Interview with Laurie Duggan (Ella O’Keefe edit)

Image courtesy of Australian Poetry Library

Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an r&b song playing in the background. In the recordings, de Berg remains enigmatic, the ghostly presence operating the machine.

Interview with Laurie Duggan (O’Keefe edit)

Recorded on 25 June 1980 by Hazel de Berg.
2016 edit by Ella O’Keefe

‘Laurie Duggan interviewed by Hazel de Berg in the Hazel de Berg collection’
Courtesy of the National Library of Australia, TRC 1/1168
Special acknowledgement to Duncan Felton, NLA Oral History & Folklore Branch

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Danielle Collobert’s Survie


Image courtesy of Françoise Morvan

Danielle Collobert’s Survie is a sequence of six sonnetoid poems written and published in 1978 shortly before her suicide. The title is ironic: ‘survie’ means either the state of remaining alive after an event or in an environment that is normally fatal. As with ‘survival’ in English, the meaning of the term is commonly extended to mean a precarious living situation. Continue reading

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Heavenly Emporium of Benevolent Knowledge


Image of Adrián Villar-Rojas’s ‘The Most Beautiful of All Mothers’ by Kubra Karacizmeli

When we consider the Heavenly Emporium of Benevolent Knowledge, we inevitably find ourselves discussing not the one but the many: the various extant editions of the compendium, the versions lost to fire and flood and strife over the centuries, the diverse and sometimes contradictory volumes that have pretended to the title at one time or another. Continue reading

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Shy nag (a code opera): ACT II

The libretto Shy nag (a code opera): Act II was created by Sonny Rae Tempest and Chris Funkhouser, using a process similar process to the one used to compose ‘Exit Ducky’, outlined in an essay ‘Picture Becomes Text, Becomes Writing: Software as Interlocutor’, published in Cordite Poetry Review 40.1: INTERLOCUTOR. Shy nag’s libretto started by opening the image file of an UnderAcademy College course logo (see below) as a Chinese character-encoded text file.

The resultant text became English via Google Translate, and was subsequently processed and filtered through Word spell-check. Since the code is lengthy, over fifty pages, the output was large. A perpetually prismatic text, comprised of choices made among thousands of possible options the software provided, results. After the libretto was composed, Tempest translated the text into sound by utilising the P22 Music Text Composition Generator. The resultant MIDI file was opened with Acid Pro 3 DAW (Digital Audio Workshop) software. He created three identical audio tracks (double bass, acoustic guitar, piano), manually transposing all notes into the appropriate range (per instrument) and into the key of D major. This process results in a score that is more than five hours long, the first seventy minutes of which was excerpted for performance. A second audio track, compressing the whole sound file produced by the code to seventy minutes, is also layered into the performance mix. To make the projected imagery, the original hexidecimal code was broken into 24-bit sections to act as the hex code for HTML web colours. An HTML file was then created to consecutively fade from one color to the next, based on that partitioned hex, using JavaScript. Each colour block is displayed in text above its colour field.

In February 2015, a first staged reading of Shy nag was produced in Newark by students and faculty of the Rutgers-NJIT Theatre Department (Louis Wells, Brian O’Mahoney, Daniel Ovalle, Kassandra Perez, Eric Holzer, Antonio Johnson, Allison Mitchell, Olivia Duho, Darian Capellan, Sindy Sanchez); a second staging (Act I) occurred in August 2015, at the Electronic Literature Organization Festival in Bergen, Norway (Maria Aladren, Sandy Baldwin, Kathi Inman Berens, Natalia Fedorova, Aleatory Funkhouser, Christopher Funkhouser, Fluorish Klink, Jeneen Naji, Álvaro Seiça, Louis Wells). Act I is published in VLAK 5 (Czech Republic: LITTERARIA PRAGENSIA 2015).

For further information, including links to documentation, an essay on the process of producing the work, and open-sourced materials used to prepare Shy nag.

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6 Poems from Nachoem Wijnberg’s Divan of Ghalib


Image by Alessandra Palmigiano

Since being shortlisted for the Dutch prize for the best poetic debut of 1989, Nachoem M Wijnberg has won a series of awards in both Belgium and the Netherlands, including the highly prestigious 2009 VSB Prize for the Netherlands’ best book of poetry.

Wijnberg is known for giving each of his poetry collections a distinct identity, both stylistically and in terms of content, and the poems reproduced here are drawn from his Divan of Ghalib, which was published in Dutch in 2009 and is due out in a complete English translation in May 2016 (White Pine Press, Buffalo).

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The End

If you’ve run out of things to say you may need better ideas. Having left the city in a wheeled conveyance. It was one of several periods in a life largely ruled by hand-me-down leopard print. Lacking the whirl and swoop of her language. Airless sunset on the interstate. Advancing into a backyard filled with small white lights. I’d prefer it if timebanks were called laborbanks or skillbanks. Cut off by the tour bus. You haven’t walked down this street for two months & now half the shops are new. No more cookies for breakfast. To always be working & never be finished. Electrical hum & air conditioner hiss. Becca says it’s because we’re living on the internet in real time. I knew I shouldn’t be so scandalized. ALWAYS ALREADY PART OF THE PROBLEM. Itching under the skin of my arms. His mother could as easily have been one of my aunts. The erotic privacy of adolescence. Because in Coleridge it’s all storms and feelings. The pleasure of telling tales on a mutually-reviled acquaintance. Parental fragility. I am a professional & therefore I did not respond with lmgtfy.com. Was poetry ever successfully an art of seduction. I’m speaking historically. How did I give off the scent of caring person & was it too late to change. What do you believe available for your poetry. Kings and Queens. I know I cannot properly see my own biases. As though the page were a container to be filled with the political speech of the moment. But really I came for the couch and the enormous glass of wine. Just another night crying on the subway. I’ve identified a large plate-glass window as a precondition for this afternoon.

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The End

I believed I had reasons aside from nostalgia. Kept it cunningly concealed. Changing the water in which the beans are soaking. Just add salt. Waking to the sound of the police chopper. How did you learn to believe you would survive your heartbreak. Bedroom painted womb-red. Champagne wishes & real estate dreams. What morning means in your home. First comes love then comes marriage. Never saw the face of the guy behind us who said if you love me you’ll lose weight. Great relief of a day indoors. I am careful not to bump the perpetually sore bone while lifting my feet onto the couch. Like the time we heard gunshots nearby and froze in the hallway with our hands to the walls. An argument on television in the other room. The singer didn’t know yet about the years of darkness ahead. They told me about the sound the tornado made as it razed the neighboring block. Sound of high heels in the hallway. Getting used to the tightness of underused limbs. The pain of a retrospectively blessed moment. Why did I find the YOU MAKE ME postcard so romantic. Cowering in the hall closet. I believed all spaceships sounded the same. Fight or flight. Giving a child an adult name as an optimistic gesture toward the future. The plant has outgrown its pot. The plan is miles behind us. Portrait of the Artist as Overtaxed Slob. The sentences come in small clusters punctuated by periods of waiting. How to multi-task. Excitement of driving to the museum. First meal of the fall cooked in a huge orange pot. Climbing out of the shower I say I told you so silently to myself.

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The End

We thought we could crystallize caring. Watching the umbrellas going by in the street. Sarah calls this studio time although all we’re really doing is thinking and making notes. I was worried about what I could no longer notice. All the beer distributors on their laptops at the counter. I made a note to watch for epic similes. But what if we really do experience thankfulness. I can now see the tree as a storytelling device. Rituals exist because sheer will isn’t enough. Because sheer love isn’t enough. The pop song I remember from 1998. How to see the things that have become invisible to you. We take each ornament from the box. From its bunched tissue paper. Every house a container for objects awaiting their own dissolution. Today I empty the refrigerator and smell each item before replacing it. Attempting to account for the hours we spend under man-made lights. We wanted to believe in the moral uprightness of bedtime. Your complicated scent-distribution machine. Quotation marks around planning. Wanting to lift and arrange the towering sadnesses contained in the season. I write something about the shortening days and the towering workload. But do you have someone to talk to. I think the phrase I used was gently suggest. When the volunteer shift ended without warning. The profound relief of having a place where I was supposed to be in these hours. It’s easy to send an email but sometimes this task takes you days. Did you want to see how mortal we are. Left alone to watch birds fly over a neighboring roof. I made a note to watch for images of height and depth. You make a list in order to cross things off it.

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The End

Record sleeves warped and covered in mold. Train train ferry to the small hotel. How to step away from your life and seamlessly reenter. Stay up all night before the flight. What your body does and what you will. I think walking into a cloud is a name for love. You had been at the bottom of a fjord for days. Feeling diminished by what you share with strangers. What I meant by domestic was native to the region. I sighted the path across the meadow. I was in college when this novel was published & therefore recognize its world as one I wanted but could not imagine. A small wooden sign. Scenes of the movie set in years when I knew those subcultures. As though photography had the witchy powers anthropologists claimed. The sadness of discovering adult life was not significantly different from what preceded it. Had walking become a way of seeing or a form of speech. Writing from the coast of her loneliness within marriage. Who is and is not an intellectual. How to lock up your brilliance in heterosexual commitment. I mean really it’s all body body body around here. Squinting at my reflection to check skirt length. I was on the couch before the sun came up reading their statistics. How we had traveled through time and returned weeks later. The man’s elbow resting on my arm & gut. All the brilliant men and their women at a dinner party in Paris decades ago. What does research look like. The tearing sound when something pries loose. I wake up early and write this poem without coffee or tea.

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The End

The past’s rage as the break approaches. Because of my gender I was playing the role of material life. I guess I wanted a way into myself. New shoes and new eyes. Ladies and gentlemen please be patient. IT’S NOT A CRISIS IT’S A SCAM. Could hear the train coming through the sound of crickets. I wanted to love you like a light slowly illuminating from underneath. Because having a body means doubting. All the tapping feet. Suddenly in the diner an entire ocean. Little liver that could. Lying on the floor breathing deeply. What I mean is. Is everybody comfortable. Something made me speak as though I were sure. How long is it permissible to grieve a lost love and when did he return to himself. Hearing the pitch of movement slowly rise. How darkness presses down above the well-lit station. I need to find my own card she said plaintively. What it means to survive. Is anybody hearing this. There were people everywhere willing to speak to and of power. High speed lights from the south. How a revolution once meant something cyclical. Your aphorisms read twice. Breathing into the knot of pain. So many choices with negligible difference between them. This is called a market. The thinking part and the stuff part combine to make a person. You carry the notebook. You keep showing up. Expired referral. Wind in your ears. All the poets on the blog trying to say what love is. A hand held to keep you upright. Sand all over the sidewalk. They are singing in the stopped train’s car. The moon waxes and wanes. You knew in writing before you knew in speech.

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The End

Some morning glories still hanging on past Thanksgiving. I couldn’t tell if the book was a fascist fantasy or a paranoid fantasy. Omnidirectional violence. You can’t just Urban Dictionary it. All the Christmas bulbs swaying on their fishing lines. Always on the edge of illness. I wanted to tell you about the Justin Timberlake song’s instrumental rendition. I had packed pajamas and toiletries and left my suitcase in my office during the rally. Lying in bed and reading off your phone screen for hours. It’s not a crisis it’s a plan. Years later I suddenly realize the boundary he’d tried to set. Dollar bills taped to the wall & curling away. What is the relationship between the past the future the present. How to still this incessant panic. Wanting to hold your hand although or because I didn’t agree with you. Was it a poem or a lab notebook. We wanted to be like tinsel moving slightly in the breeze. But also to lift our voices into the rapidly darkening park. I don’t believe that these judgments are valueless. It’s not an opportunity it’s a scam. The photograph of the bar façade made something small clench in your torso. How you learned where your home was. What kinds of healing ritual. I had to ask my students if I was using the slang term correctly. Resting your wrists on the cool cement counter. It’s not a plan it’s a coincidence. I had lost faith in the strength of professionalism. Instead I began class by talking about Beyoncé. The way the neglected body feels. When Christmas trees start to show up near bars’ front doors. We were crossing state lines to eat and lie on the couch. My body so full of history by which I mean chemicals. Wanting to know if geography means space. If history means time. The large Ziploc container of powdered cocoa. What did we believe about borders. When I looked up the book I found a page of quotes and each was the thing I most needed to read. Who slipped into the demonstration quietly and retreated into a police officer’s car. You know what they say about paranoia. All the bloody seams slowly unraveling.

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The End

Pushed with both hands against the promised land. Who approached the cathedral. I read the essay on my phone. Wiping tears away with less & less subtlety. Waiting for the moment the heat shuts off at 6. The speculative nature of global geography. Was it In the Pines or House of the Rising Sun. Capsized moon over Morningside Park. Pages falling from the notebook to the floor. You walked by the apartment dominated by a large wall clock. I was in your mother’s hospital room. Trying to be a thinner membrane. Was this a memory or a dream. In the rose garden overlooking Long Island Sound. All this before the world changed. The large brown ceramic cup full of crushed ice and mint. We all pretended we were a boy becoming a man. We fantasized living in the boutique hotel. When the new millennium started in earnest. Printing up the tax records to take to the clinic. After receiving three drunk texts I thought maybe I didn’t say my husband enough. Health care a persistent low-grade fever in the system. The work has no endpoint. All the young literary men are out at the bar. Were you walking away or standing still. The day already past apex. Car horns and the sound of a plane passing over. Your summer my winter. Your morning is my night. Is there a word for the way the ghouls move down the aisle. Not walking. Not dancing. Being a stubborn and glaring stone. Having hunkered down in your refusals.

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The End

The year when all I read about was what it would take for the Gulf Stream to shut down. You know how the day will end if the computer isn’t off by eleven. Becoming an ambassador of efficiency techniques. Holding it in. Whatever it is. Your posture veering away on the subway. The job that left you always at a deficit and the anger that moved around inside you while you did it. The process of writing is mostly a process of ego inflation and deflation. Psychic breathing. The way the sky is invisible from my living room window. You checked off the boxes that proved you were or could be ok. Some electrical hum. Debris on the stairs. How to count the number of trains you’ll need at the beginning of the week. How to make a small economy. The pit of my stomach when I bought the health insurance. Three thousand two hundred and four dollars. A disagreement about whether saving money or paying debts comes first. What it would mean to resist the economies that threaten via withheld promises. How credit means character and who gets to have either. Car horns from outside the school or the gas station. Waking up into the conditions of shortage after the storm. I grew up with money and then I guess walked away. Sometimes when I think of the future all I can see is ocean. Dead zone in the Pacific. The Atlantic’s trail of bodies and those bodies in history that crossed Earth’s oceans breathing the open air. The difficulty of talking about conditions not feelings. Woke up like this. Looking for the dust cloth to give my hands something to do. The line between a performance and a service. How ten years passed without leaving a mark. The only motion today will be across this room.

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The End

Googled the difference between description and naming. Performing speech acts alone and in pajamas. What kinds of plurals live in this weather. Slightly slimy feeling of the skin while moving through the city summer. I cleared a space for rhetoric. Sun pounding down all around you. In the dream she was alive and ran a restaurant in a Queens rowhouse. I sat at the table with composure. Is aging an effect of the body or of time. Little green strips laid end-to-end. New holes in your shirt. Drinking ginseng through a tiny straw. Her face was wider and more freckled. The opposite of winter. So hemispheric. Quoted the activist meeting while wondering how to define activism. How to articulate a position from afar. I remembered how he’d said I’ll call right back and then weeks passed. How the new place fits you like a hand-me-down coat. The fountain dried up and the ache after a day on your feet. Artmaking as a voluntary and uncompensated simulacrum of labor. Working my way into productive discomfort. This helped me know what not to expect. I imagined a t-shirt and then there it was. The pair of dirty socks left on the floor. Violent rocking of the ceiling fan. All the stars I imagine outside the city limits. Cooperative. Cheerful. How the noise of the air conditioner drowned out the movie dialogue. The sunburn peeling in centimeter-long strips. Wanting to walk through the coolness of the morning. Knowing how to make the string tight enough. Most of what I saw was a pair of buildings I went back and forth between. A perfect photo of pastel apartment trim. The problem is my feet not my shoes. New Haven Style Pizza delivered in the Texas night. Googled what kind of language is a description. In the dream she regarded me pleasantly but without recognition.

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The End

Let me call you when I’m off work. The shirtless man sleeping on the church steps. The scar running laterally up his belly. Wanting the little spaces of freedom inside an absolute structure that flows between time and space. Your foot dragging in the river beside the boat. A little snag in thinking. How I finally learned my bra size. It’s about everything else. The oiliness of good coffee. What goodness might mean and whether it has relevance for this historical moment. Totally administrated. Rooms for thinking or for fucking in. I hold my desirability tentatively and with deep ambivalence. Fly me to the moon. Sound of something unseen being dragged outside. The way the market might want something. What you learn about your clothing once you wear it outside the home. Sweeping the rug into some state of newness. Like hands on your windpipe. Like cold hands inside you. The pride I took in my own peripherality. My stance of non-involvement in things like fame or belonging. How fast and small every movement was then. Counting the recessed lines of bricks and the cement windowsills. When my reputation might mean my paycheck. How you stood at the edge with your eyes all over everything. Kids with cameras. Wanting to be pressed down onto a couch or bed by a stranger’s nonsexual hands. Wanting to be held suspended. Even I can’t hear voices from elsewhere so well anymore. Even I fantasized walking as an approximation of freedom. Liberty always in process and never achieved. I said as a poet I am naturally shy. Archived all your bodily aches as though you might appeal to them later. As though these cast-iron buildings might have had some other fate than condos and flagship stores. Pale blue all the way upriver. Rest your head on the oil-smudged window. Wanting to be a string of small acts of care. Laughter from the street below. The eerie familiarity of the man in the coffeeshop. Language making a small despair in the middle of the day like a hole into which you might breathe. What kind of work did you think these poems would do for someone else. On the bedspread on the concrete floor I tried to make a space for something new.

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The End

We practiced wiping sweat from our necks. Every song reminds you of a person you once knew. Then the heat kicked on with much hissing and clangor. I had crafted a parasitic practice that transformed my paid labor into post-market froth. Was it a field or was it a city. I wanted to lie down at the edge. The breeze just before the train’s headlight appears. You were making yourself a foreign continent. Feeling around the blunt edges of history. But medieval women may not have been so submissive. Standing on the sidewalk surrounded by luggage. Do you worry about what happens to humor when language moves away from a body. Is this getting too repetitive I asked though I was not even halfway done. Made an argument about the congruence of Lancelots. The children. The children. The protective phone case bought a day too late. I’d promised someone today would end. But somehow we found ourselves in Queens. Falling behind in the assignments you’ve set for yourself. Preferring to repair rather than to replace. Your body is so seasonal. Jo said one was quiet and proper and one was a screaming wench. Fluffing the covers and turning on the fan. Trying a new stairwell but finding nothing nothing nothing. Here I will comment on the flexibility of the form. A model of the world or a model of the self. You were watching it all with your microscopic eye. Sometimes you slip back into 2007 for just a moment. Memory of a hotel bed & whatever the opposite of seduction might be. I was trying to get it all down into words. Movement had become a precondition for air circulation.

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Chloe Wilson Reviews Tracy Ryan and Jill Jones

Hoard by Tracy Ryan
Whitmore Press, 2015

Breaking the Days by Jill Jones
Whitmore Press, 2015

These two slender and handsomely designed volumes of poetry are the result of the closely con-tested 2014 Whitmore Press Manuscript Prize, of which Tracy Ryan and Jill Jones were joint winners.

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The End

Picnicked near the Don’t Insult The Witch sign. Broke the stove again. You learn a thing in one place and write it down in another. Wanting to get out into the world. Tight shoe or pregnancy. Here you are humming around the apartment and refilling various glass jars. When they enter the poem. Blurry & on the horizon. Who left these jackets by the stairwell. In the morning made of traffic and voices you sleep through hours of sunlight. Maybe this is a kind of diffuse epistolary novel. Smudge of paint on the keyboard. On deadline as a permanent state. On the wrong side of Fortuna’s wheel & brimming with dailiness. Dearest liberty having taken you. Everyone adjusting their scarves in the new season. I liked the openly boring ones best. How could you make a poem into a tiny room. Predictors included writing or thinking. The carbon monoxide monitor beeps. How the coffee seemed to move around inside you reshaping your body in tiny ways. Almost too gentle to count as an allusion. Lingered on. How can I tell you what the afternoon has done. Holding his daughter’s hand and looking into his phone. Still thinking about the problem of audience. Enthusiasm of a new friendship three drinks into the end-of-summer party. The word social indicates a certain kind of bar. To be at a certain place in life. What labor might mean to a given person. What justice might look like at fifteen or twenty or thirty or forty. How many times can I pull this one off.

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12 Poems from M C Hyland

I’ve always been interested in the question of ‘the personal’ or ‘the autobiographical’ as a category constituted by a fairly arbitrary set of boundaries — in some ways, most of the poetry I write is an attempt to think about what those boundaries entail and mean. I’ve been writing this series of short prose poems, all titled ‘THE END’, for almost three years now — I started the project a few months after moving to New York, and I suspect I’ll continue writing them as long as I continue to live here. The project started with a simple task: that of noticing things, and of writing them down as simply as possible. I’ve tried to put at least some of everything into this online chapbook, without over-determining the poems in any one direction: they’re full of what I’ve been reading, talking and hearing about, and what I’ve been feeling physically and emotionally, but as, I think, more of a core sample of ambient conditions than as an especially personal account.

M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End

M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End
M C Hyland: The End

I think of them as ‘my New York School poems,’ borrowing from that tradition’s interest in the first-person speaker. My favourite articulation of this New York School tradition is Bernadette Mayer’s idea of the ‘emotional science project’ — which might, in a way, be a good description of what I’m trying to do here. While these poems started as an attempt to find a form through which to think about all the affective challenges of living in New York and attending grad school after a long break in my educational history, they ultimately ended up taking me in a different direction — an attempt to think about the role of feeling in forming and re-forming an aesthetic and political consciousness. In these twelve poems, I’ve found myself in dialogue with a number of texts, institutions and individuals, including at least the following: Judson Church, the Delaware River, Jeff Peterson, Herbert Marcuse, Anthony Reed, Hannah Arendt, Aleijuan King, SoHo, the B train, Tara Menon, Nextdoorganics, Elizabeth Kolbert, the Center for Book Arts, “Bifo” Berardi, Lisa Gitelman, Beyoncé, Laura Brown, Ian Dreiblatt and Anna Gurton-Wachter, Sulai Sivadel, Luke Davies, Chris Kraus, Deborah Stein, (G)IRL, Citron Kelly, Naomi Extra, Fred Schmalz, Andy and Rashmi Grace, Laura and David Herlihy, Becca Klaver, S T Coleridge, Jo Livingstone, Celeste Langan, Claire Vaye Watkins, the Cathedral of St. John the Divine, Caolan Madden, Madeleine L’Engle, Coffee Foundry, Justin Timberlake, Ada Smailbegovic, Black Lives Matter Minneapolis, Sarah Schultz, John Milton, Nina Puro and Natalie Imbruglia.

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I’m with Stupid.

What surprises me most is being
coincidental. If we really believe
it’s the end, it doesn’t matter
how much this evangelism costs.

The economy’s shaking. His trolley holds
twenty kilos of rice, ten litres of water.
Everyone thought I was strange in Christchurch
then we got The Big One. Good luck, I said,
you’re going to need more water.

Such imperfection. It eats
what was recently purchased,
the high of salvation thin as old sheets.
Get the song between your teeth;
sound moves inside us then we move to let it.
Do it professional: put yourself to one side.
In hard times, sociopaths rise.

While you were crying you got snot in your eyes.
Her life story is her story, not her life.
The fierce stones of Greece
have gifted us democracy, so we argue
which never convinced anyone,
just made good television.

200ks per hour
gales take roofs. New all-you-can-fly ticket.
Government money for a sanctuary.
civil libertarians
my powers of apprehension
Each response to the challenge
of Self-Management falls on a continuum:
Productive to Absent.
One day, always having to be right
will be counted among the disabilities.

th end s in sight.
Thank god. The hard bit’s been knowing
I won’t be around to see how this turns out.
As one of the minor characters
(let’s face it) in this genre
I’m sure to be killed off
by a giant wave, one of those deaths
deep enough for a close-up
a snatch of fading breath, some tears.
If it’s not happening
we don’t have to do anything
and if it’s fucked we can’t do anything
we flip between these extremes.

nature vs. narrative
A tale carries the idea
to the mind through the soft body.
Talk in miracles, smoke in the car,
a tangle of weeds at the throat.
There’s no charming the oppressor.
Give up the myth of reversible power.
The lord gives and he takes.
Find other ways to be safe.

Black tattoos on a white, white face.
How beautiful the deliberate lie
they had time to work on it. Letters
stich and drop. Kiss me like a bad garden,
the lazy mural that lasts for years.
I don’t need any evidence.

At the end of the earth we learn to dance.
Your arms get tangled in your legs.
I’ve suffered a lot but then who hasn’t, he said.
Though I’ve watched since it was a dark mess
the lifting light shows a shift
when I look
look back
I can feel the click.

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Dark Heart

I look in here—this
notebook—& see
the notes for the

last review I did,
& note—that I am
about to write another.

Tho I would rather
write something else.
I whistle

bop a bit
try not to think
of the

vast tide of crap
the exhibition represents,
check

the sky: sere,
grey, pale up
one end of the street,

almost Neapolitan
at the other:
pale, but a distinct

blue,
with some dark smudged stain
drifting over it,

much closer to
than the far blue behind—
blown,
in those paintings,
from a volcano nearby—
almost like flak

in the old movies.
(Goya’s mantilla,
& parasol—

& the rumour
that nothing lasts forever)

#

It makes the sky darker too
an atmosphere
not a backdrop

#

a small figure, further down
Hindley Street
is crossing the road—I recognise

the coat
as much as the figure—
but who?

#

It is about time
I had a drink with Crab.
About time

for a lot of things. What
to do about this
art?

I whistle ‘You’re My Thrill’,
the beginning—but, whistling it,
I end up, as always,

with the ‘Perry Mason Theme’
(I think)
(it is

so long
since I have actually heard it)
Instantly recognisable

when I was a kid.
I thought I didn’t like it—now it
seems I do
or something
cousin to it.
‘You’re

My Thrill’. Then
‘Couldn’t It Be You’—
I wonder what

the connection is —
the key, the pattern,
somehow relates?

Its
calming effect
when I whistle it.
So,
resignation, ‘getting on with things’.
Hate to turn

a beautiful tune
into a tic, a
neurotic response

tho again, luckily,
it is only the first few bars
I remember this way,

the rest of the song
is safe,
unretrievable.

When I play it
I smile.
This

art then,
what to do about it?
Inflated in scale, naive,

‘done’ when its theme is recognised
— like slogans
for a moral position.

As if the viewer
should tick a
box, in approval,

& move on
perhaps ‘liking’ it
on their facebook page.

(their ‘mental’ facebook page)

Does anybody do that,
like it that much

that they could bother to register
this vote (?) their
‘shared concern’?
I doubt it.

But then
I am whistling the wrong tune.

I read in Denton Welch
(the Journals)
of some gypsies he hears

coming home from the pub
singing ‘Bye Bye Blackbird’
1946

My father used to sing that song.
I love it.
The opening notes

of the John Coltrane version.

My father
sang it often enough
for me to know the words.

Denton, near the end—

“Chopin pours over me from the wireless.
Nothing but this small picture will be left
of the day. Many years after, people may
be able to read then say, ‘He was cold; he
watched the sunset; he ate a chocolate,’ but
nothing more will be left to them.”

#

Today I worried happily,
wrote stuff, ‘asseverated’,
was alive.

It was supposed
to get cold—but it didn’t.

Posted in 72: THE END | Tagged

A Northern Winter

For Ken Bolton (who found it)


1

bitter gall in afternoon light
stroboscopic beech
‘we will shortly be arriving at / Rainham’

a stationmaster
spits the whistle

Tate Modern: Delaunay (Robert) and Severini, Munch and Bonnard, Jonas Mekas’ films. Gerhard Richter.

Before me (from the members’ room), St Pauls and the Millenium Bridge. I will walk that way towards Lamb’s Conduit (via Shoe Lane, Holborn and Red Lion Streets), for Peter Riley and Peter Philpott at The Lamb.

a glass, seemingly of port, at the window of The Dolphin
(this sad enterprise of notation)

The Dolphin opposite The Enterprise.
I’d rather be fish than foul.

2

Today I sit downstairs in the office, looking out the back window to our garage and wall and, above it, the last few yellow leaves against a (rare) blue sky.

I see the sage plant beneath the window and immediately smell (purely imaginary) sage.

3

What troubles me about Jackson MacLow’s methods is the mere thought of method. It seems essential that these works enunciate their principles of construction i.e. primary text, letter selection and secondary text. But is the knowledge of this supposed to bolster our appreciation of the result? If so are we admiring it because it fills the brief or are we admiring it for what it is? The two things are not necessarily compatible. MacLow realised at a certain point that there was no such thing as the purely aleatory, that the first principles were already an aesthetic decision.


4 (Three musical interludes)

i

Charlie Watts, dapper in Hatchards bookshop
a South London accent that may have been worked on

ii

in my head, the
Horrie Dargie Quintet play
‘East of the Sun and West of the Moon’

iii

I’d always hated Gary Shearston singing ‘I get a kick out of you’, but suddenly in the student bar, Roehampton, it all, especially the violinist, sounds good.

5

The snow from two nights back hasn’t melted. Interesting to see which plants seem to have survived – lavender, thyme, oregano – that you might have expected to wilt. Tarragon dies off naturally, the rosemary hasn’t really got going.

6

a white oblong of sun on the bedroom wall

time to get up

Tonight, a reading in London which I’m not going to. That’s three London events I’ll have missed this week. Two because of weather, one, inertia.

7

nothing in this drawer

a tangle of script

‘snowbound’

I feel less ‘at home’ here than I did a year ago. But would I feel ‘at home’ anywhere else?


8

If I have always envisaged work as music why do I still fear abandoning a patina of sense? The poems on the surface are ‘documentary’, but documents themselves don’t ‘last’. We don’t read the poets (for the most part) for insights into the contemporary (though they ignore the past at their own peril).

9

speckled lights from Christmas
fake chandeliers

out there it’s winter still
the bulbs in public gardens unopened

I decided today, walking through Canterbury, that what I feel now is a kind of blankness, a nothingness which seems neither bad nor good, neither exhilarating nor terrifying. It is maybe ‘despond’. I need to emerge from it to write again, or if I write again I will emerge from it. I’m not certain which of these is true.

Now, I suppose, is the moment I stop being an observant tourist and become an ignorant local. Yet at the same time Australia appears an even odder construction. I mean I love it, aspects of it at least, but from here it’s a peculiar thing. The fires that I know much about make it to the UK news, as does (as ever) ‘shark attack’.

I belong to a space that nobody here will recognise.

10

spring bitter
and bitter spring
at The Sun

shadows on a page, the rise and fall of breath
striations in an enormous fireplace

marking time
marking, re-
marking

‘Jim Thompson
never materialised
again’


11

The Fitzroy Tavern, Charlotte Street, last seen in, was it, 1992 or 1987? The ‘writers and artists’ bar is downstairs, but I stay up, ‘not writing’, trying to remember the name of the Italian restaurant I’m supposed to be at in half an hour.

telephones that ring like telephones

the ghost of Julian Maclaren-Ross shuffles past

‘a violent hash smoker shakes a chocolate machine’

12

teasel
the burr of the plant, dried,
a device for carding wool

leaves that jump (dead ones) with a sound like raindrops
small greenish birds
an orange butterfly (fritillary?)

now I know the yew, found in churchyards, is poison to livestock

13

and now it’s daylight saving

when will the scaffolding come down?

and what place for this scaffold
in the age of interruption?

miniature daffodils under the tarpaulin
a sign (‘The Sun’) on its side;
inside, from the rafters,
hops, still green from summer

Posted in 72: THE END | Tagged

Holiday

the gut of a rock catches sea murmur in my throat
with swimmer’s ear and something else
high tide brings up dark patches where
there must be colour or
maybe white like these ones
dried up on the shore

wind will change direction more than twice, heavy
giving way for morning wattle, counting colours
time to consider what might be native

at the picnic tables a group or several
with plastic glasses
seem the happiest yet, settled in dusk

camp in the scrub in the overflow
try to switch off thinking forward

consistent range spreads even with
that green I can never pin
wallaby by the desert peas
distended and legs up

we’ve driven by twice
searching for the mark

Posted in 72: THE END | Tagged

Wall Wisdon

Since all prices are essentially cutthroat,
I steal or beg, which is also stealing.
Paying for a short ride, I cross country.
I forge checks, credit cards and barcodes,
Swap price tags, chat, eye and flirt
With the cashier to distract her. In love,
I also steal, beg and lubricate my
Grossness with measured ejaculations.
Paying for one life, I try to live several.

No Goldman Sachs, I’m just a nickel thief,
And like George Soros, I toss back a dime
After each sweaty killing. Leash led
By providence, I embody his plan.
I’ve been imprisoned, but that’s
Because God wanted me to chill.
Sometimes it’s good to go to jail.
Poking him, I accept his spanking.

Like a monastery, jail’s a place to
Burp up and chew over your maker.
A man isn’t man until he’s cornered,
Thrashed then caged, preferably
On the most slanderous charges,
Just so he can grasp, finally, fate’s
Funkiest form of mercy. It’d be good
To have this wall wisdom, though,
Without being enclosed by walls.

It’s also good for a man to beg,
With his eyes bathetic and paws
Cupped together in supplication for
Something that will only come too late
To be more than a sick skit of desire.
Futility is the meaning of prayer.
After much praying, the fool wakes.
Locked together, like this, we rock,
Singly or in pairs, mostly singly,
Until we’re let out, also singly.

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