text || Noel Canlas

transcription3
 
o 1 X a J r 4 G 0 d P H y c u v I M P 4
= export physical god
Y c K 4 A w 0 G G t v j m G W M h v a 5
= yawning world gem
r F j o R 2 4 0 X y 5 v g h R k I e x W
= formulate complex wave
E N R d X K U R u R o G W c X z A h Y Y
= end rogue galaxy curl
z c A c L g Y I q 8 Y 0 m y a F h Y r H
= myopic flash calamity
q R p O p a c q g F g 6 R x 6 U 0 a D N
= opaque runner bend
a 5 n L Z O n E u a z j p N Q E N 0 w E
= zone in the queue
H y p J R 8 8 q K 6 I k U Y l y R M N 6
= hypnotic quick mine
7 0 B N G K f S Y x 1 t b X 8 M J o M q
= obvious systematic
1 J I B O q 1 q V 5 Q 5 I v 6 F K O D X
= borderline quotation
1 j G K P o h d U Q c n T Q P d 7 z f j
= greek found entropy
q V A Y 2 I t r Q L V v Q 5 V s 3 V P k
= well adventure speaks
L Y D g 2 U I 5 Y a C H 5 c H T Z A N h
= lead liquid channel
0 k c Y b R X m x n R i M I 7 J N k V D
= break mixed-mind key

pome || Billy Bob Beamer

POME9[8alc]h[]no]tre
69-62our[nal]
...........................
Km.t chu' mo[sair]
.;,',;'.,.,[]
y dear[e so]nnestone
.,;,',[][,,.
natur'alls[ec ret h id/.t
.;',[]\=,,.
pr[ oper] ty ele] ments\
.;',[][,'
al[bid]a re bioblo]odha[ir
;',;,[],'/
eg[] g[s'fo.\ol.s[sto[nein][
//,.,',[],
be[ast]sin]her[bs]inal[]lum]
../,,';,[']
rem[ain]ed[fo]oles]can this
;.l[][',;',
be[eart]iswe[aker]the[n[]nat
./;,',[],';,[
ure ;']Km.t chu' mo[sair].;'[]
....;'[];'.....
 

poem || Jeff Harrison

Henceforth Amytis
 
overlook the full surroundings
& sink into Scheherazade's satchel
bubble up carefully & come forward
bare-handed as the brow of Amytis

now each off-hand phrase
has at least some warmth
intermediate enough,
Nebuchadnezzar enough

yes! yes! send me any flounce
from any scene! the trifles open naturally,
now even the sharpest use
observatory telescopes to see them

though they still come to us stooped
& obsequious, bubbled up to come forward
THIRST - my first vicinity was a tolerably warm
boot upon a road lately removed, a cynical hold upon

the lurking tearfuls... N E B U C H A D N E Z Z A R
finding prey with his forefinger, just another snake shifting &
craning to come forward out from the full surroundings, this
perseverance is a centaur hueless beside remains of fair weather

intone Proteus countless no longer, henceforth Amytis always
anchor to swim blood-dyed in intonation, blood to vindicate a
dog short of hands, someday I'll lay a pair of gloves on her brow
until then, the whole story is vigorous as ever
 

two texts || Noel Canlas

transcription 1
 
c 2 X 1 u L n P u c u L I I m s F r U Q
= carbon culture limits
6 9 T U a 1 7 b 9 O y 8 Y 4 P 4 u e m C
= actual body for Emc2
e b p J D J c K d P o E X 8 k d o E w e
= ebbing poetry down
E O Y J X c a W E 0 y M 8 Y c C H 7 H R
= the exclamation chair
N P C T f y h t u 2 h 7 M u 9 C j f W I
= no city muscle with
E l n m g y I P J P 7 C v Y t N n q j R
= imagined country near
E I O D p 5 P 1 r Z 1 C 2 b I O D g
 D F
= expiration biodegradable
1 I x V 9 c O u c Y K 5 5 I C l b p 2 Z
= little couch cycle beeps
0 h P S g O X P L U v X C z h A k e Z M
= past shakes them
a L w W p R c g A A O K T p H I T Z b t
= allows practice
o W Q q
 u z 6 p x R L E H 0 k 6 r j R 2
= questions whole score
S U g P D O e 6 S d 3 O o x 9 k D V E q
= undoes 3-D drives
A r j K N h u O 9 L P E v 6 6 q j t z h
= knowing helped quit
0 d K H x L c 1 g 2 h O g K z o V o J N
= OK gone soon
 
 

transcription 2
 
d 1 l Y k p 5 4 S f N P A 7 L T 3 m 1 K
= like no place of late
J 9 c 6 c q j v 0 j h I E F 6 3 E I h i
= jungle heterophony
Q I V r e P r q 1 g J V T w l f V D 9 N
= prepares quality
 field
7 l H 1 t a r u p X H O s S 9 v k F O J
= hit & run hustle
P D j k d K J o B r I q 9 T T S N Y B J
= bright job station
3 4 h 1 G Y N 2 t H T 5 s K b f T w 2 Y
= whistle in the night
V 6 y d D 3 Y I N x b d I x O F J n l s
= yin yang finale
L 1 O L r b 4 B E 4 g z j 3 U E o e a 6
= upper lobe becomes
n R I z j d G f m C E N N a w u 9 t s p
= riding center step
e J 1 B 3 P E B v 1 M 0 m Y K D K r e 7
= probability certified
u V e 4 1 n u Y s J 6 w T H r Z K O 3
 7
= evening nulls throw
7 z B i 9 s y 4 t Z X C V H l K m G h m
= busy site chance again
h L a 5 w v 9 K W D A B y j Q S z N g 0
= late wave dance and go
v F g r w q 8 3 7 9 I L W x m E v 6 0 d
= forward meta-mood

pome || Billy Bob Beamer

POMEat[ten]dmin[ing]
fra gm]
.............................
scent leads to keep
.;[][;[][;.
river afternoon singular
;''.;'']][].
speaking to point todance
.;',;,]][,]
wake rainbow boot steady
,..,',[],[;'
red laser swo/o deep voice
.';];[';/.'
trees stand/ scatter dreambroth
.;';[]][;'.''
flight pipes already flightbreath
;''.[.]';/'
beaches special wine odor door
;'[]['.;'//\\
eyes burn/ flow/ letter laughs ink
;''.[].'';//\
end open froward master/scham/be
;[][;'.[''/'
fly rough sequences hidden speakmire
[]]';';';./\\\.
tables sampleout awe smile stairsdole
.'';];[';;'.
reflections feast map works world point
;''.['';';
no end/ing book bandwidth blanks under
/;'[][';'''][
standing why shimmer matterlux lox much/
.................................
matters smuch.';;';]][];;;;/././.'[]\-;'.-[]\]';
 

poem || Raymond Farr

A Plausible Morning

Anfractuous lamplight’s glow, to wake to

& to the head of the class

I do this eastern thing a lot
To monitor beltway hours, eyes spread

I rub off San Andreas Fault, as Cubism
Colored white, adroitly

On Chinese snow peas (?)
Ezra Pound cracked crab deliciously rambles

The green I seek is not the
Gross weight of yoghurt, minding its business

A pulse of a tooth for the all-tchotchke banana
&veering delirious palm prints

I alter gridded accolades, of cinematic Juicy Fruit
The gun is on cove duty

A tomato believes its role in cannery heart throb
Makes work like a dollar, or turkey in bubble wrap

Maybe open up the shed (tear)?

& glee, be sanctioned rain

The most yanked prism, pun de rigueur
Has nothing to strive for (to strike for)?

Broken yellows, & ambers
The daffodils of crazed scientific bureau chiefs, gone mud pie

Seize elements like auras
Of all senses, catching fire

Manage a dry spell, foreign as odes
Often observing, denial in

Most ghosts, a pantry
But there is a fourth & a fifth

Around here, the time
Acts out, a plausible morning

text || Peter Ganick

from EXISTENCE 05 


m .. z v p .. x .. .. b .. a .. .. o .. .. a .. d o .. .. a .. d .. 

r m .. z r .. .. o .. .. a .. d h v p .. x .. 

b p .. x .. .. b p .. x .. .. c .. 1 .. .. h v p .. x .. .. b .. .. 

p .. x .. .. b p .. x .. .. c .. .. r .. .. o .. .. a .. d h v p 

x h v p .. x .. .. b p .. x .. .. b p .. x 

v p .. x .. .. b .. .. y o .. .. a .. d .. .. r m .. z v p 

x .. .. b .. a .. .. o .. .. a .. d .. .. m .. z r .. .. o .. .. a .. d .. .. r o .. 

a .. d .. .. r m .. z r .. .. o .. .. a .. d o .. .. a .. d .. .. r .. .. 

m .. z v p .. x .. .. b .. a .. .. o .. .. a .. d .. .. m .. z .. .. q .. .. 

h v p .. x .. .. b p .. x .. .. b p .. x p 

x h v p .. x .. .. b p .. x .. .. b p .. x 

v p .. x .. .. b .. .. y .. .. m .. z h v p .. x .. .. b .. .. 

p .. x .. .. b p .. x .. .. c .. 1 .. .. h v p .. x .. .. b p 

x .... b p .. x .. .. c .. .. r .. .. o .. .. a .. d o .. .. a .. d .. .. r 



o 
x 
z 
a 
r . 
d.. .. 
a .. .. 
c .. .. 
d.. .. 
b.. a 



m .. z r .. .. o .. .. a .. d 

i .. d .. .. o .. .. a .. d .. .. r .. .. r 
d .. .. r .. .. r o .. .. a .. d 



o 



.. a .. d .. .. r .. .. r 

.. o .. .. a .. d .. .. p .. .. 
r h v 



o .. .. a .. d .. 

. y.. .. o .... a 

p.. x.. 



b p .. x .. .. b p .. x .. .. c .. 1.. .. o .. .. a .. d .. .. r .. .. r 

y .. m .. z .. .. q h v p .. x .. .. b p .. x .. .. b p 

x p .. x h v p .. x .. .. b p .. x .. .. b .. .. 

p .. x v p .. x .. .. b .. .. y y o .. .. a .. d .. 

r o .. .. a .. d .. .. r m .. z v p .. x .. .. b .. a .. 

o .. .. a .. d o .. .. a .. d .. .. r .. .. r .. y .. .. m .. z .. .. q .. .. y.. o .... a 


r .. .. o .. .. a .. d y o .. .. a .. d .. .. r m .. z v.... 

p .. x .. .. b .. a .. .. o .. .. a .. d h v p .. x .. .. b p 

x .... b p .. x .. .. c .. .. r .. .. o .. .. a .. d h v p 

x .... b p .. x .. .. b p .. x .. .. c .. .. r .. .. o .. .. a .. d o .... a 

d .. .. r m .. z v p .. x .. .. b .. a .. .. o .. .. a .. d o .. 

a .. d .. .. r.. .. r o .. .. a .. d .. .. r h v p..x.. 

b p .. x .. .. b p .. x .. .. c .. 1.. .. o .. .. a .. d .. .. r .. .. r .. 

v p .. x .. .. b p .. x .. .. b p .. x .. .. c .. .. r .. 

. a .. d y o .. .. a .. d .. .. r o .. .. a .. d .. .. i 

.. .. h v p .. x .. .. b p .. x .. .. b p .. x .. .. c .. 1 

o .. .. a .. d .. .. r o .. .. a .. d .. .. r m .. z r .. .. o .. .. a 

y o .. .. a .. d .. .. r o .. .. a .. d .. .. r .. .. r 

v p .. x .. .. b p .. x .. .. b p .. x .. .. c .. 1.. o .... a 

.. i .. d.. .. o .. .. a .. d .. .. r .. .. r o .. .. a .. d .. .. r 

v p .. x .. .. b p .. x .. .. b p .. x .. .. c o .. 

. r m .. z y o .. .. a .. d .. .. r .... o .. .. a .. d .. 

haibun || Sheila E. Murphy

We did not disturb the screen, which was already torn. Instead, we wiped away the scarred paint
so the eye would travel naturally to another place. Not as insects might seem to enter 
the walled emptiness. A more novel seeming way to seek surprise. To bless the sudden stasis 
with a lake nearby. We took ourselves into a polished vehicle, pearl white, and drove away 
from water. Where for days we had been looking at the trees in little feather pockets lining the 
water's edge. People arrived unplanned. People who owned places on the water where 
they slept to rhythm of the water swishing forward, drifting back. The thought of fishing and 
the thought of quiet and the distance from routine made things as simple as a rest that stretched
across four measures. We left the screen scratched, twisted, and we looked into the woods
once more before the engine took us back into the state of motion, where we planned to reach
a plane in time to lift. 

On view, a tone, apart from its tone row, the intervals between

Sheila E. Murphy

poem || Keith Higginbotham

The That
 
in was and were
and hung
moon rhyme
To. ward
 
(5) the you
of beheld summertime last
 
profits hitch—O tightly pale the up
 
(4) I'd from blossoming beneath
bathed the
beauty I've rolled moonlight want
 
softly beach stood
to free-
smelling crime and
(3) Conjures not
 
pants
the immortal stars
of me (2)
of, curled
of
 
undressed (vowels bar your
rock in; folded from
wilted songs
cloaks
Of
 
love-stuck with
toes croon notes (1) unrest in

poems || Felino A. Soriano

4.
 
Legend of plural|s| risen advance
relocated
            from the singular mobility of tongues’ inherent untruths.  Thick
 
                                    throngs remorse upon
           
                                                                                    analyzing errant reforms
 
purchased by power’s encapsulating species.  How with
time do wrongdoings provide existential hope
 
pulsed by upon coverage of thrill do
whereabouts boomerang as slang         karma’s                      clichéd fundamentals. 
 
You bodies become silent|

 
5.
 
Tremors, recall them? then “fear, father, why do angles represent reality?”
 
answers
 
locate private missions
 
releasing tongue from humid mouth, poised though
 
controlled
 
answering swift from experiential hallways
 
lined with 90degree representations
 
blackened white renaming colorful positions
 
hanging, though requiring shadow to instigate dimension
 
against
 
malevolent gossip of the memory’s internal
 
theatrics|

 
6.
 
                                                                                                            Street of herded modes
                                                                        of
                        delineating species
ambulating
                        within
                                                                        freedom’s                    obnoxious
 
paradoxical: paradigm.  Alive sans sight of interrelated liberties
 
autonomic extracts form rarely whole
 
thus
 
                                                                                                            movement, the truncated
faculty             rarely               realizes
 
intentional measures
 
of the spontaneous ballads’ whispering welcome|

 
7.
 
Partitions                                 [oscillate]
                                                [menace]
                                                combining data of exalted manifestations
collating rogue or denied
collaborative    EXCESS—
 
 
                        portions of whole nuances                  gradate functionality of a moment’s
 
sustained memorable decay:
 
of the death delivered             holiday fulcrum future
 
relaying memory of penultimate breath, etched l i f e
 
prior
            the last of the life (then, sans life)
 
victim of huge or miniscule /perspectIve/
 
contributory demand of elongated fragmentations:|

 
8.
 
themes require incessant knowledge of their intuitive particles.  of radiant specialized devotion to unabridged salient focus.  globes of radiant bulbs rest on a window of against familial frustration.  a handful of thus becomes near a defiant ending, but then, adlibs workings into dissection’s fascination with destructive aspectual guidelines of pseudo-science.  among guideposts, thrust into flat-footed trust; impulse: reactionary: fathoms: opportune metaphor grips the spine of a moment’s misleading intuition|

poems || Jim Leftwich

from six months ain't no sentence


theme

nibbler padded fangs
gut-tool ladders dark
or well-lit bilingual
islands sap-pagers
gate gaps at salsa

05.16.2011



variation

so sash surround sounds nod
susurrus data highlights tossed
inlets sac concrete hot gnats
tool-lattice damning

05.16.2011



theme

at may no island annuls
not naive or iterated to
say nailed into yet

05.16.2011



variation

ideal magic kangaroo
another dawn a nasty
sabbath inhibited navigation
again gangs gargle
the hooligan

05.16.2011



theme

nibbler padded fangs
gut-tool ladders dark
or well-lit bilingual
islands sap-pagers
gate gaps at salsa

05.16.2011



variation

so sash surround sounds nod
susurrus data highlights tossed
inlets sac concrete hot gnats
tool-lattice damning

05.16.2011



theme

at may no island annuls
not naive or iterated to
say nailed into yet

05.16.2011



variation

ideal magic kangaroo
another dawn a nasty
sabbath inhibited navigation
again gangs gargle
the hooligan

05.16.2011

from PLAYS || John Crouse

 PLAY
 
A
Loser, pudding trenches, sweets barnacles fanzines clots prepared.
B
Inky muffler stings breakfast.
C
Super sensuous theory.
D
Rancid blip karma spanking celebratory urinal.
E
Quitting quarantines underground, punk breeches debt knobbed cancer speech hassles.
F
Profundities archive pooped tricycle crafting.
G
Bedazzled panting goodbyes.
H
Friends whooshes libraries puppets mustards enthusiasms, thanks obsession.
I
Unemployment anaesthetic editorializes arcades syndicates dopes samples.
J
Introduction butt capsule clambakes expansion bibliography television fart hoax pneumatic brain skateboarders.
K
Sickness duffel naughty blitzkreig homeboy unbuckles.
L
Venom jalopy tridents checkered anus pitstops julep xylophone seam tumbleweed corncobs excretory.
M
Simpleton paradise revamp.
N
Algebraic snowman tombstone vibrato.
O
Diaper melancholy havelina bitchy windfall gangrene chopsticks tetherball.
P
Cricket billyclub fornicates tracheotomy checkers spindrift fugal hairnet incorporeal.
Q
Fullbore smelt keepsake tarantula tambourine mildew gypsy kumquat copycat barf talus rejoinder.
R
Raygun antiquity spoonbill harlequin crossbeam, alas.
S
Tangerine guttersnipe asshole ascots apricot stamina utilitarian halo cinquefoil rubberneckswainscoting practicalities intertubes.
T
Bullseyes mothballs deuteronomy blowjobs.
U
Sycamore starchild porridges lipstick enchilada wildfire.
V
Electroshock bobsled parables serviceberry houndstooth cogitate pimples freebase primrose.
W
Principles cellphones mortuary gangplank tachometer sundial moratorium ridgeback pipets grassroots volcano semaphore heatstroke.
X
Groundswell phonebook plankton cavalcades whippets appendages zero boomerangs.
Y
Freestyle boobs lingo shrunk misses microphones barbituates eelskin formica pooch reindeer cocaine tuba wolfman eclair.
Z
Crybaby eventuality, moron, transfusion sneeze, testicle spatula accident quacks orgasm opinion.

poem || Edward Nichols

synthetic soul

...Crustaceans cliged to the Spatial Frequencies,and, myriads kaleidscopic clours filled theair.Summation Overlords anti-gravity,Jackson Pollocks
buckets of paint,paintig dreams.Analyticle provocation angles at the window on the ceiling. Wondrous proposals see the flashlight at the end of the road.

Sure the trilogy of infamy stays in KRSNA consciousness.Premature shine blades sign the glimmer on the Golden path.

Going through it backwards ,a summarie is in the calling.Fuzz retardant jocular vein mimicing theartificial horticuculture displaying tommy guns at the locality of a distance. River flowing gackwards defensive energyREproduces farflung notions.Synthetic soul.
   Wagner-Critical assumptions.Deranged to see that the only thing that performs in the fashion if reality,teir control becoming epidemic
intheir dialectable formations. The culture of our society is flooded

poem || Raymond Farr

With A Supplicant's Ease

Organized around this, a plane flew
A view of char, spat sitting

The beer green, a tea envoy
To queer China, burlesque-like

Toucan touched by, plaid nectar sophist
Machinist to uphold

Cratered-like, as in hollow
Hello, are you pear?

To believe scan
Upwards of 100 grand, a totem particulate

Oft crunchy, patella for sale
Has spurs, involuted poetics

Inhabit surface
Like a kingfisher, of splices, ornithology

To the grave site, a mirror
In blue sequin butter dish, of lovers’

Gonniff-spires, trotting out
Bladderwort, too frequent too

Apprehensive stillnesses, a buck is a 
Dollar, my dear is a pawn

A dollar Zagnut a
Perfect allusion, sane, in part distant

Or all about sky line
A fly is a yacht, heavy to the nightmare

A Shelley of cinders, on page one I lop
In magic, an ode

Notable few, a crow on
A ton, as in fence post, a line

Re-contained, ABABABBA etc
The kicking one, her powder

pome || Billy Bob Beamer

POMEfirtstrL/\ast at[ten|ed*
...........................
prtA-Z
for leslie
.................
as all sorts
.................
be leaving follow
....................
light young distant
....................
a most significantly
...................
nearest help to leave
......................
......................
shu fr; ast ;ulk;erg.;[][';
..,,...,.,.,.,.,.,,..,.,][]
fht'; jil; gifh..;'[] jum; fo.;
;;l[][][;,;[][;,,,,,;,;..
hur ;tuy ,.;[[poin ,.;'][astr
.,.,.,..,.,.,.,][][][.,.,.,][;'';[
.,.,.,.,.,,.,.,....,,,,..,
 
hats cocks'[]... eggs
...................
to leave lutran soddy
....................
waydress bloodbeagles
....................
astoneaged long dance
.....................
changed endocrine history
.....[][]....;]][,..,
morepast noon ;'][[][;''./[][]
././...//../..,,,.,\\\\;./.
moremorepast3..............
 
*referencescoming 
 

text || Noel Canlas

 
See attachments*

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*Please see attached documentation.

poems || John M. Bennett

 eco eco eco eco eco
 eco eco eco eco eco
 eco eco eco eco eco
 eco eco ego eco eco
 eco eco eco eco eco
 eco eco eco eco eco
 eco eco eco eco eco
 
 
  
 lago lago lago lago
 lago lago lago lago
 lago lago lago lago
 lago la negro go lago
 lago lago lago lago
 lago lago lago lago
 lago lago lago lago
 
 
 
 the rule quack the ton
 e rake the bell it sug ar
 crocks you my mi ne
 fulla milky lakes  .the
 fumbled gun ret urns
 he spr ead the st icky
 book the bursting
 Fau                     ceT
 
 
  
 duck clock and never br
 oke wha cakes be si de
 his foot the muddy
 mirror I folded in my
 mallet  )where your whi
 stle greyed(  a lungin g
 for that  stinking  “dime”
 
 
 
 
 sure was I you cancel
 led lapwise windy tun nel
 he could passing fast
 through you a cutcake
 se vered in my trouser
 pock et spelled y
 r eyesight doubled at the
 mo              u              th
 
 
 
 
 ,shadow neck ,grunt sky
 ,dog missle , cloud crow
 d choffing at the lak e’s
 drizzled John’s a pullet
 feathered with your book
 and numb ered with my
 l                e               g


 
 
Lift
 
your dork shape lifter your
hack gas  ...net cluster
clump ,scattered dog rent
)my stool(  should shudder
on your fork your lake  .the
filler screens oh my  )the
misty muse(  blathered and so
ggy ,was your pork shirt
screwed was wire was
skirt of hubcaps  .or my
wrinkled neck hill the
flavored grease the butt
ons hopping in the wind

poem || David Jalajel

post-impression
 
irate from things occasionally arcane
but rarely arrant misanthropic rooting
out the hubris narcissists unearth
in person from this mess as if your haven's
flown and elsewhere find your cohorts spent
a night's stint filling up the new beer mugs
the inn's old guests with pale engendered fierce
tapping by high jacked sources thoughtfully
exacerbates the easily provoked to
anger anticipating rainworms from
the dank deciduous dirt averts the reams
of strange denatured things to wed unstrung
edges a superego goaded exiled 
vision to no numinous straw hat
 

pome || Billy Bob Beamer

POMEattend4
for jim leftwich
';';';';';';';'
A'ew exp lic
.;.;.;.;.;.;.
ictu re smer
,.,.,.,.,.,..
gesou r'sas
.;.;.;.;.;.;..
ei neris cosi
.;.;.;.;.;.;..
erin g'ning fr'
;';';';';';';';';';
ois pos n'kre
,.,.,.,.,.,.,.,
ll cou plesha
.;.;.;.;.;.;.;.
veightsut pue
;';';';';';';';';';
edto bala' eac
.;.;.;.;.;.;.;.
honeith fiosi ti
;.;.;.;.;.;.;.;.
veshar eperssi
';';';';';';';';';';'
ences ake aou
.;.;';';.;.;';'.;'
ritsto burs eac'n
.;';.;';.;';.;';.
eorex traorce li'g
';';';'..;.;.;';.;'.
konth eredax pof
.;';.;';.;'.;'.;'.;'
wer' buon. arer'w
';';';';';';';';';';';'
eather mak esket
.;';.;';.;'.;'.;'..;
bab ned satays ev
.;';.;';.;';.;';.;';.'
enmo ea'a li ing y'd
.;';.;';.;';.;';.;';.;'
nidweha vemalth ec
;';';';';';';';';';';';';;';
ipes ull ev'ne edwot
.,;.,;.,;.,;.,;.,.;.,
acors erof fer edrap
';.';.';.';.';.';.';.'.';.'
leof ndyb'e foor g'pi
.;.;.;.;.;.;.;.;.;.;.;
elbero naly aepag'h'n
.'.'.'.'.'.'.'.'.'.'.'.'.'.'.
ettiOs onse in j'tuni's
...............................
 

pome || Billy Bob Beamer

POMES A[t]te[ndf]or]a[
] cagE fragm epresi....
..........................
aipots fos/ha doeeo
w;s o..r du st..].r..o
cou ;ld; hav,.;[e,u,.o
be[en ]li[ste]n,;']d..o
a.ta,;ny..ti \m[e d]..o
o t.ha]t ..wi.th.'].yiuo
often do either inoo]
rd..ina '][ry.. o.r. wo
orks very wellsome
d,eta'il' m'a[nip] ,;ofo
texts strike eliminao
te w[ords] likethemo
e of rela;.'tion c'hano
ce and as are these
cho/ice ar[rang]ing.,'
courseof ceedevelo,[
p'ment com[plex mio
fwo.;[ rd[ s'centralwo
rd s[an d[d id] sayfro
mpoi nt noni.;'ntentio
n words hunting mix
words ideas in order
to file take out those
that do not allo to ex
ist just a seriesthat'm
ight say mu'sic[al] no
n reason repitition no[
t wha[t wil]lfin[dta]keo
ut ones th ta not belo
ng like is in position q
writidiffe[rent lang/uag\
e suggest want tole ep
be to dopeel heoin r' in
a spirit agree for instan
ce opposed to mikitari
sm ana r'chy to gub ta
lk say something in ac
cord instare ad ideasin
a brushing sourceeveru
se visual thinking proint
s experience longish bo
s boxes of water clamu
p from bottom havinggot
ten ai[r dis]play of[/./ tho
ught of th/,'[at at pri]nts[]
decided a series on surf
ace whol[e pa]per shape
scut chan cecur ce strai
ght placed templates tur
ned post crossed at topo
dibvi[p]dedtem plat.,e lar
ge to small down to dold
golden se[x]cions piedco
ur the orchestra cut pape
rin sa,.]me'] mea.,]ns cha
nce determined pomutotro
und no spaces nextledge,.
what sound then noticedth
e etching top was inter for
muwas not intehat wasabo
ut going from left to rightch
ange meaning that is ni tur
mdo not that way but lectu
re interested composes rea
lizeacceptwhateverhappens

haibun || Sheila E. Murphy

Jasmine white tea eases off the gold-inflected rush of masculine vibrato. 
His forearms come to mean the whole Romantic period. I leave the 
precious metal in its case. From kitchen's white, songbirds define
late-spring, in close succession. A pencil moves against the page, fills in 
each regulation square. How thin the residue, gentility received from silken 
haze. Small sips enfold a choice upon the threshold of becoming 
space. A moment to myself. Some syllables, one breath each. No shadow 
of the thing. The thing itself. Smooth table, unsourced light, beyond 
vocabulary of one tone.

All at once, at once, just this

Sheila E. Murphy

poems || Jim Leftwich

theme

stabs inhabited panic
nullifies null litmus to
bagatelle amerce

05.16.2011





variation

island singing stoic weddings
padlocked annihilated bulbous
languages gamut nor pampered
alkaline catastrophe among
magical upanishad annuls
iterated panhandle Hunan

05.16.2011





theme

past mammalian agitation
tannin annotated Tokyo
yam-mask suture
undulating games

05.16.2011





variation

tonal today hidden
intimacy tool and
ladder boiling language
wallows angry islands

05.16.2011





theme

may as well island as yam
saber-toothed kayak tool
and ladder song tool and
die gun-sap ammunition
agitates and song

05.16.2011





variation

roses boil language islands sang
gun-masks angry at pagination
catastrophic positivist nativity
into each day strumming a fin
sad alloy 
tapioca 
snot

05.16.2011






variation

not into it kayak unlit
ache hidden also
pirates

05.16.2011





theme

nibbler padded fangs
gut-tool ladders dark
or well-lit bilingual
islands sap-pagers
gate gaps at salsa

05.16.2011





variation

so sash surround sounds nod
susurrus data highlights tossed
inlets sac concrete hot gnats
tool-lattice damning

05.16.2011

text || Peter Ganick

from AXIOM


h 
o 
d 
r . 

d.. .. 
h.. .. 
d.. . 
h.. .. 
a., d 

p .. .. y o .. .. a .. d .. .. r m .. z v p .. x .. .. b .. a .. 

o .. .. a .. d .. .. o .. .. a .. d .. .. i .. d.. .. o .. .. a .. d .. .. r m .. z r .. 

o .. .. a .. d .. .. m .. z .. .. q h v p .. x .. .. b p 

x .... b p .. x p .. x h v p .. x .. .. b .. .. 

p .. x .. .. b p .. x v p .. x .. .. b .. .. y.. .. o .. .. a .. d .. .. r .. 

r o .. .. a .. d .. .. r h v p .. x .. .. b p 

x .... b p .. x .. .. c o .. .. a .. d .. .. r m .. z y .. .. 

o .. .. a .. d .. .. r o .. .. a .. d .. .. r m .. z v p .. x .. 

b .. a y o .. .. a .. d .. .. r o .. .. a .. d .. .. r .. .. r 

h v p .. x .. .. b p .. x .. .. b p .. x .. .. c .. .. r .. 

o .. .. a .. d o .. .. a .. d .. .. r m .. z v p .. x .. .. b 

a .... o .. .. a .. d o .. .. a .. d .. .. r .. .. r. 

haibun || Sheila E. Murphy

Spaces between saplings, and the flow-through of thin butterflies.
A respite dawns on place, insomnia the color charcoal, holds.
As if an invocation, practice rooms release the wrinkled versions
of etudes as preface to dry sun. The nerves do what they must,
connect with other nerves within muscular homesteads. How to walk
is music of intention. Poured across each tangible, beyond imagined
likeness. A numbered print to go.
 
Place, restored granule by granule, imparting gradually a whole
 
Sheila E. Murphy

3 pomes || Billy Bob Beamer

POME urtf[sh]up]
...........................
for hanuch shaul
...........................
;.,',[],',;,'/.;',;0-=[,,;[[',//,'',=[,==.[[.
k]now[o]f th[at] on[e o]f aa[aa].../
;[][;'.';';'..//',[].[].[.';[[.][],''/,//,','//\\..
swo[rdo]ld han[dca]met[oop] []+
;.,',[],',;,'/.;',;0-=[,,;[[',//,'',=[,==.[[.
ba[nd l]et[ mo]re m[ilk]stra[itly]][]
,;,[//,'';],[ ,;,[//,'';],[].[.';[[.][ ,;,[//,''
i]n a[ spa]ce m[ade] ku[pbe]st[] []]
;.,',[],',;,'/.;',;0-=[,,;[[',//,'',=[,==.[[. .,.
th[at n]igh[tha]ste[ to]ne d[ay]p]a['/\
.,,[,],[;;,',[.].[\/.\,]'.;[.].=-[.].['''.'].'//.\\/..
le[ft o]f[f nu]mbe[rin]gnum[bin]ga][]][
;.,',[],',;,'/.;',;0-=[,,;[[',//,'',=[,==.[[. ..,;'
nur[se t]he w[ater[s] an]swer[ed]][/';\\
..,;[l]l[;,=,-=m-0-,=,;,[pl=--;;,pp0-,==,[
se[ed] pro[per]tyin[ t]he s[moo]th../'\\][]
.,,[,],[;;,',[.].[\/.\,]'.;[.].=-[.].['''.'].'//.\\/..][/.
ma[ntle]ho[st v]es[se]ls[fiv]e[ ye]ar[s]/.'][
./;][];'../[][;'';];'.///...,.,,,..,;'[]=--0-[[]]0[]''\
wi[th t]he f[at]th[ere] lo[oke]dgr[oa]n[].,;;
;.,',[],',;,'/.;',;0-=[,,;[[',//,'',=[,==.[[. .,;'[][,..]
in[gpur]se w[ilt]ed f[lume] to[ke]n r[at][']['
..,;[l]l[;,=,-=m-0-,=,;,[pl=--;;,pp0-,==,[ .;';
fo[rk fo]g[ le]pt[ o[nto] he[art]bel[l se]ts[][
;[][;'.';';'..//',[].[].[.';[[.][],''/,//,','//\\...';][]]]';./.\
se[ci]on[d da[yd]ata[ ra]le p[ear]sd[ep]a[][]/
,;,[//,'';],[ ,;,[//,'';],[].[.';[[.][ ,;,[//,''././][][.,][,.=
sar[tur]e go[ld]bim[ del]ive[red][ th]im[ble][][
./;][];'../[][;'';];'.///...,.,,,..,;'[]=--0-[[]]0[]''\/\\,,;l
sto[od] be[hin]d [po]st[s re]cal[lrecoi]led[]/.';'
;.,',[],',;,'/.;',;0-=[,,;[[',//,'',=[,==.[[. /.'] ,[//,''. .,.;
fu[t fur]na[cec]at[tle m]our[nin]g][ m]ale[sa][][]
 
 
 
 
POM[Eat]ten[d]
[fropmn ews]
...........................
ne wo [or's newok
...........................
sabout bei hoes]sh
............................
tod uth proes asn[t
.............................
eas.'[]][;'./[]/';=\\=[.
............................
.............................
wom tota unt thasdi
................................
vor ig uts hewa sunpr
................................
epar edor whid ne.;',]
..................................
x./'';;;[u/./.,./\\][p[/. t.\\
................................
.................................
bele ague remo crutfac
.................................
esa ewde vel op entato
...................................
uld ean fawo ri sefor ikf
....................................
....................................
hitor icsu ragery aonther
.....................................
ber sahe oos 'fatatic iters
......................................
ohe fae.,;'[[p-,0--,[[;,;;,['[,
 
 
 
 
POM[E at[te]nd[2]
...........................
heacc u sedflo ri
.........................
damo tho]ok eda
..........................
w ayfr omdis urb
...........................
nn gho tos hescee
..........................
uw ere[ ae]e re m
............................
[ai]ns[ ]w[reoud;][/
.............................