-
- 119: FITwith E Collyer 118: PRECARIOUSwith A Jackson 117: NO THEME 14with A Creece 116: REMEMBERwith M Sahhar and A Te Whiu 115: SPACEwith A Sometimes 114: NO THEME 13with J Toledo & C Tse 113: INVISIBLE WALLSwith A Walker & D Disney 112: TREATwith T Dearborn 111: BABYwith S Deo & L Ferney 110: POP!with Z Frost & B Jessen 109: NO THEME 12with C Maling & N Rhook 108: DEDICATIONwith L Patterson & L Garcia-Dolnik 107: LIMINALwith B Li 106: OPENwith C Lowe & J Langdon 105: NO THEME 11with E Grills & E Stewart 104: KINwith E Shiosaki 103: AMBLEwith E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
Web
*
hunger a pose of pure intent
poised on hunger
poisoned hanging, a wait
pure hunger purifying
holding the body in tense
poison pose, hunger pure
what do you propose if anything
live in hunger hunting
*
Long is the list of supposed
negative traits: over-ambitious
projects, dexterity, cunning,
ambition, ruthlessness, avarice,
poisonousness.
*
light weaving light waiting
light on light, a silken weight
taste of blood, the sweetest light
* what smell the smell of blood
*
It has always been admired for its intricate filigree structure, and for the fact that it is both a way to gather sensory information and, when needed, a skilful instrument of capture and entanglement. The fact that it is spun out according to semi-abstract designs from the body of the spider, that it can sometimes be recycled and used anew, can serve as a
*
filigree firmament:
look at the lines
parting sky from sky
* she fills the Air
*
but in the same breath might
represent—given the frailty of
the web—the mindless effort of
work, and perhaps its
pointlessness
*
Long is the list of supposed
negative traits: over-ambitious
projects, dexterity, cunning,
ambition, ruthlessness, avarice,
poisonousness.
*
And this Empyreal substance cannot fail,
* she
*
longing light
* ruddy blood the hectic spice
* Major ampullate silk is the rope spiders depend on as they plunge
*
It is one of the toughest materials on earth, able to withstand great stress and absorb immense amounts of energy without rupturing.
And until platinum filaments and improved glass engraving replaced them in the latter part of the twentieth century, major ampullate threads made ideal crosshairs for surveyors’ transits, telescopes, and other optical instruments.
*
aware in air
of air as air
itself is, for air
is, but not how
you think
pendant lattice
turn, turn
*
she fills the Air with a beautiful circuiting
*
Long is the list
*
the soul in our body exists exactly like a spider in his net. She cannot move without vibrating one of the widely strung threads, in the same way as one cannot touch one of the threads without setting the spider in motion
*
over-ambient process,
dis/misclarity, stunning
ambrosial luminance, madness,
ominousness.
* And this Empyreal substance
cannot fail,
*
But the Minds of Mortals are so different and bent on such diverse Journeys that it may at first appear impossible for any common taste and fellowship to exist
*
knowing shapes as smell only
ruddy blood the hectic spice
insects and dream bodies
massy forms in the night
Posted in 73: BAY AREA
Tagged Claire Marie Stancek
Repeating
From a two floor skyline
An abandoned house talked to me
It said young man
You are heroic
And ten years old
Among twenty generations of friends. Friends will free fall away. Free fall up.
Free fall to walls with fifth grade speed to industrial paint behind second-hand fences
Young man, use quick knife tones. Be bone and brass. Be last laugh music.
You are always leaving. Always one change of clothes from the door. A life in escape.
Two floor skyline said you are the guide that dies in the middle
The friend more blues than skin
The face that cheap hotel schizophrenics can place
With 90 miles per hour right eyes
Among dry heat killers
Once children
Three feet high
And roaming
And repeating
And aiming
At cotton mirrors that hang on breathing walls
You are ten years old Tagging along Yawning at well-lit violence
Whistling tool shop songs
You will be useful
You will be high and alone
Flying on a nephew dragon
From a twenty dollar family
In a sky that calls itself
Just more soil
Around walls
That are just walls
Except these walls
Suggest you make wives
Out of highs and currency
Here the air is polite to sleepy glass and bullying walls.
Young man,
You will admit
That sometimes
Suicide is power
Some people live stronger as ghosts
And sometimes the afterlife empties
Billions of souls
Enter objects
Like playground bullets
And abandoned door frames. Even broken glass will prove it has voice too.
There are 24 hours behind your back
Look over your should right now
Can you hear it?
The sound of drums punching themselves out. The sound of piano parts learned in between assassination
attempts.
Be bone and brass. Be bone enough for two souls. Be invincible again
Suffer
Red-eyed accents. Professional fingertips. Our gifted victims. Six in the morning beer. The first month of probation.
-The shout at the wall
See these words that shouldn’t be home
Look behind you again
Be invincible again
Be Windward
Be a sad machete
Be her son
Be a thief
Steal them back
Laugh too long
Never look away
The afterlife will empty
And walk you home
Posted in 73: BAY AREA
Tagged Tongo Eisen-Martin
The Faraway (Les Effarés)
from The Sad Songs of Hell
nights for sleeping, days for sweeping
if you missed the allusion wait
next time it’ll make sense
age & youth are equals out there
everyone celebrates, everyone
tries to hurt the blond lords
but violence is white & well-protected
barely anything is less enforceable
you’ll see it but you’ll be dead
the only cure for pain is discomfort
a lot of fine lawns baked into bread
new songs rising from smog
I don’t know, it’s late, I’m wasted
let’s have blood soup for breakfast
& talk communism some more
the best heirlooms are small,
sharp, aggressive, & almost sickening
wearing one should damage us
that’s what smokers think anyway
happy in their cloud of cologne
& carcinogenic meat
their life is fluff, it’s true
they don’t understand love, or ranting
for them it’s all cataclysms
resent, but exist
in any gap of turned earth it’s clear
this is paradise, people
hang us by ropes of archival roses
roast us alive, just say what you want
& we’ll parse the difference
it’s so much better! I’m winning
by speaking this way, lightly
all the way to the horizon
yes, it’s a form of white jail
but look how subtly language trembles
when it escapes the life it was…
Les Effarés
Noirs dans la neige et dans la brume,
Au grand soupirail qui s’allume,
Leurs culs en rond,
À genoux, cinq petits, – misère ! –
Regardent le boulanger faire
Le lourd pain blond…
Ils voient le fort bras blanc qui tourne
La pâte grise, et qui l’enfourne
Dans un trou clair.
Ils écoutent le bon pain cuire.
Le boulanger au gras sourire
Chante un vieil air.
Ils sont blottis, pas un ne bouge,
Au souffle du soupirail rouge,
Chaud comme un sein.
Et quand pendant que minuit sonne,
Façonné, pétillant et jaune,
On sort le pain,
Quand, sous les poutres enfumées,
Chantent les croûtes parfumées,
Et les grillons,
Quand ce trou chaud souffle la vie ;
Ils ont leur âme si ravie
Sous leurs haillons,
Ils se ressentent si bien vivre,
Les pauvres petits plein de givre,
– Qu’ils sont là, tous,
Collant leur petits museaux roses
Au grillage, chantant des choses,
Entre les trous,
Mais bien bas, – comme une prière…
Repliés vers cette lumière
Du ciel rouvert,
– Si fort, qu’ils crèvent leur culotte,
– Et que leur lange blanc tremblotte
Au vent d’hiver…
Note: the poem above is a “transmutation” of Arthur Rimbaud, which I define as a translation made by
someone lacking nearly all knowledge of the source language. Its primary method is to stare at the
source text and somewhat arbitrarily decide what it possibly/probably means.
Posted in 73: BAY AREA
Tagged Brent Cunningham
My Teacup
trees are steaming
ever more vital pliant DINK
I can’t see a thing in the sky
I choose George
Stanley over Fear
and Trembling
Tell why you chose
to do this or that
on each occasion
Nothing with hooves
or heels was it?
Excuse me for not thumbing
the abyss, “the goading urgency
of contingent happenings”
how stretchy the membrane
how drunk the ship
breaching the freight
we port with
however it is
I am and come to know
the ruby field of feeling
and isn’t a life suddenly
laid in all its excess
of doubt & dualism
gag in the mouth I forget
to give sense to
relations that animate
to be carried among them
you are not an engineer
yet forms persist
so topple the column
any place there’s a rope there’s
the earth is not enough
I stick my head in it
I lose my coat
This poem previously appeared in poets.org.
Posted in 73: BAY AREA
Tagged Alli Warren
Errant, Thus Signifying (for Martín Ramírez, painter)
The trajectory of the line
must face this,
“to fall is to fall”
also, “a controlled line is admirable”
First he described him as “he doesn’t speak
just mumbles” later he went on
to say “he was mute” “he could not
speak” and eventually
“he never spoke”
living the second half of his life in a search of institutions
he never dated his drawings, although
the doctor did date some of his works
A controlled line is admirable
and contains the human figure
The materials contain the human figure
and the figure in its history contains them all.
errant, thus signifying
in opposition to the authority of endings
you relocate re-title segments
as response to local landscapes
in which sky of the mind that sky dazzles
Posted in 73: BAY AREA
Tagged Hugo Garcia Manriquez
Photographing Theater
Underpass drowned
in moonlight
the tunnel
allows the wood
and ghost of
a young girl
her expression
so vanished
carries us
Cosmos in
the joining
of three tiles
an angel
touches
her breasts
sharp stylus
left alone
two ballroom
Ladies
crosshairs
at each
of their hearts
Older Zuni
woman
hair tied
back in a bun
shoulders tight
and high
and never to turn
the hyper blonde
child is twisted
caught
looking back
Family
pictures dead
queens
white flares at
the top
in points on
black
a stark winter
tree
smiling skeletons
light drawn in
at their temples
The spider
was
a loosely
constructed
coral choker
the legs went
on forever
cut in two
hairs one
up and
one down
Lisbon first
night and
early morning
“Is it ok
for you to
play alone
barely
hidden from
the street? It’s
ok we
pull the furniture
outside here
to sit.”
Smear
of dried
flowers school
pictures the
stems on
the roses and
spattered
paper left at
the desk
a mind haunted
by its screen
Two brothers
guard a sleeping
child smaller
his spirit swiped
down mother bent
to kiss him
the second frame
all the same
rushed in
wallpaper
and posters tacked
under wet paint
Crowded underworld
some are in
pure unaggravated
sleep
men fully dressed
head thrown back
seated
hands folded
You could
see her
ripped from
his side
at the cold
bus station
a broad
single slash
in the screen
gone forever
A polish
woman scarf
tied at the
chin steel
eyes carrying
alchemical
pipe pointed
heavier
at one end
her kneeling
sister with basket
beside her
sticks slipping from
the pile legs
fogged at the
knee and torn
A reclining
boy model
an old
Victorian
smears
to move
the lawn down
into the sky
Roses playing
telephone the
bodice wants up
and in along
the bottom
more of a designer
than poet or
painter moviemaker
the strain
behind the image
starts over
Posted in 73: BAY AREA
Tagged Cedar Sigo
After England
My voice carries further, almost
All the way to the face, I go
But not forth, or I went suspended
Itself, touching the all that isn’t.
After England it could not be kept
Together, hasn’t fallen apart,
Moves like noon shadows
Forced out from the corners
Along a street of expectations.
Not really. After England used-to
Has a present tense, materials
Stay both stolen and mine,
Anthology without exclusions
Where I imagined I saw the time
After England before it arrived.
I went out to meet the thing
Behind things, displeased with all
The available combinations
Living after England is
Then isn’t, where laughter opens
Onto the short-lived feeling
You should know how to
Go whole days doing
(You had everything you needed)
But do not, after England,
Have a fucking clue.
The food no longer safe,
Phrases stop short of,
No news is good, good
Things come, all signs point,
Objects may appear, it has
The ring. Possession is 9/10ths
Firing on all. Ignorance is.
My lips are. The grass is
Always. After England
The feel of not to feel
When sky invisibly divides
To let tomorrow in, where it’s better
To work than not to, far
Better to do neither, in fact
That’s your job now, reaching out
To touch a gloved hand to the face
Of the weather we walked off in
After England muttering England
Has never been enough
After itself, this little one
Where a good price is contradiction,
Getting your Albion
On then off then again.
And there are no events
After England, rhythms
Have taken their place, flowering
Trees set out along the shoulder
Pink and white as ideals
Of how England was or will be,
The wrong words in the right
Order, an imaginary language
With real poems in it.
After England, empire moves
West but knowledge just spins,
Narrowly missing it, or not,
In the unsung songs of the dead
I came to late, after
As in so much further
Behind you’re out in front
Where not knowing is.
And you call it experiment,
The experiment of the sea
Pouring into the city, people
Into squares, forms that can’t
Hold so much, weren’t
Designed with this in mind
Like the mind itself, builded
Here from ancient materials
That couldn’t predict the future
Or even rise to meet it
But maintain a right of way.
Left through this hedge across
Two fields of hops and lavender,
Up the slope of the iron-age fort
Till you drown in a view of the sea.
Posted in 73: BAY AREA
Tagged Geoffrey O'Brien
Tossing
Eternity goes on for such a long time that nothing can happen to disrupt it
Laughter is encrypted grief, but grief is encrypted laughter, too
Hardly noticed, another apple falls into the yellow grass—an event that changes
the apple, the tree, the orchard, the grass
What’s the first thing that comes to mind when someone says the word
“traveler”: gypsy? nomad? salesman or saleswoman? tourist?
conference-goer? refugee? adventurer? explorer? businessman or
businesswoman? family member proceeding to an occasion, happy or
sad?
Now we’re going to go figure
In the city of music stands a fountain of pitches
Was it not as heroic at a very young age to have died as at a very old age to have
survived
The sun burns every story to a crisp and leaves only a lisp, or lapse, palsy, panic,
or a princess pointing at something across another now
Thrown onto the land, set loose on the ground, put precipitously in place, a
person of modern times will have many modern memories—but not just
those
Why is there no one instead of someone
Watch out, you almost let yourself follow
The sociable book is ample and uninhibited, unashamed of its jolly
idiosyncrasies, unembarrassed by its infuriated sentimentality—o lucky
sociable book off the shelf
Distribute, puzzle, soap a rabbit, link anxieties, follow politics, toe snow
Survival can’t wait
Posted in 73: BAY AREA
Tagged Lyn Hejinian
An Agatha, for Anne Boyer
written by Juliana Spahr but in debt to Cassandra Gillig
It’s a story we all know. She was right fair, noble body and of heart, and was rich of goods. And yet she lived near a provost, a provost of a low lineage, who was lecherous, avaricious, and a miscreant and paynim. His lowness ranged from rape to belittlement, and for to accomplish his evil desires fleshly, and to have riches, did do take her to be presented and brought tofore him, and began to behold her with a lecherous sight for she looked pretty when she smiled and she should smile more so he said. Then began a series of events to get her to consent to his will and to smile more. Some did do put her in a dark prison. Some did do a keg stand in her name. Others did her to be tormented in her breasts and paps, and commanded that her breasts and mammels should be drawn and cut off. Some read Mark Strand RIP to her. Some did do put her back in a dark prison with no food and no medicines. It is said that she went gladly. That she said your words be but wind, your promises be but rain, and your poems be as rivers that pass, and how well that all these things hurtle at the foundement of my courage, yet for that it shall not move. That she said Over felon and cruel tyrant, hast thou no shame to cut off that in a woman which thou didst suck in thy mother, and whereof thou wert nourished? But I have my paps whole in my soul, of which I nourish all my wits. And yet she healed and when the provost realized she was healed he made her, all naked, to be rolled upon burning brands. And it was then that the ground began to tremble from an earthquave and a part of a wall fell down. So the people came running unto the house of the provost, saying, in a great bruit, that the city was in a great peril for the torments and commanded that she should be remised in prison. And then he didn’t listen and so they then sacrificed a goat in the same of Satan and then of a police officer in the name of Anne Boyer. And then great many did do the putting on of a robber outfit, smashing window after window of the provost’s office, hopping in and out, delicately, grabbing what they could. Smoke bombs and roman candles filled the air. There were more kegstands. There was a long line. All for Anne. Others castrating, choosing at random. Some asked for volunteers, some volunteered. Many rigged some shit so they were connected to wires and flew around Peter Pan style, screeching. Many had a loaded gun, safety off, in their hand the entire time. I am supposed to shotgun a beer here and then tase David Buuck while Stephanie Young shaves every man that still has hair with a shitty bic razor, the dull one I used earlier in the day to shave my legs, underarms, the edges of my bush, especially the front lower bottom, next to my cunt hole which I try to keep trim for the same reasons that I try to smile more when I am around men and the provost. I am to do forced bloodletting of all the men here until they pass out and then make them drink the blood to revive. Then I am to say in the same of St Agatha fuck voting, fuck the idea of cameras on cops mattering. And in the name of Anne Boyer, all marriages and all couple forms. Gun control too. And that Ferguson hug photo. And so when Agatha comes out of the prison she will do join her hands, do hold them heavenward, and do say in praying: Stand on the bar, stomp your feet, start clapping / Got a real good feeling something bad about to happen / Drinks keep coming, throw my head back laughing / Wake up in the morning’ don’t know what happened / Whoa… Something bad / Whoa… Something bad. And after that for to prove that she has done prayed for the salvation of the country, there will yet come at the beginning of February, the year after her martyrdom, a great fire, coming from the mountain toward the city to burnt the earth and stones, it will be so fervent.
Posted in 73: BAY AREA
Tagged Juliana Spahr
from origin
Marking the paths again and again and feeling for the wetness as the ink keeps bleeding and tearing. The pieces of oblivion flaking off in chunks. And for what. For nothing. So the meat lies inert in the mouth. The tongue keeps finding its purchase in stabbing. Tracing the path of trying to scramble up to the rock with meat still in the mouth. Swallowing down the mixture. Trying to bear down around the blow back. Still jumbling around at the banks darting the ache of ought. The not nothingness pulling at the joints jabbing into the hinge of where something begins to form like a mammal. So lying there, dragged and tussled, snuffling at the fissures. The cells dividing just frame by frame. Hatching one by one. Notice where the lines can’t form into gills where the breath still hitches into silence. Scratching a scratch. Hobbling across the deafened herds with nothing but an extreme case of usefulness. Tucked into the fecund uneven in the bunches that squirm. Not nothing in the in the eventual flap of skin. Nothing like the suction. Just sucking up the dirt like mud, rounding up the sticks for a feathered tempest for nothing.
Feeling the mammal rioting away with no plot to locate it. Some here. Some there. To hold it in the soft part of the palm like a squirming fetid thing. Not nothing. A lid half closed. A science of forgetting. Shoaled together towards the mud. All the tentacles left on the shoreline. Not touching. Hesitant. How the appendages yearn towards motion. How the grasping goes. This tendency towards dismemberment a mutation to hold in the ligature. The very least that nature has to offer. Hefting up the body and back again. Squirming like prey. Charting a change in the membranes. Between nothing and nothing. A kind of twitch of hesitancy. A kind of trick of the light. Remembering to remember when swarms blighted the sour taste of the hot and rapid discharge of an easy target. Not nothing that’s a commodity of an gutting in the grimace. One here. One there. Not nothing. Pecked around the waste.
Posted in 73: BAY AREA
Tagged Samantha Giles
from We Are Nothing and So Can You
Diagonally, by love and hate
in equal parts
propelled, the mob returns
like a chorus
the cops keep getting
hit with, in the head
brick and bottle tra la la
of fuck you, pig and die, pig, die
the mob, torn together
by each temporizing, tangled
moment in its series
returning along the old animal tracks
of total science to mark with metaphoric
shit and piss the places where the earth
parts ways with each reason for enduring:
its also-rans, its would-have-beens
crashing into the shatterproof
curves of the cell wall, behind which
the makers of measure and rule
shelter in disordered nomenclature,
recounting in pantomime
our unfortunate tenure
as minor villains among the plant life.
Just then, you feel the scare quotes
C-clamp your skull, interatomic
emoticons spazzing out intransitively
in the middle distance where demoralized
shifters replace all sense of the past
with continuously updated commentary
from the compliantly defiant crowds
who compare their purchases
with the bland openness of experience.
They will never be a real mob
now that nature has been democratized
by these marvelous poisons
our rounded-up truants
leave dusted upon the rocks and trees.
As for the rest of us, we learn
something important about ourselves
watching from the loading dock
as the mushroom cloud
announces the end of another season—
e.g., that each riot really is
an assemblage of other riots
washed up on the boulevards,
from whose faded corpses
one dresses and arms one’s comrades
the total inadequacy of which
as equipment for the task at hand
traces out in negative
the seat perilous of the party historical
the poetry of the future
whose sweet new sounds
will fill with meaning slowly
while the seas rise.
Can software destroy hardware?
Can a class, acting strictly as
a class, abolish all classes
as the answer to a badly phrased
question might by sheer force of obviousness
cause the questioner to rise
blankly and walk into the ocean,
while the black flags cut from the robes
of executed magistrates
wave non-semaphorically,
where hope ends and history starts.
Posted in 73: BAY AREA
Tagged Jasper Bernes
From The Compleat Purge: Volume I
Last Will & Testament of Trisha Low
I, Trisha Low of the City of New York, State of New York, USA,
declare that this is my Last Will & Testament.
Article I
Preliminary Declarations
It’s enough to die of spite.
xoxo,
trisha.
General Provisions
If any beneficiary or beneficiaries of this Will shall contest the Will, or in any manner
attempt to have it or any trust or beneficial interest created by it declared invalid,
such person or persons shall receive no benefits from or interests under this Will and
my Will shall be carried out as if such person or persons had pre-deceased me.
I have entered neither into a contract to make wills nor into a contract not to revoke
wills. Any similarity of the provisions of my Will to the provisions of the will of my
witnesses or any other person, if any, executed on the same or on different dates than my
Will, shall not be construed of as evidence of such a contract.
Unless specifically set forth in writing and acknowledged by the donee thereof, of any
gift I have made or will make during my lifetime shall not be treated as satisfaction, in
whole or in part, of any device or bequest in my Will.
On this August 16th, 2012 in the City of New York, State of New York, I hereby sign this
document and declare it to be my last will.
Posted in 73: BAY AREA
Tagged Trisha Low
two excerpts from INFRA, an afterword
10.5.14
equivalence is not the same as existence
or the same as living or you can go now
flushed out from the shrubbery
to a surface whose angle is
moving toward you
& your dying
but the moths are the moths
eating wool blankets & flying round the
desk light one & the same ones
nil igitur mors est ad nos
tenderly to
escort the walrus herd in flight a lapse
to walk facing into a spider’s
web along the garden path & left there
the spider astride the shipwreck
of what I can’t avoid
that being oneself can’t be
being self possessor of oneself who can’t
own seeds of self whose being who
oneself now can’t mean one
10.26.14
I buy flowers two bunches
Norma says she eats chocolate
for those ones who can’t any
longer I translate pastor
cum traheret for the shame
of having horrible things happen
forsaking this vividness it costs
too much for tenderly living
no stars no moon it’s
been two weeks & she’s
still traveling she feels
more away more distant
redundant & its precious
juice drained from a ciborium
it’s her syntax of pattern
& prayer that’s hocus pocus
hoc est corpus but not
now royal for raving
for virus
she shepherds her
across the waves in
her idea boat in a song
as her atmosphere of promise
an apostrophe to future as
I stumble into this where
atoms split I rescue
objects it’s my duty I
leave things as they are as
if to be summoned I remind
myself that she can’t
to conclude Alice performed
her ritual of outrage a ceremony
for those who no longer who hungered
she didn’t remember
the drawing she’d drawn of an owl
but only the owl’s feather
Beth sent her that the drawing
in reply was sent for
Posted in 73: BAY AREA
Tagged Jocelyn Saidenberg
Political Postscript
I turn on the radio before I begin to see. I hear the call of the political, it is everywhere.
Scanning for the moon and seeing only stars, expecting that thin cupping shape a bit swollen now, and earlier the sky clear enough to see the other side. So later I just looked for the other side and saw only stars among the streetlights.
Now the mornings are cold. This is a lyric poem whose fantasy is communism and space travel.
Which is why I love it when a bright star turns out to be plane or satellite. The moon is soft clay, made of dust, hair, crunched leaves, the underfoot. With the radio off, only the occasional trill of the garden birds lulls me awake, only the dull roar of not distant roadways, only the neighbor’s tread.
I won’t sleep on the call, it is everywhere. I only sleep now and then; my ears, always warm with meetings, my feet, twisted into these orientations.
I only fall luckily, looking up on the part of the street with dimmer street lighting, and that’s my privilege.
Posted in 73: BAY AREA
Tagged Daniel Benjamin
from The Totality Cantos [15I+50H]
Amass pessimistic concrete innocent economy bits
Exposed expert ego chronologies
Applied associated atomism harmony frames
Dependent activity technique
Made armed libidinal foregoing material gnostic stranglehold sketch turn
Consequence
Everything added
Clear servant withdrawal categorization metaphysics accuracy love devices
Ritual refusal galaxies measure personal constant coitus aesthetics thought relations
Expect kind particular difference motion model correspondent tongues
Analytic gravitational shadow commandments trained arbitrary conscious pantheon universe mountains
Attack modern selection doctrine existence
Pervasive human cultural continental mandala actuality interplay unity ideas
Trivial determinant preoccupation theory circle fruit
Mistaken canons
Enchanted grace denial
Corollary touchstone praxis thousandths
Duchy
Adoption coup textile construction painting historian mutations
Demographic sublime manner camera extinction compliance facticity situation object
Grip glaring positive political carbon century news works
Humanist neighborhood chancellor cornerstone opportunity method
Globe elements reconstruct coherent survey number empire bishops
Advance same secure economic charismatic pattern vanitas brain set
Deciding elaborate existentialist ownership poetics technology effect
Solar conceptual reformer spiralled separation example
Relationship
Riots compendium before enemy scriptures
Posted in 73: BAY AREA
Tagged Brian Ang
Anything in Opera
“ … everyone now living is experimenting
like the beautiful River Volga
writing herself in lazy meander
fingerlets inactive
in the hay between tractors.
Then what am I by comparison
—Augean?
Where the ombuds meets the diligence
with odic effervescence
anything in opera plotwise
renders one’s own account small
one’s way
paper thin.
Nevertheless we begin.
The exact words were overturned prophylaxis
scratched onto the stable floor
by the helpless ass and his sister
whose candid retort rhymes proxy
precisely with precosity
and something ending in ‘head.’ Then
will our wooden limbs fly
with a giddy-up
from here to the last eucalyptus nut
where otherwise fog might find itself dreadful
and hanging.”
From that point on the hike was silent.
Posted in 73: BAY AREA
Tagged Jean Day
To the Diamonds (after Newton)
from Glass Action
Sulphurous gold-bearing vapor
signals the presence of copper
and gold near the mountainous crown.
Diamonds found also after the glass crackt
and some of the matter (diamonds from inside where)
pressurized carbon forms the hardest substance
(Superman does this in an early episode)
as later sand sticks to hot iron and flows
Active Geothermal Systems and Gold-Mercury Deposits
And mercury is found in local fog
Recent theory of diamonds
Jupiter and Saturn awash in them
floating in liquid hydrogen-helium also
Moon sized one found in constellation Centaurus
When, back to the laboratory,
red dusty Sulphur adhering to the glass
like wax and flew most of it away
resulting in weathered masses of clay
the famous “blue ground”
held over a candle
they flew both away
in the same heat and time
(also called the sublimate)
As ejecta including diamonds
explosively placed by volatile magmas
creates beryl & red emeralds
rarer than diamonds they
form near the surface at low pressure
instead of far below at high
To make a diamond. I Newton.
Take the whitest flint thou canst get &
beat the outside & dissolve the rest as
much as thou wilt in the white water
& when it is dissolved to clear (not to a pap)
put it into a violl and stop it close
and set in warm ashes & in 12 days
it will congeal to a hard gray
stone then increase the fire that the glass
may be red hot, let it cool & take it out
it will be like flint but polish it
and thou never sawest such a
sparkling diamond or so hard
I, Newton, having been not only a witness
but also an actor of such mysteries
of Nature as the world is not worth of &
the wise men of the world do scarce believe
the Vultur being upon the mountain
crys with loud voice I am
white of black & red of citrine
An honorable stone which is hidden
In the caverns of the metals
Surely I speak the truth
Posted in 73: BAY AREA
Tagged Laura Moriarty
Want
19 hear news anchors then the bank clerks adopt this accent the next popular speech tactic arrives inarguable now it’s personally yours power penetrates bodies says Foucault to govern from inside mostly soundlessly you will soon hear us all used as history’s peculiar alliance built simply of its passage plus some friction caused by the indefinite articles that any new deception drags with it did you think words were a way to police yourself syllables could be tamed with your counting thought you’d tempt what Keats left “light- winged” in “some melodious plot” to befriend your failure to be more than fugitive in the “shadows numberless” you can’t just form subversive songbirds harmonically transmitting “thou wast not born for death” along the latest fiber optics to voice an instantaneousness that’d kin you to others in this brokenness to write what you don’t know as if lyric hears it
Previously published in Boston Review
Posted in 73: BAY AREA
Tagged Rusty Morrison
Transbluency
The poem doesn’t care who writes it
It is waiting in the wings
A belt of ekphrastic energy circumnavigating the earth
The planet we are made of
While others struggle to be fastened down completely
By standard protocols of identity and access management
We enter an archway and just keep walking
It’s good exercise
As opposed to war, pollution, greed, hate and delusion
Though these certainly have their adherents
I is a sum total adding up to now
Subject to future operations
Add to, subtract from, multiply by, divide by
And drive by
Trailing a long history like a tail
Reaching back into the paleo
There’s no place like magma
When it comes time to relax
And think it over
But we are too busy being multiples
The fountain draws from many streams
By way of the existence of cities
Shoots its spray to the heavens
In Technicolor and black and white
This experience of seeing
Is basic to being both awake and asleep
An insertion just beneath the skin
A workshop just beneath the floor
Water beneath the surface of the earth
Darkness
Transformation is natural
Woman to man, man to woman
The long road to being
The butterfly’s return
Silence where before there was none
The poem does not let go
It arrives from the future incessantly
Ordinary fingers pick up on its cascade of plans
We can see it from here
A head with stars for eyes
To play extremely slowly
Is to caress the surface of time
To speed to abolish its domain
Cheer up my brothers and sisters
And walk in the sunshine
Our understanding is so very great
Being beyond the comprehension of a single mind
Life forms outstrip the rigorous calisthenics of calculation
Populate the ocean floor
Posted in 73: BAY AREA
Tagged Kit Robinson
from Early Evening
1.
Red-tail eating a plump squirrel in one
of the elm trees. I’d meditated already, had
a hedge on the night but owned nothing past
that. Surrounded by crows in three of the other elms—who
had come suddenly out of nowhere—shouting Caw as he
picked that squirrel to bits; “the most common hawk in North America.” Early evening
at Penn State, still light and no leaves yet, or they’d already fallen off—
late autumn then or early spring, two thousand something, probably two thousand three.
Off the hip of Old Main—ten crows, maybe
a dozen crows. One is a gun, Charlie Brown; after
all, one is a gun—a single
composition of many parts. Shadows
lengthen, Charlie Brown.
2.
Where was I?
I remember what
happened to me and can grin about that up
to a certain point. Address could be bright
and vivid or it could just be To
Whom It May Concern, or the nickname
for a whispering daemon, orders
in his hand, Charlie Brown. You might
ask, How do you know?
I’d say, Push comes
in parts. Two is a shoe, meaning
we’ll play both sides of the net, as it were—each
has its “natural boundaries,” its neighbors and “partially
overlaying ranges.” Knowledge seems easy, but who’m I to say? Swallows
and swifts, Charlie Brown, swallows and swifts. Pull
it apart: I’m who I say, I’m in town and the night’s young—it’s all doable and I’m
at your service, Charlie Brown.
The full ten parts of this poem first appeared in Iowa Review
Posted in 73: BAY AREA
Tagged C S Giscomb
from Globe Touching
I thought for a long time
“A Woman is Talking to Death”
referred to a woman talking if not too much
at least a lot, as in talking you to death
something I do all the time
open one sentence after another
close some later, get annoyed
when you seem distracted
in the classroom too, if it were more mixed
if I didn’t teach at a women’s college I bet
I’d be taken less seriously, the way I’ve let myself
go, powerpoint slide with too many boxes
and too many arrows between them
so that everything seems to be connected
COINTELPRO, Redstockings, Deep Throat
maybe I mixed up Judy Grahn with Pat Parker
I’m beginning to
wonder if
the tactics
of this revolution
is to
talk the enemy to death
Parker means the enemy
she means this revolution too
Judy Grahn means death
who keeps us from / our lovers
the black man she leaves on the bridge
the women she didn’t hold didn’t kiss
the one with a knife she didn’t want
to sleep with—too fat too old too ugly—
she’s writing this in 1974
this woman is a lesbian be careful
so it’s a big deal when she leaves the man
on the bridge when she writes
as I have left so many of my lovers
that he should be counted among them
in 1974, Judy Grahn knows who the enemy is
six big policemen
and who her lovers are
and the wind
could blow them all over the edge
Posted in 73: BAY AREA
Tagged Stephanie Young
Phillip Hall Reviews Mick: A Life of Randolph Stow

Mick: A Life of Randolph Stow by Suzanne Falkiner
UWA Publishing, 2016
Suzanne Falkiner describes her aim in writing this biography of Randolph Stow as being ‘to contextualise the [literary] works within the broad arc of Stow’s life’. She notes that Stow’s desire for an ‘authorial invisibility – and an accompanying silence – extended to a desire for a chameleon-like camouflage in his personal life’. This camouflage included a retreat from Australia and ‘from the world of published books, in a gradual progression towards silence and into a richer inner landscape’. But, Falkiner shows, this ‘richer’ inner life was always plagued by depression (and one serious suicide attempt), a one-time addiction to prescription drugs, a very complicated (dependency) relationship with alcohol, a fear of madness and a failure to establish long term sexual relationships and to acknowledge and accept his sexuality.
Posted in BOOK REVIEWS
Tagged Phillip Hall, Randolph Stow, Suzanne Falkiner
Andy Jackson Reviews Mary Cresswell and Natasha Dennerstein

Fish Stories by Mary Creswell
Canterbury University Press, 2015
Anatomize by Natasha Dennerstein
Norfolk Press, 2015
In a recent essay for the London Review of Books, Ben Lerner provocatively suggested that the reason that we dislike poetry (as Marianne Moore does in her infamous ‘Poetry’, which begins ‘I too dislike it’) is that all poems are failures. Each poem is an attempt to translate experience, research, idea or desire into language, and in that leap something is invariably lost – and, I would say, gained – because success is not the polar opposite of failure, but its way of proceeding. The success of a collection of poetry depends upon how the poet, rather than denying this inevitable ‘failure’, acknowledges and incorporates it.
Posted in BOOK REVIEWS
Tagged Andy Jackson, Mary Cresswell, Natasha Dennerstein
Extimate Subjects and Abject Bodies in Australian Poetry

Image by Leila Schubert
In Athens you ride a metaphor A trip begins like translation, from one place to another, you write from a Tel Aviv wedding, we chat on the run, before bed we get the message. Afloat on the Dead Sea, out on the moon, you drop a picture of tranquillity.
This wry poem by Pan Zijie addresses language and human bodies as mobilised subjects. An Australian-born Chinese poet, Zijie has written in relative obscurity since publishing his first book, Vostok. Reading his striking collection Beijing Spring, published in 2015 by Maninriver Press, I wonder why I am not familiar with his work. After some online enquiries I learn that Pan holds a master’s in creative writing from Macquarie University and that he completed a PhD on representations of Chinese masculinity in Australian literature. Continue reading
Posted in ESSAYS
Tagged Jamil Khader, Kavita Bhanot, Maria Tumarkin, Michelle Cahill, Pan Zijie, Paul Kane, Sandeep Parmar, Slavoj Žižek