text || Marco Giovenale

modules, # 5

deposition of the objects on the track  ____ saving ____ means of  ____ means for ____ the concert  ____ i'm going to check ____ by voice ____ with my coat ____ arm ____ turning ____ without money ____ felt ____ strong and growing ____ great desire not to die but to be dead ____ foot should be ____ in class ____are part of errors ____  mistakes are part of the ____ remember when i used them ____ four opera arias____ four opera crime scenes ____ this is meant to be ____ because of the mild ____ this is paths

poem || Jeff Harrison

Porphyry Gardens

semi-dark belly
two patients
to, ha ha, write
a year at hand
   out tongues, new works of the storm, sticks...

blind duck
coastwise schooner
spellbound verse
banking circles
   ...to no novelty, not even a trolley car

national capital
crispy unknown
robe authority
robbed wet event
   many oh yeah many meters of muskeg, swamp...

oil shales
untimely death
dashing waves
veneered mahogany
   ...tundra, & glacial debris, well maybe not that many

sea serpent lair
trail boards
steel-grey hoards
lips at the mouth
   scenes of wild grandeur peculiar to our nation

gathering wood
firm sentimentality
total nostalgia lack
commercial stanza
   when the giants arrive, the circus is coming

public unfitness
unfititude? someday!
butcher incision
mettlesome horses
  we shall don buckskins & go about armed to the fangs...

waking dream
unbroken façade
tombstone floozies
glorious heroines
  ...rebuked & mortified by complaints of our woeful nudity

boring boy wing
cherub Dillinger
flanking pavilions
crude boomings
  into a desert of dirt, dust, mud, & wind

superb view
gravel wall
two-headed calves
colossal order
  the plain lives of sea shells have nothing on us

text || Marco Giovenale

modules, # 4

____ the three are the three ____ the number of ____ the same observer noted ____ greeks ____ 

behind the grille____ help subversive florist  ____ he can no longer take heaven here

____ we are left alone so that anything can happen ____ to the first call ____ without money ____

felt strong and growing ____ great desire not to die but to be dead ____ neither easy nor indicative

____ of a block of equal length ____ took this for less ____

poem || Keith Higginbotham

Festooned

and full;

the sex’s skin closet the redness
the sidewalk communion baggage—

thirty years old, behind advice

daylight is skin it is malted

peacefulness, a plastic pillow, napalm

juice just where the words hurt

dirty faces their heads cloud me that utterly
my winter clothes no imagine
see: my back scooping the menace

of gender I’m almost clear about

the stupid pleasure of everything

pome || Billy Bob Beamer

p aia nVIco ra'moydig it

an actor you can see through crystal.

Inspiration on different levels.

Literature should not show through. …

-a artaud

 

'fort rith abiant, s t ter

bbN.B. `Yourn whis t

R'ameathat _pAiN now

to wit o'odd showit you

grea E scid ing clegaVoing

'promi-less, `The nerVES'o

ow muld a five son cow ingr

dientsLead thad the beysiltthro

atazed his le apping a crum pa n p

Accot'mobe ne, ancithimpai nn corck

 

B.B. `Dre dow, a sh

it' she pon and pou re

m?' my on and ing in't

Pord my hide yournera

ept acca-tiats on ancof

 

Sun'cloneir of. flo vock

zon. That ing ap, he slept

k, agint out moss pudass y

Be haincome tome, a corp'tt

So, awa wit at po  tha b   h i

 

pome was chen, the

ffident -- ad broppot

Un liset brom offeel

have yestramebsturc

arsell be ob, and tilt'o

 

Holooddinde.

 

`The (whe a cusay

 ustund e!' shreartle

 feen a. I dife the ex

ple w p! I mgr mzrz o'

drecr hriefounly nibu

 

Y eakety, artle sain

ldes. The quorell com

m't boy the trund sam

L'arden try thame thiu

n- in thriefounly toeat'a

(whick-to int quallihyun

dideallip, noe. `WrBsilit

 

: hato tays hoe mall e

.' Or arde, and whate

FULLY eve, a to ther

 

Fur'armon, attle

; th thourchaid, `Wh

voing le frock only

irtable, imew liked

,' N.B. Theno Geop

pe look anoe. `Wimp

 

justo hen me. `Fron t

quese as stentead he'

Escied was  fire. god

wen,' nothat but wifjus

Nottlentriettead tak gud

 

quor I waying they's

a. he he livin a too po

uld Butrestaimmuld b

), and alwas and of a

zed to ithing of whe n

 

fus and the offind m

rob e noke' m o f ling. `

(koext, way, afroat

Accoul a -- at wher

glairacracculdn't itoff

 

S'wictur dogedies him

emet ust ob digiound

Escround withant, an

Giver, I'd by fe.' Ma

pperette, and rettook

si'c hk root feelthim'a

 

Now was ifideas eavi

cus so sleaked barti m

zed thad tund lon an dd

l-kno till awfus so swimt

o-goick broarged ifefire't

 

mbserese then aw you

(boe's inself hathat dop

It's and le), `Muche fur

ve Pip intry ther topain

quad hich quitch clo'ck

 

`go fore com (node's

U nit Por musect he hel

ixencemneves had, on

Butte to and neaterep

. Ouralterat and you'o

 

-wayse, abletherhan

lplas to thes, I dunhurt

Cruceine, Un ithelf.jik

: sty me. Yong ung tub

) old upone ket abla'ful

 

Quis ing the aget twa

f!' sizenothaveralf-

ques, shoe's mancerm

b-but actimnly, Mrs.e

), was re a And nord

sudmid painac'sta bUsh

oo'troo't haingun loo'iy

shimigingent, ma'toorey

r'mintre. He whistera'fulp

FULLY ever fery whe et

nbounry was porie, a flop

up non mok all hang up up

well           ell.....

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

poem || Mark Fleury

Concreteness and Space

Touched by a sun seed

For a body to vibrate open

A road from forehead to Muse, guarding it.

It's where all numbers that aren't one are crucified.

An x-ray of flag: dusk's gray and red,

The silvery, blue-tinged threads

Of golden beams of tightly woven twine:

The root, life-lined

Lid of outer space shaped casket.

The flag falls, a bone

Pile below the home of words.

The flag's a heap on the floor.

A current of beams now covers

The casket's sky.

Concreteness is the center

Fiber, shared by the flag and cosmic

Light tunnel. A spine

As organic as a blade of grass's

Angels, shedding their muse

Skin like petals of flowers.

8 texts || Andrew K. Peterson

 [ 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:

Associated Press. "As Isaac Pushes North, Gulf Coast Slowly Recovers." NPR News Blog, September 2, 2012.

Bergvall, Caroline, editor, et al. I'll Drown My Book: Conceptual Writing by Women. Les Figues Press, 2012. (Writing

by Cecilia Vicuna, Jen Bervin, Renee Gladman, S. Mesmer).

Braun, Eric. "Forty Years a Queen: The Joan Crawford Story". Films and Filming Magazine, May 1965.

Dade, Corey. "Occupy Plans Resurgence At Democratic Convention." NPR Blog, September 2, 2012.

De Beauvoir, Simone. The Ethics of Ambiguity. Translated by 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).

Jarnot, Lisa. Robert Duncan: The Ambassador from Venus. Univ. of California Press, 2012.

Kesselheim, Alan. "Changing Course". Audubon Magazine. November-December, 2010.

Klee, Paul. The Diaries of Paul Klee 1898 – 1918. Edited by Felix Klee. Univ. of California Press, 1964.

Leibach, Julie. "Storm Chaser". Audubon Magazine. November-December, 2010.

Peralta, Eyder. "As Cleanup Begins, Two More Isaac-Related Deaths Reported in Louisiana." NPR News Blog,

August 31, 2012.

Saenz, Jaime. Immanent Visitor: Selected Poems. Translated by Kent Johnson and Forrest Gander. Univ. of Calif.

Press, 2002.

Schalansky, Judith. Atlas of Remote Islands: Fifty Islands I Have Never Set Foot on and Never Will. Trans. By Christine Lo.

Penguin Books, 2009.

Schmich, Mary. “A Friendship in Chicago, a challenge in Iraq”. Chicago Tribune, July 6, 2014. Available:

http://www.chicagotribune.com/news/columnists/ct-schmich-met-0706-20140706,0,2823681.column?page=1

Silliman, Ron. "Wednesday, August 29, 2012." Ron Silliman's Blog, available: ronsilliman.blogspot.com

Spinner, Jackie (with Jenny Spinner). Tell Them I Didn't Cry: A Young Journalist's Story of Joy, Loss and Survival in Iraq.

Scribner, 2006.

Stax, Mike. "Optical Sound: The Technicolor Tales Behind The Numerous Nuggets." Liner notes to

CD set Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968. Rhino Records, 1998.

Walker Bynum, Caroline. Fragmentation and Redemption: Essays on Gender and the Human Body In Medieval Religion.

Zone Books, 1992.

Whalen, Philip. The Collected Poems of Philip Whalen. Ed. by Michael Rothenberg. Wesleyan Univ. Press, 2007.

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