Prescript: I've affixed the picture of Natalie Wood to this post because it's her "fine performance of Bolero" in the film Splendor in the Grass which appears in Apparition Poem 1647; a hinge to the Madame Psychosis section of Beams.
She told me I love boy/girl poems, love
scenes in them based on a deep degeneracy
inherited from too much heat around my
genitals, as manifest in tangents I could only
see if I was getting laid. She told me this as
I was getting laid in such a way that any notion
of telling was subsumed in an ass as stately as
a mansion, which I filled with the liquid
cobwebs of my imagination. There was grass
outside being smoked in a car in which another
boy/girl scenario played out in a brunette giving
a fine performance of Bolero in her movements,
and I immediately flashed back to the deep
genitals of my first girlfriend and the way she
used to implore God’s help at certain moments,
who was certainly watching this. That’s it, that’s
the whole spiel I have on boy/girl poems and
why they are hated by the dry dunces who love them.
steps up to my flat, on
which we sat, tongues
flailed like fins, on sea
of you, not me, but we
thought (or I thought)
there'd be reprieve in
between yours, for us
to combine, you were
terribly vicious, this is
our end (here, amidst
I and I), does she even
remember this, obscure
island, lost in Atlantis?
Philosophy says that poets want to lose.
What are conditions of losing: to whom?
The conditions (to whom they concern, to
unrepresented phantoms, mostly) are colors,
which, to transcribe, require a solid core of
nebulous necromancy which philosophy calls
(for its own poetic reasons) "loss." I took this
from one strictly (which necessitated looseness
towards me) for himself, took several median
blended colors and painted a razor on the roof
of a red building. Then I fell off. But I lived.
Friday, February 19, 2010
Wednesday, February 17, 2010
Monday, February 15, 2010
I'm still recovering from completing the manuscript Apparition Poems in a big burst. There are still many Apps that need to be published, and are looking for homes. I've decided to take a week's vacation from blogging, as I work on a new essay for Otoliths about the Philly Free School at the Highwire Gallery. I thought as a "quick fix," I'd post two new Apps.
The father’s gaze (depending which gaze
you happen to be referring to) is panoptic.
It goes in without leaving traces. So if you
have several fathers who leave no traces, &
merely invisible gazes, there is or maybe a
sense in which you have no fathers. I saw
all this happening to me, along with every
thing else, many years ago, before I could
visualize the cell I was in, before I knew
how the walls stank of fresh paint, or saw
that I was getting smeared at any juncture.
But, as I saw this, my father who was my
father turned, spoke down to me in such
a way that I listened. I took what he said,
gazed at my cell, and watched the paint dry
deep into the night before I busted out to
watch the dawn break over the Delaware.
He says that these have an “aura.”
To the extent that words on a page
can, they do. He said these things,
but then they were up on a site that
has its own aura, the poems become
composites. Whatever, I thought this,
not out loud, these auras only work
in three dimensions, and I’m already
in three dimensions, I’m already art
to begin with. Besides, who cares? I
quickly made a left onto Broad, the
radio was turned off and I opened
the window, it was a cold, breezes
danced around my face, in words.
Here (as of later '10) is the book Apparition Poems placed in The Poetry Library at Southbank Centre, London. Thanks again to Chris McCabe.
Sunday, February 07, 2010
I was talking to a dude
I knew from school, I
said, “I see the levels
from sleeping with
how I get them,” levels
were (I meant) places
between souls where
spaces open for metaphor,
“but when I carry them
over to my bed, every
psychopath levels me.”
This killer wears a tight
black shirt, glasses. There
are noises of digging happening
from the bathroom, she’s in
bed, hands over her mouth,
frozen upset. Then, the mirror
is dug through, his face appears
in a wall with a square cut in it.
The face is there, hovers there,
just sits, it has the promise of
action that kills. This is the
tableau I watch every time
I’m in the bathroom while
she’s in bed. And smile.
The "I" that writes cannot be
(he told us, perched on a hill of
flowers which he crushed, but, of
course, incompletely, and not all of
them at once) strictly for-itself as it
has no substance: a student walked
up, pricked his forearm (the back side
of it) with a small razor, he cringed but
only briefly, leaning forward so that a
row of buttercups doused him yellow.
The "I" that writes has a relationship
that is very much for itself, but it has
a strictly independent existence, so that
what constitutes a human "I" has no
meaning for it. Now, you need to know
this: I was not the student with the razor,
but I supplied the razor to the student
that cut the professor's forearm, but you
will never know how I got it, or why.
Friday, February 05, 2010
As a proud, magna cum laude graduate of the University of Pennsylvania, I am excited to hear that, as of the end of this year, Jacket and Pennsound perhaps the two dominant outlets for contemporary, international experimental poetry, are merging at Penn, specifically at the Kelly Writers House. It is a move that makes permanent the work of myself and the many poets who have contributed to these outlets, and consolidates these outlets in a way that will preserve all of our traces into the twenty-first century.
Tuesday, February 02, 2010
Thursday, January 28, 2010
Proudly, recordings of me reading from my Apps are now up on PennSound, and in four segments: 1, 2, 3, and 4, or my Author Page. Thanks again to PennSound.
As of February 2017, here, also, are the Cheltenham Elegies on PennSound.