[ I am lost . what makes that track in sand
the face of it. Doubtless, this am: lost, before
I am what makes that track in sand lost
airhead transience meadow
parachute milky tick-tocked strained remembrance for
the
beauty of lost calligraphy in the butcher shop
unable to avoid returning
to the overwash with rocks
and kelp wrack brittle on and within which acceleration
must wait and watch, may not intentionally punch
a
hole in the first gotcha hallucination of the infinite:
end of the summer driving
season then, to circumvent
*
[ and the blue knock as of
hollow against hollow
ever bigger antlers to the point these fail as
motion and are reform. in a move reminiscent of
where it rains all year
round only the shuddering
down with the centers, distribute money to the poor
it is only with great
difficulty burns gold ripple
and the blue knock as of hollow against hollow
is above as ash is below the feathered tribe
would
be able, thwart what's continual, – or
as without
divisions, would be able –to make such a din
*
[ an event without beginning or end . to be defied
from burnt timber. the camera tracks its travel across
blank black doorways folds seeing large banked surfaces close-up.
an event without beginning
or end to be defied
to repeat but some of assurance’s transparent lops bristling
but remaining calm doesn’t have to be true. acts
are continual, automatic. rise to the blue-eyed
grasses, these clear images
will yearn for shadow to
invert again, projected along
the sleeping people, along
the wall . an incoming train
is empty as lop seeded
ends to be dispersed
*
[ as if
the lens was in flared-brilliance, a limit
as if the lens was in flared-brilliance, a limit
a condemnation of builds and sighing fades. the loll
and their duration in
time’s appearances of character about
how events are notebooks in the middle of the
air, being driven along by precipitation between the weeds
and the seeds with no more land to occupy
a sorting process. attic
bats circle outside this, as
place rates flying
through automatic doors into the original
courts on their way to the reel of seeds
*
[ afraid
to sit on this stone falling away from
“I feared the music, in
retrospect” the sea’s is
is always stormy, every landing dangerous. directions catch hold
afraid to sit on this stone falling away from
sky, reappearing in a word on the tongue, and
honey not a phantasm but like a rift of
desire in the fears you reproach; that is past,
don’t know if you could cull pulses from the
faux corners of the island.
focused flashes of finches’
accidental directions. your bodies of water
stayed (stays) drunk
*
[ the river of anyplace you’ve known still
awash with
your sleep or any other’s
you’re in whenever you pass
through the living like the yardbirds & the temptations
in. I was outside pain because to assuage disgrace
of that shell. wound to a
cipher, no longer
trusted anyone. hotel, take me home where
canals flow
Pompeii’s last days off-island fog banks lift violet
from grips dozens of times you can’t rid,
from
the
river or anyplace you’ve known still awash with
uninstalled shadows, wing named, conditional ends from what follows
*
[ in the other half of a conversation that keeps
darkness. tonight I gather your form, your
intolerable radii
white, radiant, pure; smoke winding through narrow residential
streets
seeyou, kid alone in
your own core of summer’s
forgotten song, rentals in the capital remain without power
they do not propose to attain structure was
delayed
efforts to reach. Pompeii, Pompeii from notes receding trust
four years ago in Silver Lake not
anger at
myself but like not ashamed to hear my voice
in the other half of a conversation that keeps
*
[ I am lost .
what makes that track in
sand
unable to avoid returning
to the overwash with rocks
the face of it. Doubtless, this am:
lost, before
airhead transience meadow
parachute milky tick-tocked strained remembrance for
the
beauty of lost calligraphy in the butcher shop
whole in the first gotcha hallucination of the infinite
and kelp wrack brittle on and within which acceleration
must wait and watch, may not intentionally punch
an
end in the summer driving
season then, to circumvent
I
am what makes that track in sand lost
SOURCES:
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Recovers." NPR News Blog, September 2, 2012.
Bergvall, Caroline, editor, et al. I'll Drown My Book: Conceptual
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by Cecilia Vicuna, Jen Bervin, Renee Gladman, S.
Mesmer).
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Convention." NPR Blog, September 2, 2012.
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Bernard Frechtman. Citadel Press, 1948/1976.
Doolittle, Hilda (H.D.). Selected Poems. New Directions, 1998.
Fraser, Kathleen. Il cuore: the heart (selected poems 1970-1995).
Wesleyan Univ. Press, 1997.
Harvard Film Archive Program Schedule, July-August-September 2012.
Iijima, Brenda, ed. Eco-language reader. Portable Press at Yo-Yo
Labs and Nightboat Books, 2010.
(Essays by Marcella Durand, Peter Larkin, James Sherry, Jonathan
Skinner, Leslie Scalapino, Laura Elnick, and Elaine Reilly
interviewing Jed Rasulla).
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California Press, 2012.
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Klee 1898 – 1918. Edited by Felix Klee. Univ. of California Press, 1964.
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Reported in Louisiana." NPR News Blog,
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First Psychedelic Era, 1965-1968. Rhino Records, 1998.
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Poems of Philip Whalen. Ed. by Michael Rothenberg. Wesleyan Univ. Press,
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METHOD:
Throw I-Ching hexagram. Each line will have particular bearing upon how
poem sequences
are constructed: 1st line
determines # of poems per sequence; 2nd line
determines # of lines per poem; 3rd line
determines # of words per line; 4th line
determines # of sources per poem
5th line determines # of words per 'source
cluster'; 6th line PLUS
the final hexagram # EQUALS which page # each word cluster comes from
Adding the values of each
line with a CHANGE determines the increment of change for subsequent
poems in sequence.
The total # of changing lines determines a final stanza to be added to
each poem in the
sequence.
The name of each hexagram thrown and its subsequent change will
determine title for each
sequence (ex.: "Duration ® Oppression")
The number of sequences in this book has been determined based on the
value of a separate
single throw of three coins: the value of which
is 9.
An additional rule on sources: (a) each subsequent poem in
a sequence should have at least one source
replaced by another (b) each new sequence will
retain one source from the previous sequence
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