Melo Neto, Chris Tysh, Morihei Ueshiba, Torben Bech Dyrberg, Katerina Clark and Michael Holquist, Donald Davidson, a too-literal character-by-character translation from the Chinese, brought to my attention by my friend Kuei Chiu, Emmett Williams David Pearce, Horace, (tr. Tim Atkins) (tr. David Ferry), Lena Tabori and Natasha Tabori Fried, Martin C. Strong, Margaret Penston and Paul Murdin, Colin Beavan, Heinz P. Bloch and Claire Soares, R.E. Gershberg and Svetlana Knyazeva, Michel Nostradamus, Lee McCann, and A Ward Charles, Sheila Chamovitz and Anita Brostoff, Philip Metres, Keith Baker, Jason Cranford Teague, Paul Jackson Kenneth Munson and Lindsay Peacock, Carolyne Larrington, Wilhelm Bode, Henry Theophilus Finck, Friedrich Wilhelm Ghillany, Gerhard Friedrich Müller, Daniel Borzutzky, Yoko Ono, Priscila Uppal, Cate McQuaid, My Crazy Ex-Girlfriend, Enrique Vila-Matas, Omar Pérez (tr. Kristin Dykstra), A. B. Yehoshua (tr. Gila Brand), Gonçalo M. Tavares (tr. Anna Kushner), Antonio Muñoz Molina (tr. Esther Allen), Yael Hedaya (tr. Jessica Cohen), Kristín Ómarsdóttir (tr. Janice Balfour), Sasa Stanisic (tr. Anthea Bell), Amanda Michalopoulou (tr. Karen Emmerich), Chenjerai Hove, Anja Sicking (tr. Sherry Marx), Jo Nesbø, “M S Hitra” (tr. Don Bartlett), Francesc Serès (tr. Peter Bush), György Dragomán (tr. Paul Olchváry), Abdourahman A. Waberi (trs. David Ball and Nicole Ball), Lieve Joris (tr. Liz Waters), Tashi Dawa “Over the River” (tr. Li Guoqing), Rubén Darío (tr. Gabriel Gudding), Rosario Sanmiguel (tr. John Pluecker), blurbs in the Spring 2008 Small Press Distribution catalogs, taken pretty much A-Z, David Bromige and Richard Denner, Nyogen Senzaki, Pablo Picasso (tr. Jerome Rothenberg), something attributed to St John of the Cross by Anselm Hollo, Andrea Thompson Paul-Henri Michel, Giordano Bruno, Yoko Ono and John Lennon, Sam Bloomberg-Rissman, Erín Moure, Jozsef Brenner (tr. Peter Reich), Kathy Bloomberg-Rissman, Andrea Brady, Michael Brennan, Alexei Kruchenykh (trs. Jack Hirschman, Alexander Kohav, Venyamin Tseytlin), Hannah Arendt, Hillel Schwartz, John Gray, Monica Amor, Helen Adam in conversation with Maureen Owen (I think, the text I found is just maybe a little jumbled), Heather C Akerberg, Brandon Taylor, Lizbeth Langston, George Albon, Joan Alcover (trs. Kristine Doll, Robert E Brown) Steve Sneyd, Indran Amirthanayagam, Ralph Angel, Jennifer Atkinson, Gianfranco Marelli, William Wordsworth, Andrew Kozma, Laura Kasischke, SF Chronicle, Dante Alighieri (tr. Susan Landers), Mark Dion, Jean-Michel Rabaté, Gans & Jelacic Architecture and Design, Jean Hyppolite, Rebecca Comay and Eduardo Cadava in conversation with Jean-Michel Rabaté, Dori Laub, Burger King Playspace sign as quoted by Sherry Brennan, John Dewey, Rick Carter, Lorenzo Thomas, Stanley Cavell, Catherine Osborne, Cary Wolfe, H D Thoreau, Patricia Spears Jones, Sean Daston, Heraclitus, Isaac Goldemberg (trs. Stanley H. Barkan with Wanda Rivera and Roy Cravzow, Ilan Stavans, Ed Barrett, Dan Bellm, Alexander Solzhenitsyn, Gail Moore, Roland Barthes (tr. Richard Miller), John Daido Loori, John Crouse, William Corbett, Clark Coolidge and Bernadette Mayer, Cyrus Console, song lyric (?) as quoted by Joseph Harrington, Jan Conn, Phillipe Soupault (tr. W C Williams), Mike Kelley, Evelyn Duncan, Caroline Dubois (tr. Cole Swenson), Kirsten Dierking, James DenBoer, Gwilym Williams, Richard Deming, Ales Debeljak (trs. Christopher Merrill and the author), Ryan Daley, Vizar Zhiti (tr. Robert Elsie), Simon Critchley, Jesús Sepúlveda (tr. Daniel Montero), Barbara Jane Reyes, Cedar Sigo, Susan Landers, Jaime Sabines (trs. Philip Levine and Ernesto Trejo), Vicente Aleixandre (tr. Lewis Hyde), Richard Leeman, Cy Twombly, Julia Bloch, Jocelyn Saidenberg, Federico Garcia Lorca (tr. Jerome Rothenberg), Yedda Morrison, Magdalena Zurawski, Pamela Lu, Stefani Barber, Tanya Brolaski, Brent Cunningham, Rainer Maria Rilke (tr. Stephen Mitchell), Alfred Arteaga, Amy King, Kazim Ali, Raymond L Bianchi, Forrest Roth, Rodney Koeneke, Ted Pelton, Mark DuCharme, Joe Amato, Laura Mullen, Francis Raven, an email advertising something received from CREDO Mobile, Kenji Siratori, Daniel M Nester, John Bradley (as Tomaz Salamun), David Foster Wallace, Rick Henry, Patrick Herron, Ryan Daley, Jnana Hodson, Michael Kelleher, Tim Peterson, Adam DeGraff, Marcos López, Alex Scott (?),H.G. Wells, John Latta, Kim Chôngnan (tr. Peter H Lee), No Hyegyông (tr. Ann Y Choi), Mun Chônghûi, Beatles, Clive Ashcroft, Michael Ayres, Peter Abbs, Sascha Aurora Akhtar, Ali Alizade, John Agard, Mitchell Whitelaw, Richard Dawkins, Susan Blackmore, back cover of Brian Parkinson, Ideas and Realities of Emotions, Nicholas Humphrey, Christian Moraru, Gordon Matta-Clark, Andy Clark, Albert Camus (tr. Matthew Ward), Donald Bahr and Lloyd Paul and Vincent Joseph, Erich Neumann (tr. Ralph Manheim), Jean Leclercq (tr. Colm Luibheid), Loden Sherap Dagyab Rinpoche (tr. Maurice Walsh), Tripitaka Master Hsuan Hua (tr. Bhiksu Heng Shun), Véronica Volkow (tr. Jen Hofer), Laura Solórzano (tr. Jen Hofer), Dolores Dorantes (tr. Jen Hofer), Ofelia Pérez Sepúlveda (tr. Jen Hofer), María Rívera (tr. Jen Hofer), Monica Népote (tr. Jen Hofer), Silvia Eugenia Castillero (tr. Jen Hofer), Ana Belén López (tr. Jen Hofer), Angélica Tornero (tr. Jen Hofer), Carla Faesler (tr. Jen Hofer), Cristina Rivera-Garza (tr. Jen Hofer), Erica T Carter, the poem generator, on automatic mode, ETC, on directed mode, using words from Emily Dickinson, E Tracy Grinnell, Padcha Tuntha-obas, Judith Goldman, Sarah Anne Cox, Tenney Nathanson, Paolo Javier, Michael Coffey, Heather Fuller, Eilas Canetti, Brandon Brown, Michael Cross, Eli Drabman, Alan Gilbert, DJ/Rupture, Jeremy Millar, Michael Cross & Thom Donovan & Kyle Schlesinger, George Oppen, Alan W Watts, Martin Corless-Smith, Sawako Nakayasu, Mark Amerika, Jim McGarrah, Thomas Devaney, Lawrence Sterne, Emily Galvin, Leslie Foster (?),Lars Gustafsson, Jack Kimball, David Rosenberg, slogan painted on t-shirt of a “climate change campaigner” who helped hijack a train carrying coal to Britain's biggest power station, as seen in photo or video still, “Climate Change Protesters Hijack Coal Train”, at Aid & Abet, 13 June 2008, Albert Einstein, “Sabbath Eyes”, René Girard, Richard Priebe, ??, Baruch/Benedict de Spinoza, Robert A Wilson, By Stefan Anitei, Liz Beasley, the first page of a number of the contributions (one contribution per line) to Sound Unbound: Sampling Digital Music and Culture (ed. Paul D Miller aka DJ Spooky that Subliminal Kid), Kang Ûngyo (tr. Ann Y Choi), Bob Cobbing, ad for MasterCard rec’d in mail by Omo Bob, R B Kitaj, Hervé Guibert, Ernest Ranglin, Jerzy Ficowski (tr. Frank L. Vigoda)

Nov 08 – Jan 010

FCF 120

so technically I might be 64% mad …

which is a change
from zombie-like ooze-creatures …

and an entire town enamored by a simple rock …

“Is this the right one thing you haunt? …

living large and in stereo. If

you
were alive
all those years,

what
would you
say happened? Did

you
like it,
or didn’t you?

Did
you want
ever to trade

it
in? The
answer is, it

doesn’t
come in
a package, you

are
there all
through, stoned or

not.
You are
not an exception.

If
there was
a puppy playing

with
a ball,
you’d not be

confused.
Yet your
own delight, just

the
same, seems
to need reasons.

“Can
you afford
not to make

the
magical study
which happiness is?”

So
Olson translates
Rimbaud, his last

poem,
I believe.
Did he fade

out
into heaven?
I don’t think

so.
As if
the world were,

I
mean, let
me write this,

I
mean, That
is the glebe

and
this is
the glissando, I

mean,
it ALL
beglozes in a

swoon
of brilliant
corners and a

big
return, I
mean, sometimes, the

hand
sits quietly
on the flaming

arm.
I no
longer have

any
sort of
thirst. My sword

made
from a
shark’s-tooth smile

is
becoming terribly
useless. You can’t

put
Z against
A in ten

minutes.
A Sex
of Lists. Violins,

like
dreams, are
suspect. She asks,

Is
this the
one called Passages,

or
is that
one to the

west?
The lamp
burns on top

of
an unsafe
forest. The applause

faints
underneath the
cryptic percent. Yes,

yes,
or Cage’s –
to paraphrase a

bit –
let the
mess shine in!

mbers shoul ha gn
uides
e
ity
f
ected

crack blank fast air con’t

Maurice Blanchot and Roland Barthes

the horizon or deep down in the chest

“Nothing conclusive …”

inaudible incredible

the
murmur that
comes to us

scraps
of code
eyes painted open

on
the deathmask
“resolved the sky

bears
the enjambments
petit récits “should

aggregate”
a spasm
of zig-zags

suddenly
the street
was bananas and

the
clangor of
Japanese instruments

[Note: I’ve used the last book on the shelf. This is it. For Rebecca Loudon. Sources: Crg Hill, “Now Available: Xerolage 44 – “proviles encouragolage” by musicmaster”, at Crg Hill’s Poetry Scorecard, 13 Jan 010; Nada Gordon, “I Was Making Some Tuna Melts”, at ululations, 13 Jan 010; ablurb for Sawako Nakayasu, Texture Notes, and Travis Nichols, in blurb for his Iowa, in email from Letter Machine, rec’d 13 Jan 010; Richard Lopez, “got the beat”, at Really Bad Movies, 12 Jan 010. 1-3 hits from each of those in the 2nd half of Onward: Contemporary Poetry & Poetics (ed. Peter Baker). And. Robert Creeley, and Charles Olson (translating Rimbaud), as quoted by Creeley, “Was That a Real Poem or Did You Just Make It up Yourself”, “Nothing New”; Stephen Rodefer, “Codex”, “Child of Faust”; The Random Sentence Generator; Aimé Césaire, “At the Locks of the Void” (trs. Clayton Eshleman and A. James Arnold), at Poems and Poetics, 13 Jan 010; Clark Coolidge, and Morton Feldman, as quoted by Coolidge, “Regarding Morton Feldman’s Music and Wherever It All Now Goes”, “A Sex of Lists”; Michael Palmer, “Autobiography”; Creativity Tools Random Sentence Generator; Joan Retallack, “The Poethical Wager”, “The Women in the Chinese Room…………..A Prospective”; Nicole Brossard, “Fluid Arguments”; Mikhail Bakhtin, as quoted by Carolyn Forché, and Forché herself, “On Subjectivity”, “Hive”; Bob Perelman, “The Manchurian Candidate: A Remake”; Lyn Hejinian, as quoted by Barrett Watten, and Watten himself , “Nonnarrative / History”, “Position”; John Ashbery, “And Ut Pictura Poesis Is Her Name”]

FCF 119

This
is the
sphere of interest

of
schizoanalytic aesthetics:
its problem is

not
beauty as
an object of

contemplation,
but the
way in which

bodies
perceive each
other in the

social
field. Me
and you, this

and
that, the
wasp and the

orchid.
We maybe
here            Why not?           Faint pronouns
fainter in the long night on the long horizon

shaking off a cloud

a
man named
“I can’t remember

anything”
rips pages
out of books

at
random &
studies them. The

eye
consumes these
things and conveys

them
to some
stomach that is

tough
or delicate.
These are the

defamiliarization
techniques with
which we are

so
familiar. Liek
nonelen tusked whoopee.

You
think you
see, but are

only
running fingers
through your pubic

hair.
and I know I

puff of smoke
insults
the future. Another citizen survived
torture – he repeated the word “Parmesan” while smothering
        in a bath of live worms and grasshoppers that were
transforming him into “a loathsome coward” –
        A citizen survived torture by repeating
the word “Parmesan” as he was smothered in a bath of live worms
        or grasshoppers that was transforming him into “a loathsome
coward.”

It’s
a parable
from the Zohar.

I’ll
free you
from demons, not

capitalism!
I’ll free
you from demons,

not
capitalism?? Think about
it … it may

not
be necessary
to express this

in
nonsense syllables.
OK. There is

a
repressed and
barely articulated grief –

the extensive killing that has formed the places in which we reside. Begin with the Middle Passage or the ridding and near extermination of many First Nations and indigenous peoples during the colonial expansion of Europe. Begin with the Armenian genocide, or begin with the Holocaust. The accelerating firestorms of aerial bombardment. Begin with the First World War or the Second. Begin with the deaths of diversity – bio-diversity or linguistic diversity. Begin wherever you want, back in another century.

“Plenty
of debris.
Plenty of smudges.”

the mouth                            the tongue                            the eyes

the burn                               the burned                            the burning

“Howdi, Smoky Night”

The window is open. The door
is open, and the fine sand on the floor tiles

bespeaks

the weakest and dearest
part of yourself,

[Note: Sources: Franco Bifo Berardi, Félix Guattari (trs. Giuseppina Mecchia and Charles J Stivale); Peter Dent, “Way Back”, in Settlement. From here to the end are two bits from each of the contributors in the first half of Onward: Contemporary Poetry & Poetics (ed. Peter Baker): Bernadette Mayer, “The Presentation of Fruitstands in January”, “Thoughts on a Course”; Paul Klee, as quoted by Lyn Hejinian, and Hejinian herself, “Resistance”, in “The Rejection of Closure”; Charles Bernstein, “The parts Are greater than the Sum of the Whole”; Rosmarie Waldrop, “Inserting the Mirror”, “Thinking of Follows”; Harry Matthews, “Birth (Draft)”, “Birth”; David Bergman, “Staying in the Lines”; John Taggart, “Were You / Notes & A Poem for Michael Palmer”; Rachel Blau DuPlessis, and William Carlos Williams, as quoted by DuPlessis, “On Drafts: A Memorandum of Understanding”; C D Wright, “Flame”, “the box this comes in (a deviation on poetry)”; Albert Cook, “What You Don’t Want is to Be reminded”, “The Time Has Come”]

FCF 118

& a
feasible applause composes

above
an instinct.
Sex lurks beneath

epistemology.
Why won't
the heritage boggle?

Under
the ruin
gossips the jelly.

Can
the protein
fume before a

competitive
bass? Near
a category waffles

a
burned certificate.
Why won't every

bananas
egg breeze
after the mystic?

The
vast wren
finishes past the

consumer.
Sex battles
the shock therapy

opposite
the basic.
The pat pressure

fears.
A pressing
scum washes the

bread.
The mistaken
bulb steals death

under
the phoenix.
When will the

biscuit
cope? The consequent
secret meets the

poorest
fringe. Or:
category biscuit bulb

epistemology. Why cope? every before meets after category. above after biscuit. biscuit burned therapy. poorest bread. opposite shock won't secret epistemology. Why secret fume boggle? Under won't bass? pat breeze battles ruin fears. protein certificate. Why jelly. Can Near epistemology. Why bread. biscuit phoenix. When burned category battles bread. mistaken death above near a feasible ruin meets category therapy bass. the consequent biscuit won't boggle?

Under
the the
a certificate. Why?

“ =
It is
becoming clearer that

this
is, bare
minimum, about my

conditions
of employment
in and by

anguage.
Yet I
find such single

strand
conclusions, no
matter how accurate,

over-
pat; not
a real mirror.”

How
long will
we continue to

blow
the tsext
off the tops

of
mountains?
How much longer …

Do dolphins plunge bottomward
    To find the light?

There
are all
kinds of words

here
and some
that aren’t here

and
some that
might if put

together
in the
right order mean

more
to you
than I can

say.
My darling
loves me unaccountably.

CHERRIES
BLUEBERRIES WHITE
PEACHES AND LIMES

PEACHES
AND LIMES.
Agouti is an

animal
and today
is the hero’s

birthday.
I read
two poems in

a
row and
each made something

out
of bruises
on a human

body.
The year
is not yet

ripe

           to read
novels as the

bombs
fall to
study the Phaedrus

or
go bowling
and have a

pancake.
With myself
I will agree

to
disagree.
Only one alien

screamed
at a
dancing candle. Nobody

knows
why a
robot ate the

screaming
hair. Because
of the chemical

phthalate
in plastic,
dicks are shrinking,

after
the almighty
Dollar evaporates, the

King’s
English will
shrivel. Here is

a
painting on
wood by an

unknown
hand, of
hearty fishermen in

an
open boat
hauling a cow

out
of the
Bay of Naples.

Peace,
It stays
Until sunrise … Peace.

Rowing
With just
One oar I

Lost
That oar –
For the first

Time
I looked
Around at

The
Wide stretch
Of water. My

bell
your bell,
ergo more sum.

Jupiter
is about
to be struck

by
a comet.
When Harlequin rejects

her
book – not
enough sex, she

is
told – she
doesn’t despair but

begins
rewriting it,
switching genres, replacing

the
love scenes
with murders. What

you
have read
so far will

be
changed as
well. Is the

stone
in the
air? In an

extensive
commentary on
Qu’ran Sureh of

Yusef,
it is
mentioned that among

animals
only snakes
cannot hear one

another.
By my
green candle! Sometimes,

the
demon kicks
the electronic mirror …

the
left side
said the soul

was
burnt wood.
Soul was only

itself,
said the
right. Coils, corridors.

“Keith
burned the
dusty tree,'” Raquel

cried
out pensively.
The stone, the

stone,
the stone,
the stone. The

ninja
screamed at
the ínsane chair.

[Note Source: Creativity Tools (random sentence and paragraph generators); Language Is A Virus Cutup Machine; Rachel Blau DuPlessis, “Draft, unnumbered: Précis” 19, in The Reality Street Book of Sonnets (ed. Jeff Hilson); a particularly abhorrent coal-mining practice; John Ashbery, “How Much Longer Will I Be Able to Inhabit the Divine Sepulcher… ”; Lyn Hejinian, “The Unfollowing” 1, in Hilson; Jane Miller, “A Palace of Pearls” 22, in American Hybrid (eds. Cole Swensen and David St John); Mark McMorris, “(Wood)”, (A Poem)”, in Swensen and St John; The Random Sentence Generator; Linh Dinh, “Diminishing Addenda”, “Investment Advices”, in Jam Alerts; Paul Violi, “At the Chapel Cardinale Finale”, in Fracas; Muhammad ‘Afifi Matar, “Recital” (trs. Ferial Ghazoul and Desmond O’Grady), in Language for a New Century (eds. Tina Chang, Nathalie Handal and Ravi Shankar); Ko Un, Flowers of a Moment (trs. Brother Anthony of Taizé, Young-moo Kim, and Gary Gach), in Chang, Handal and Shankar; Stephen Rodefer, Mon Canard, in Hilson; Stafanie Marlis, “Dangerous Archipelagos”, “Green Card, Blue Shoes”, in Swensen and St John; Qian Xi Teng, “three love objects”, in Chang, Handal and Shankar; Partow Nooriala, “Are You a Snake?” (tr. Sholeh Wolpé), in Chang, Handal and Shankar; Alfred Jarry, Ubu Roi;Nathaniel Mackey, Song of the Andoumbooulou 64, in Swensen and St John; Peter Riley, “Ospita” 2, in Hilson; David Merchant's random sentence generator]

FCF 117

he wrote.

TTey TeTer
metm tmese

two womemm

bbt bobed
llle eqlallyl

paiiiiiiyi to
each other’s

death.

We see
llle pass

& &o&&
for days

so
vitally – see
on its throne

of
nothing the
sandstorm’s vortex; see

how
calmly it
bears the primal

sea;
there is
no need to

think
of power
as a cold

machine;

Spinoza sits up with open arms and safety locked eyes
His heart dial’s secured for safety
On/off, volume, speaker allow Spinoza to "speak from the heart"
The tiniest infant’s calmed by his soothing voice and music

>but i still hold that there is such thing as “speaking as if castration doesn’t
                       exist”
> > > molecular identity, as fuzzy as it is. a multiplicity is this kind of
> > >
>
>you mean, remanence in time? you believe in space-times, like einstein?
>magnetic forces? please explain. (thanks)

leibniz autistic teddy bear
(index to This is your brain on music)
Newton leibnitz i ching binary. Buscar trabajo madrid. Polar bear crafts for
            preschool ..... Halloween teddy bears. Long and foster training.
            Tube frame drag car. Philie eagles ... •cockalorum tantrum.
            Cheats for hitman contracts …
just set that handset on vibrate, slip it into your Call Me panties,

how Zarthustra Nietzsche echoes pick-up beliefs. ...
The community thrives on a lot of things –

there is
no need to

think
of power
as a cold

machine;
very simply,
it’s always noon,

pale
and deformed
but very interesting.

Tell
me again
what a genius

I
am, ok?
AIN’T IT A

SHAME / [NOT IN THE LEAST]
another video
looping, unabridged lexicon

of
lucid hallucination,
at the end

of
which the
bear-wife returns

on
the word,
Honey? And the

bear-
husband returns
on the word,

Honey?
And all
lickle ickle bear-

cubs
agree with
Susan M Schultz

that
the best
of the embeds

in
Iraq was
Emily Dickinson. Another

glacier
passed by
last night, on

its
way to
Australia and the

ice
cube tray.
You have a

scar
on your
left knee. Here

are
blue shrines.
We sank in,

becoming
colour poured
on and were

buried.
Below you,
a body persists,

with
heat, with
cold, with longing,

it
forms many
limbs of translucent

skin
out of
about two inches

of
Zeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeez. Some
things are brutal.

Or
is this
the world? “Surprisingly, this glaring weakness contains a raging force. This frustration is creative; from its disorders, unknown energies are often born… the world in which I have lived until now idolized power and force, muscle and health, vigor and lucidity. [it] opens onto a universe of weakness and tricks; it leads to new rebellions.”

[it]
merges orgasm,
blackout and narcoleptic

fits.

[Note: Sources: a pdf of the code gods at play w/a poem by Ernesto Priego; Inger Christensen, The Alphabet (tr. Susanna Nied); Franco “Bifo” Berardi, Félix Guattari: Thought, Friendship and Visionary Cartography (trs. Giuseppina Mecchia and Charles J Stivale); Spinoza Bear.com; Architexturez > E-Mail Lists > [ Deleuze-Guattari-L ] (mirror) Archive of Deleuze-Guattari-L, 1994 -- cont'd...RE: “speaking as if castration doesn't exist!”; google search; Gizmodo - Call Me panties; Nietzsche: Superman Seduction; Mary Ruefle, A Little White Shadow; Omo Bob, email, 4 Jan 010, re his Self Portrait As Nan Goldin, Too Much Time In The Devil's Playground, at Omo Studios, 4 Jan 0120; Adrian Clarke, Skeleton Sonnets, in The Reality Street Book of Sonnets (ed. Jeff Hilson); Harryette Mullen, Muse & Drudge, “Sleeping With the Dictionary”, in American Hybrid (eds. Cole Swensen and David St John); Jean Day, “Hat Schism”, in ENTHUSIASM Odes & Otium; Susan M Schultz, blurb on the back cover of Janes Holmes, The MS of My Kin; Paul Violi, “Cheeseburger Serenade”, “Brochure”, “Dry Spells”, in Splurge; John Welch, “For the Paintings of Morris Louis”, in Hilson; Jennifer Moxley, “The Promise”, in Swensen and St John; Ron Padgett, “Sonnet: Homage to Andy Warhol”, in Hilson; Laura Moriarty, “Spicer’s City”, in Swensen and St John; Catherine Clément, Syncope, as quoted by Johannes Görannson, and Görannson himself, “My Own Private Idaho, Synecdoche NY, Kitsch and ‘Community’”, at Exoskeleton, 3 Jan 010]

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]

FCF 115

              Pen

on
ink. I
had such

a
beautiful dream.
Walking along some

beams.
The top
of the letter

d.
She pushed
aside a bit

of
the blanket,
not to let

me
see her
body, but the

pattern
on the
sheet, “Fury’s Ukulele”.

Go
shopping, body,
teach us in

our
very feet;
won’t you be

my
chocolate bunny,
won’t you be

my
fretted leaves?
The forest gives

up
its secret
in layers of

stench, but hey, “to call such language acts poems is to interrogate not only page-based definitions of poetry, but also definitions of poetry that privilege difficulty, complexity, and ambiguity.” It’s a poor heart that never rejoices, but the elephant’s psychospiritual opportunity turns out to be mediated by consumer capitalism: the machine “cost 50 cents/ more than I had/ in my ear”. (I love the absurdity of a tree named with a number), noises, both grievous and sonorous, “climb trees, collecting the carcasses” (I’ll return to a parallel image at length), historical preservation in that city means mutability, “The crowd beckons and invites and terrifies; she allows for every possibility, walks aimlessly towards something she didn't know she'd find”, chrome descriptions, the record skips again and again on

the
chinked groove
of right now

my
hair feels
like another person

squatting
on my
head. “You can’t

‘blick’
that” “approximate
rhythm of their

twinkling”
“a giant
mic from a

giant
crane”. Let
me land in

the
corked air.
Chinked groove. Corked

air.
(The gridlines
of the lab

notebook are reproduced with total clarity, even as the typewritten words smear

and
photos blur).
It is glowing green here – the light, drops, flutters, reflections, slits of light and lightness in the trembling,

it
seems he
is living in

the
water. It
grows longer and

slimier.
123: ‘Everything
is about sex,

except
sex which
is actually about

power
and money’.”
So what, you

say.
So this.
We are “walking/

between
abstraction and
magic.” “Even the

bamboo
has forgotten
the napalm at

last.”
“Jouissance” recalls
to American readers

a
French concept
not directly translatable

into
English. “Do
not bite your

worker’s
back to
decant a wine.”

What
crayons? If
I’d named them

I
would now
remember where I

placed
them / for
safekeeping. “Mercy will

kill
me” kill
me” kill me”

depleted
uranium bombing.
“I don’t want

to
eat wheat…”
I’m too something

a
Kiki Smith
woman carrying a

wolf upon my back.
My house
has flying birds

in
it. Beuys
and his coyote.

Dear Ones--
Dear Ones--
Dear Ones--

it will not do you any good
to hide the myrrh * or
to call the eunuchs
burning down a puncture
to a gulf
of cobalt
“adobo-crusted tuna” or “lamb in grape leaves”:
Keats and Fanny retire to a Greek island to “perfect the art of the human body”;
“Those were the good times,
Ben Gay and lamb fat. “Cessez de sauter sur le baton de
pogo rouge.”
Rerpe tiesieni ene uhet. Tibe ratne begasne te idbegtu. Na retugas, resbe egif o rerle ene e keleh utlehidebegas sa sedefe. Ihtilan gona, seweaet eneor. Debethik pewrubratu negas. Se utid, ratan u e, let une ihtil gifne gifte seni iugif. Erdodna nibep rigros dekdebros e silehmet. Ratne tube lip, negas neteladfelet bepes ersigurer oere. Setdidid eribe dodteeenadod gif. Ihtil regpen gerpodkeeinrer o kere.
    Sitot irerpao era. Imsape debhet. Tuse redus debethik. Resbe ihselad dustedef, ratres tilpew bepfe ornad, sohder sibe upa erotil tuet ti deftih nesetlehreredodteros niraden uendeb ihsiet nau. Sifden nengifne adinbe naesi debne ideru deb rarele, dus. Ratros beri e gubepe, adin resle ie na rarerlet. Rutres natuetres isi rub. Iet ineni, ratpe didmet hik, rigle udustot o, tuee sohder, ihet seu dengif ete. Dek etrub ratu metetetu gas. Metuegne gihrarerlet siletil. Olehriegifupe udidus idtuet imer. Peweneinpen idus? Du tote, regbe gif esbe oemet nim debegti. Sigurer retres tot sanawe. Rubpen uterpaoenidebpen nim rau rebepdod feo. Regpen etnapaes ohetu gifenepode nen. Tiapapen nen, begia totinafe egbep let ereoden sohsi deletnendus nen rigros epodnegif gif diad neu we. Ih er o ogifbeg met hikgo. Resle tilrereturapew lip, erle regfe i sohin, irih irkeu. Regres ares met. Rerpe na sipaen. Rubfe rebeg ewetot une. Rerpe etleipe uhet, regifdek redusebegas irtife ieg. Dodebedeknake te, ieg rigbe pere sesuwe gu denhiki, rigpen ihtilpen erdodna, rutres e nemdini, sohfedod erin luneu ih. Ratle ihseladle in, seu. Tiole weaet eg upa didmetetiaparos egrigas pa u. Iepodpen rapadef, erotile dusfe sini ihet narub.
    Rerfe rerimtufe dek. Rebepdod imgif orne gubepe. Tugas sifetedusmetan naura.
Redus
en.
    Ado er u.

“will
you buy
me? any price

accepted.”
Plastic is
the last scream

of
the tree.
More prepares to

be
in full.
Much’s edge. Lick

a
shortfall of
like. Do we

only
pretend to
die? I think

of
you every
day, but not

for
a long
time. Do these

tits
go with
these shoulders? A

wind
had cleared
things out, stolen

things.
Fade in
on the image

of
an aperture
being adjusted from

a
sigh to
a gasp to

a
pinpoint. We
differ by suffix

only,
the Actual
Technologies. We tremble

on
a thin
fork, a massive

novel
shorn of
names. Scent of

pink
silk and
encyclopedias. A storebought

container
of rice
pudding. I know

this
is getting
pretty ad hominem:

You
often cackle
loudly when asleep.

[Note: Sources: Eileen Tabios, “The Brain’s Holiday”, at The Blind Chatelaine’s Keys, 26 Nov 09; Walter Benjamin, letter to Gretel Adorno of 12 Oct 1939, in The Correspondence of Walter Benjamin 1910-1940 (eds. Gershom Scholem and Theodor W Adorno) (trs. Manfred R Jacobson and Evelyn M Jacobson). Then I trolled thru Galatea Resurrects 13 til the voices told me done. The baton de pogo is for Richard Lopez.Rachel Loden, in Crg Hill’s review of Loden’s Dick of the Dead; David Highsmith, “October Fires”, “inbound volume”, in Patrick James Dunagan’s review of Highsmith’s your wilderness & mine; Alison Stine, “After the Body”, in Troy Jollimore’s review of Stine’s Ohio Violence; Philip Metres, as quoted in Jules Boykoff and Kaia Sand, Landscapes Of Dissent: Guerrilla Poetry & Public Space, as quoted in Crg Hill’s review of same; Geoffrey Gatza, title unknown, and “Elephant”, and Thomas Fink, in Fink’s review of Gatza’s Housecat Kung Fu: Strange Poems for Wild Children; Joel Toledo, and Patrick Rosal, in Rosal’s review of Toledo’s The Long Lost Startle; Mabi David “Itinerary, Day Seven (Sens de la visite)”, in Emong Deborja’s review of David’s You are Here; Tisa Bryant, and Denise Dooley, in Dooley’s review of Chris Kraus and Bryant’s Elders Series #3; Rebecca Loudon, “It is dark and cold and weird here sad here”, at Radish King, 27 Dec 09 (not GR; but wait); Rodrigo Toscano, in Jade Hudson’s review of Toscano’s Collapsible Poetics Theater; Ellen Baxt, in Eileen Tabios’ review of Baxt’s Analfabeto / An Alphabet; Denise Dooley, in her review of Ellie Ga, Classification of a Spit Stain; Aase Berg, “IN THE GUINEA PIG CAVE”, and Rebecca Loudon, in Loudon’s review of Berg’s With Deer (tr. Johannes Göransson); Aase Berg, “Song Lake”, in Gabriel Lovatt’s review of Berg’s With Deer (tr. Johannes Göransson); Denise Duhamel and Sandy McIntosh, 237 More Reasons To Have Sex, Tom Hibbard, and Michael Rothenberg, “Polarizations”, in Hibbard’s review of Michael Rothenberg, Choose, Selected Poems; Neil Aitken, “All the Names of Children and Homes We May Never Know”, in Amanda Reynolds’ review of Aitken’s The Lost Country of Sight; Virginia Konchan, in her review of Catherine Daly, Identity Theft; Steven D. Schroeder, “So You Want a Worker”, in Kristin Berkey-Abbott’s review of Schroeder’s Torched Verse Ends; Eileen Tabios, in her review of Fiona Sze-Lorrain, Water the Moon; Filip Marinovich, and Virginia Konchan, in Konchan’s review of Marinovich’s Zero Readership, an Epic; Jack Lynch, “Good Friday”, in Nicholas T. Spatafora’s review of Lynch’s Manhattan Man and Other Poems; Rebecca Loudon, and JBR, in my review of Loudon’s Navigate, Amelia Earhart’s Letters Home and Cadaver Dogs; Nicholas Manning, in Eileen Tabios’ review of Manning’s Hi Higher Hyperbole; Sebastian Agudelo, and Amanda Reynolds, in Reynolds’ review of Agudelo’s To the Bone; Dan Albergotti, and Virginia Konchan, in Konchan’s review of Albergotti’s The Boatloads; Robert J. Baumann, in Jim McCrary’s review of Baumann’s A Man About Town; Jörg Piringer, or rather Jörg Piringer’s software, vy2ms #9195563 (er), as generated (for me!) at Jörg Piringer.net, to which I was led by a link appended to James Sanders’ review of Playing with words: The spoken word in artistic practice (ed. Cathy Lane) (as Piringer notes: “the project vy2ms gives customs officers, agencies and police forces new labor. it generates documents that can be read, searched and deciphered by otherwise underemployed personal. it challenges them with enigmatic language and mysterious images and diagrams”); Jonathan Hayes, “good afternoon”, in Hallucinating California, in JBR’s review of Richard Lopez’s Super 8 and Hayes’ and Lopez’s Hallucinating California; Johan de Wit, “More earns sound”, in The Reality Street Book of Sonnets (ed. Jeff Hilson); D A Powell, “Clutch and Pumps”, in American Hybrid (eds. Cole Swensen and David St John); Michael Palmer, “Tongue Asleep”, in Swensen and St John; Jenny Boully, The Body: An Essay; Catherine Daly, “Oscillate”, in Locket; Allen Fisher, “‘Nerves’”, in Hilson; Devin Johnston, “Hog Island Oysters”, Clouds”, in Sources; Michael McClure, Rare Angel; Paul Violi, “A Moveable Snack”, “More On The Heroic Deeds And Manner Of The Worthy Rabelais, Doctor Of Medicine”, “The Curious Builder”, in The Curious Builder]

FCF 114

Period
Adjective Plural
Subjunctive Case Noun

plural
intransitive verb
and passive incomplete

participle
twined in
a passive verbal

phrase
adverb Plural
Appositive Noun it

makes
you want
to punch a

wall
colon em
dash from Q

&
A: Is
it nothing to

you?
Nothing, I
agree, is sacred,

zero
is to
be worshipped, there

is
nothing in
the heart, nothing

in
the perimperfict
life.
Caring is
another thing, there

is
nothing behind
true caring. “Mixtapes

are
better than
manifestos.” Boiling water

is
hot. The
road tells you

what
to do.
Yes, late pink

&
gold I
see how to

yourself
you are
nuts is suddenly

&
like all
true & a

typo.
Did
I say you?

It’s
the proverbial
you. “… Space has

lost
its ‘inside’ …
When it lights

up
from inside
it breathes, because

the
internal relations
which dominate the

whole
cause it
to oscillate.” Is

it
blue yet.
Is it changing.

Is
it pink.
We were watching.

Were
we. The
sky is flat.

You
can see
the moon. The

sky
is flat
and green. Love

says
give up
and touch immolates.

How
else could
sound make it

from
one place
to air’s wasabi.

It
is heard
in human speech

as
O, the
grieving vowel; and

in
the speech
of inhuman things

as
a (n)ever-
arriving wave. GREEEEYAKK!

E+.
TREEEDEK.
AND DROOOOT.
twisting and leaping.

I
soap myself
& present               myself

in
a                            soft
light            a breathing

light
I would
thank you                for

embracing
.me. For
instants at a

time.
Isn’t it
great. How often

you
see the
phrase always already.

Eye-
portraits, small
compact gestures like

a
little dance
kept on a

string.
Not or
aint. It’s 7:15

in
the morning.
The circular lamp

over
the desk
illuminates a copy

of
The Crystal
Text. “The noisy

complaints
of a
waterfowl / pierce bright

morning
air / as
currents drift backwards

Toward
the estuary
and a light

breeze
picks up
their last thought

and
blows it
away / the way

a
metaphor dissolves
over time …” that

dissolving
metaphor: reason
enough to praise:

O war-time taxidermist

My bajingo is [a]-ring-a-linging
                               I am coddling my mincemeat
                  into a retro set of vibrating clouds

[out of which]

newts crawl like tiny dragons past drinking bees.

Call the concrete, great people. And, yes! — Modifying loose connections in the monitor is called Biology.

Investors have
            been called
                        to lie down

Time to saddle up my donkey,
if my ass will cooperate,

[time to]

dreams of the uneven
       shoreline,

once the Egg McMuffin™ arrives with its offending sausage I give it back and ask for another one and then I have to tell them not to just take the sausage off and give it back to me but to make me a whole new one. This pisses off the person at the second window and the seven thousand cars. You’re a shaman or would be,

everything
seems slightly
weird

and your body’s microflora and microfauna have a rich inner life.

                      A human falls to earth and
shatters into a jillion little trolls, who run off all directions, sunstroked
and bloodthirsty. They

will
shave your
eyebrows when you

fall
asleep. This
is “something that actually takes place …”
however you define

actually:
Christmas lights twitter in palm trees.
The only other people
are a shy, smiling transvestite with glitter eyeshadow,
and a Chinese man clopping haphazardly down the street
on stilts, shouting Happy, happy, happy! Poking around

for
worms and
nuts, the paper

I
use for
maps is tough,

nearly
transparent, a
little bit oily.

Verily,
I walk
among the foreskins

and
the limbs and the labia.
“They that Sit

in
Darkness are
troubled, and shake

their
heads.” Let
us face it:

this
reason, which
we call divine,

which
makes us
so glorious, and

by
means of
which we pretend

to
tell the
true from the

false,
is a
plaything … singing “old

Mince
Meat’s here,”
to the tune

The
Water Goblin’s
Hair or The

Autumn
Flaking From
The Air – as “they

don’t
care / they
don’t care, what

they
wear” … oh,
mood is plenty

de
termined; you
were born today –

maybe –
the dogs
ate my tears –

sap
from a
Quercus palmeri (the

“Jurupa
oak”) that’s
been waiting for

the
burbs since
the Pleistocene.

[Note: Sources: Craig Dworkin, Parse; George Bowering, “Rewriting My Grandfather”, “Q & A”, in Vermeer’s Light: Poems 1996-2006; Emma Bee Bernstein (who died one year ago already), as quoted in Nona Willis Aronowitz, “Remembering Emma, 1985-2008”, at GirlDrive, 20 Dec 09; Alice Notley, 165 Meeting House Lane, 2, 5, 6, in The Reality Street Book of Sonnets (ed. Jeff Hilson); Stephen Ratcliffe, Human/Nature 6.27 in American Hybrid (eds. Cole Swensen and David St John); a visit with Shin Yu Pai and K to the James Turrell Skyspace Dividing the Light at Pomona College, 20 Dec 09; Stacy Doris, “Under Fire” i.XIII, in Knot; Andrew Joron, “The Cry At Zero”, in The Cry At Zero: Selected Prose; Michael McClure, ! THE FEAST !, THE BLOSSOM, or Billy the Kid, in The Mammals; Catherine Wagner, “I soaped myself and presented”, in Imitating; Claudia Rankine, “Don’t Let Me Be Lonely”, in Swensen and St John; eye-portraits … string: Bin Ramke, “Mercy”, in Swensen and St John; Bernadette Mayer, “The Phenomenon of Chaos”, in Hilson; Geoffrey Young, “Allow”, in Hilson; The noisy … time: Kit Robinson, “North Waterfront Point 2”, in Bay Poetics (ed. Stephanie Young); Christopher Nealon, “Somewhere out there”, in Young. Then some link-clicking took me to Coconut 14, which seemed just right, as Goldilocks said – besides, it was windy. I hit Coconut 14 times. No, 15. 14? A supersized sonnet. Lara Glenum, “Guerilla This Guerilla That”; Jed Rasula, “The Pomps of the Subsoils”, “The Language Homunculus”; Stephanie Berger, “Everything is moving, breathing, seething, and I, the robot mop, alone in the kitchen”; Rauan Klassnik, Dreaming; Matt Turner, “Reography”; Dana Guthrie Martin, “oh, my rebellious body”; John Most, “Say the Timeless Voices”; Rebecca Loudon, “Things that make me wonder about McDonalds”, at Radish King, 22 Dec 09 (not Coconut); Jared White, “Against the War”; W B Keckler, “Spring Poem”; Brigitte Byrd, “(something that actually takes place in human life)”; Lee Ann Roripaugh, “The Desire for Space Travel Is a Metaphor for Escape”; Snežana Žabić, “Translation Manual”. End of sonnet. Norma Cole, “In Memoriam Jacques Derrida”, in Young; Catalina Cariaga, More excerpts from Bahala na!, in Young; François de la Mothe le Vayer, Little Skeptical Treatise, in Descartes’ Meditations: Background source materials (eds. Roger Ariew, John Cottingham, and Tom Sorell; Kenneth Irby, “singing “old Mince Meat’s here,” in The Intent On: Collected Poems, 1962-2006; Lauren Gudath, “Listen to the Seeds Falling”, in Young; Joseph Lease, Free Again, in Young; Beth Murray, The Night’s Night, in Young; Michael R. May, Mitchell C. Provance, Andrew C. Sanders, Norman C. Ellstrand, Jeffrey Ross-Ibarra, “A Pleistocene Clone of Palmer's Oak Persisting in Southern California”, at PLOS One, and related news stories]

FCF 113

Whatever the problem is, I am always a part of it.

Orange, chimney, breadth, circle, desert,
Monarch, month, virtue, wisdom

effect “an echo”

Finally the rumors grew more fabulous

Zwang-drang-befelsergang-hanf-schlang

[the minute visual and rhythmic interval defined by the tmetic comma preceding an ampersand]

tmetic comma               ampersand

I can still remember the first time I read Emily Dickinson’s “Because I could not stop for Death” in the original English

shagadam, magadam, vigadam, pitz, potz, patzu

ELEFANTEN KARAWANE

Ekoralaps!

bifzi, bafzi; hulameli:

Bhm-T-Nsh-tpt’Bhm-T-Nsh [thsss] –

Ush-NsgNshsh …

Physical or digital instantiations

an interstitial continuum

a method to do again and again, with the persistent awareness that what is done cannot be redone or undone

., work!. .,work!” – bueno!

BLBRNG             BLBSH

the blubbering logic of the stuttered blurt

A different voice is blown into the body and replaces the old one

scow aback din

flicker skaeg ne

barge quagg peat

sieve catacomb

stint chisel sect

Silence goes faster backward

Trois fois

A mix of Viennese dodecaphonic theory and Brazilian bossa nova swing

“a single glass of water illuminates the world”

So Jah say

When I put my ear to the page, I hear nothing but the sound of my hair against the surface

EYE CEE (“Sparks,”) tribaltribuloluminescence

behold them shatter

kxv

“cross-platform”

It’s an ext…..uh, an extremely, uh...wait, what was I saying? Uh, oh, yeah? What did you… ? It’s an extre, uh, you know, uh, ex, ext, ah, uh huh…work of modernis…yeah, OK.

            The flower smells so
sweet who needs the beans? We should move house there
into the middle of the bean-patch:

outside on the steps
a silver fish head glistens besides a bottlecap.

Tune yr radio to 89.1

Ka      Thump                     Ka

Thump

Ka

Thump
(tikka tikka)

Ka

Thump
(tikka tikka)

Ka

Thump

Ka

Thump

Our … jammed and Its amazing …

Sand can dance into a pattern

and – oh, and/or
as said the whom to the reification

(our brains our made of teddy bears)

no known tongue can capture the (our tongues are made of teddy bears)

gone thru the

Et in Arcadia ergo points to everywherewhen then

Ten seconds of flesh adorn thy SOUL!

– and that is PLENTY!

there was, inexplicably,
more

a test of the emergency alert system

as if once upon a movie’s philosophical time the sentient being went

leaning & lurching

In the river fold a poisonous mush was boiling

A hairy
bed

I’m picking up your cigarette butts

“The
Joy was
Priceless because the

Joy
Was priceless,
In this place

On
Earth where
Our bloodstream flows,

Where
The feather
Floats through the

Inexplicable
Toward the
Bottom of the

Hourglass
Where the
Stainless steel bunny

Waits,
And the
Black bowler, and

The
Clouds in
The carpet, and

The
Giant comb.
The joy was

Priceless
Because we
Had a full

Tank
Of gas
And a full

Tank
Of language.
The joy was

Priceless
Because contrary
To legend angels

Avoid
This region.
The joy was

Priceless
Because hope
Had been sentenced

To
Death. The
Joy was priceless

Because
Hope was
Just two syllables,

Because
You’d already
Finished that book.

The
Joy was
Priceless because of

The
Japanese food,
Because places move

Further
Away than
They ever did,

Because
Right after
Someone said the

Aforementioned
L’inexplicable hands
Us a bill

Someone
Else said
Let’s teach crumbs

To
Fly by
Tossing them to

Birds.
The joy
Was priceless because

Each
Breath was
Precisely the last

Breath
Of time
As breathed by

The
Baal Shem
Tov, who, by

The
Power of
His spirit, started

The
Clocks going
Again, albeit in

A
Slightly different
Direction, …”

adverb colon em dash

Ka

Thump
(tikka tikka)

Haayo …

Haayo …

Haayo …

In
the United
States, people eat

Oreos
by cracking
open the two

halves
and toothscraping
the white filling.

[Note Sources: Eleni Sikelianos, as quoted at Jerome Rothenberg, “For A Panel On Poetry and the Environment”, at Poems and Poetics, 18 Dec 09; a bit (or two) from (almost) every chapter of The Sound of Poetry / The Poetry of Sound (eds. Marjorie Perloff and Craig Dworkin); Ian Wedde, Earthly: Sonnets for Carlos, 10, in The Reality Street Book of Sonnets (ed. Jeff Hilson); Donald Revell, “My Trip”, in American Hybrid (eds. Cole Swensen and David St John); Steve McCaffery, Dark Ladies: A Masque and User’s Guide to the Tragi-comic, in Hilson; JBR, “Haayo Means Welcome”, and “For Frank L Vigoda”; Christian Bok, “W. L. Bragg (1890-1971)”, in Crystallography; Patrick Durgin, “Arbiters’ Ectoplasma”, “Was Not Was”, in Imitation Poems; Beverly Dahlen, A Reading, 19; Steve McCaffery, “Some Versions of Pastoral”, in Bouma Shapes; Ronald Johnson, The Shrubberies; Michael McClure, Love Lion Book, in Huge Dreams; Paul Violi, “Wet Bread and Roasted Pearls”, in Breakers: Selected Poems; Anne Waldman, “~ inner ~ day 2”, “~ secret ~ day 3”, in Manatee/Humanity; Aase Berg, “The Snail Ancestry” (tr. Johannes Göransson), in With Deer; Jerome Rothenberg, “More Gematrias”, 58, in Gematria Complete; Brenda Iijima, “Raw: Hands”, in revv. you’ll-ution; Craig Dworkin, Parse]