samsara

congeries
mIEKAL aND
Introduction by Crag Hill

2016
Blazevox Books
Buffalo, NY

BOOKCYCLES
iv

i n tro

Reading / Rendering

17

book 1

Raw. Sway. Aloud

61

book 2

taking tea

80

book 3

as a wet line knots easily

134

book 4

Cant

160

book 5

Body of Laws—Refrains from

216

book 6

Argot Contents

264

book 7

Knowledge Swirling Man Tell Slow Stories

322

book 8

S.A.S.E.

350

book 9

l=i=n=g=l=a=g=e

372

book 10

No Moon, Dante

423

book 11

MORES

457

book 12

the missing text of the lost tower

465

book 13

Babbally: The Destruction of Mindfuck Diplomacy

490 book 14

truth squeal vacuum

introduction by Crag Hill
Reading / Rendering
Pre.
mIEKAL aND has never hopped on a bandwagon without either
seizing the reigns or by reconstituting the wagon and its engine;
Samsara Congeries is no exception: he has not jumped on to pound
his chest with a long poem. Rather, he has seized the form itself—its
thematic unity—and dropped its on his head. This is poetic ambition
writ large; no focus group has guided the producer to smooth rough
edges, to photoshop blemishes of thought/language, to put a public
face to something that has been constructed in an originary privacy.
My introduction is a congeries of sorts, not a piling up of words
or phrases but snapshots of a reading, of readings, of a reader who has
known some of these works for three decades.
1.
Allow the long poem raw, fresh, the bardic ambition. Sway with the
“Striving to beat the/Gravity of shore” (7). Move and see and listen
large: “I bet stars/& win a sharpened vision” (14). “Raw. Sway. Aloud.”
has multitudinous bodies embedded in a past dancing from marked
histories—native life not yet colonized, the 19th century—to a timeless
time where the sun never sets or rises but is. Allow the law with
qualities not canonized, formative and enduring and contagious: “every
law/of her body shivered like birds of leaf ” (18). Book One teems:
Shacknasty Jack, Healing Guest, Jakalunus, Kumush, the raggedy man,
the Modoc, Coyote, loon, Old Thunder, Old Marten, mythic, heroic,
ecstatic. Book One glows with ritual, with magic, sung and chanted
into Origin. In this beginning to these Congeries, mIEKAL aND,
quoting James Broughton, intones:
Because I have my own particular tree to tend
and though it may be growing upside down
I’m going to climb to the roots
in my own peculiar way (23)

ix

Samsara Conger ies
2.
New cycle, continuous flowing. Talking tea, walking tea, new personas
arise, fill out the poems: lu yu, chinese emperor, river/s, drool, goatman,
tealady, and, prominently, Aisle. Ritual borne, gesture unbounded,
inward/outward: “the act of/taking tea/one sitting/in the micro/cosm”
(63). The poem’s engaged, fecund: “the/extending hand/a line a line”
(65). The Book’s persona is engulfed, engulfing, presaging later books:
“Aisle having long/ago trussed & girdled space &/energy felt the
words smack/too big in his head white noise” (74). Process, poems for
tea: licorice, ginseng, mint, jasmine, Darjeeling, catnip, banchu, and, ah,
chamomile: “sleep on/the ground/chamomile/at dusk” (78).
3.
Moving in, moving out, simultaneously, “as a wet line knots easily.”
Single voice, a self, a polyphony—an infinity—of selves and above.
A crucible: not chaos but furious ferment of creation, dissolve,
resolve. “stress the reception in the poet. indeed enlarge” (82). The
large deed, this poem—assorted knots, quipus—in rolling, wrapping,
enfolding motion. Transactional, relational, lively. Tafadahl & he/she,
Isadora Dunca, Jepedo, Maya, Ankh, Thepholo, and I. Not inventions
but events: “Tafadahl evented the Samsara Congeries” (90). Phasic,
molecular—spinning god particles, universe expanding, contracting,
reconstituting. “MORE THAN INTENTION/!EXTENTION//
MY, MY//KNOTTING HISTORY” (133). The bardic eternal flame:
“You speak/BEYOND YOURSELF” (99).
4.
The poet appears, or here’s evidence pointing the I of “Cant,” to the
poet. A slowing of pace, a concern for naming, yet also a resistance,
breaking the word, the namer, in the line break, “the ‘splitting
language’” (138). Verbal inventiveness at the level of word & phrase.
An infusion of portmanteau, fewer people but not peopleless, shift
from concrete to abstract “spoke of gist” (141). The poet’s music
intensifies, Liz Was energy. Jazz permeates the poem:

x

introduction by Crag Hill
O
balance
thats

delicate

levitation
over the
dissolv
ing order”
(143)

.”

5.
Refrains, small rhythmic explosions: “Women spasm fire” (165). “A
quarrel/smacks/sound sound sound” (166). A universe of fragments
phasing into parts, filmy connections. The I of “Body of Laws—
Refrains from” is hunter and gatherer becoming poet. From things
to ideas: “He speaks the/matter in a/word” (170). There is no ego
then, there, but a “Generosity of birds” (173). Summoning power, a
thrumming. The refrains intensify, birth throes, the poem procreating.
Animal, insect, and plant world clashing, whirling, climax. “Forming
into sudden” (208). An all-encompassing ecstasy, the bardic reach: “We
shall leap up to the cosmic/Body” (210).
6.
The center of the long poem, heart of hearts, “Argot Contents,” the
most personal, a unitary self: “All the distinguishing particles were
eliminated & I feel into place” (237). An uncertainty but certainly
a climbing up and inside and out, linguistically, cognitively: “How
many rungs to the ladder” (218). The poetics: “each remnant postpones
inclusion” (218), yet it’s resistant, it’s on the schedule, in its own time.
The poet’s testimony about process, progress, materiality: “& I am
xi

Samsara Conger ies
freed from the constricting body. & I am freed from the constricting
body” (221-222). Melding with the bodies, the intimacies, Elder So
& Sha Long, Traggy Fineleaf, Dickinson, Wm Blake, book merchant.
“There are many for you” (258). The bardic modesty: “I am the blank
voice of my genes” (263).
7.
Knowledge Swirling Man appears, telling slow stories slowly. The
book fractures: “which truth within our subjectivity do we trust,
a choice once recorded as a decision, & understanding becomes a
function of bias” (265). The potency, the currency, of Knowledge
Swirling Man: “In the course of a lifetime a commonality of
experience arranges understanding” (265). Essays on Beuys, Svengali
narrative, musings, meldings of Mallarme, Apollonaire, Duchamp,
Picabia, Erasmus, Cubism, Jarry, Kandinsky, Surrealism, from whence
these poetries arise. Fragmenting of expository discourse, of the word,
recombinations: “Intandinee,” “Somed” (278),”noetrialim,” therition”
(279). aND’s avatar is also subject: “&s political behavior has been
described as internal each his eccentric acts casting him a closet of
performance…a booook walks in and splices &s mind” (291). This
book: “A PIECE OF WRITING ADMITS ITS ENTRANCE”
(311).
8.
“S.A.S.E.” Self-addressed stamped-envelop, the promise of exchange,
the fuel of small press interactions of the 1970s through 90s, of which
aND and wAS were prolific players, “small press is a road map” (326),
a way to go and to arrive. “I justbendintheenergy,” the poet confesses.
And of his influences: “& once in a while I get the really incanting
urge not to be about what Im suppose to be about & then Gertrude
Stein rings tho Ive never made a thorough nor guessing critical
study of her work I line up with Gertrude Stein” (329). aND’s 80s
were small press, theater, musical and languaged performance, and
inexhaustible artist books, all of which in-form the bareback poetry of
these books. He bends with energy.
xii

introduction by Crag Hill
9.
L = A = N = G = U = A = G = E was the seminal journal edited
by Bruce Andrews and Charles Bernstein from 1977-1981, critical
discourse emphasizing “a spectrum of writing that places its attention
on language and ways of making meaning, that takes for granted
neither vocabulary, grammar, process, shape, syntax, program, or
subject matter.” Language permeates and penetrates language. “L =
I = N = G = L = A = G = E,” dedicated to Andrews and Bernstein,
places its repeated gaze on THE CAVE CHILDREN OF NEW
YORK [WHO] ARE NEVER FREE. In 14 iterations of that
title—as with Mikhail Bakhtin, no word can be the same if it is in a
different place—the ling links with the lage, the lage with the ling,
creating INGLAGEL, NGLAGELI, GLAGELIN, LAGELING,
AGELINGL, GELINGLA, and ELINGLAG, a body attempting to
empower the cave children (Plato’s cave). This short books is coda’ed
by a wink at L = A = N = G = U = A = G = E, “DEEP TORTURE,”
a meditation on the sentence, its ideology and erotics. “More over less
the matter is” (366).
10.
“No Moon Dante” was originally published by Xexoxial Editions
in 1987, accompanied by dozens of images (primarily xerox
degenerations). These images echo the text. In this context, images
removed, the poems have more edges, more elbows. “I have been
spinning for many years within turbulent image I could not quite
materialize, broader than I dare jump” (373) but aND prodigiously
does so jump in this book. Below the radar? “beneath understanding”
(388). “I/cancel/probability” (394). aND has considerable faith in
his readers, so few conventions to hang a hat on: narration, lyricism,
unity, closure, transition, metaphor. “& AS THE WRITING RISES
THRU THE SURFACE IT SERVICES A NEW FANTASTIC/
LANGUAGE CHOSEN FOR ITS CONTROL & BELIEF. THE
NEW DAY CLEAR” (422).

xiii

Samsara Conger ies
11.
“Mores” is an event “to be read as if it were a single sentence spanning
an entire spectacle in the course of one sitting as if it were one thought
in a single protracted momentum” (424) stand up lean back take deep
breaths from the belly up through the chest then breathe through the
language that does not describe or sing or cry the world but provokes
the world as it exists through word but in this poem these congeries
these dialogues through this different voices no word is more
important than another Samsara collapses the hierarchy many-voiced
you may breathe again but never the same breath with or without
punctuation
12.
Arc/eology, crosshatch, ellipses, lacunae, “the missing text of the lost
tower.” “How many/languages are available/& why the disparity
between/idiom & the forecastable/future” (458). But: “In the center
of/the book was the eye of the/hurricane” (459), buzzing also at its
peripheries, disrupting the boundaries we have been socialized by. Not
lines or utterances, paragraphs or images, not what “no/single line of
thought can/accomplish a brainwave will/crash” (460), and the unitary
we will tumble. “ “Words then remain the/elegance at chaos gate” ”
(461).
13.
“Babbally; The Destruction of Mindfuck Diplomacy,” complete with
faux footnotes undermining the hegemony of the academy, which
has never been the home of the epic, the office of the bard. “mindfuck
diplomacy/as if broadcast poking/open maxtile” is footnoted thus:
-12 Dagger-breath anti-truth, known to sterilize the vacancy in
correspondency” (464). Book 13’s a romp of sound, a dance of vowels
and consonants, chance encounters of words and words made-up:
“mannikin bobkins played/gobblers shift vocables/a tant scarce
temblor” (470), “Crane peripheral neckage lastic ease./Ifta gladys
raging horticult mercenary” (481). Footnote -4, perhaps of these

xiv

introduction by Crag Hill
books: “Each book is handled as if the assortment or stratas as they are
called are to be read simultaneously. No one of this era was without
this sociopsychic motor skill” (472). The hard fact of language: “words
could no longer systematize the affairs of nothingness” (483). The
book ends with “Quabble: The Word Producing Babel” a block of
“impossible” words starting with dami, sputsal, alterra, flaege” (489),
the book/s sweeping voices becoming more and more abstract.
14.
“truth squeal vacuum” bookends the congeries, samsara cycles back
through dissonance, explosion, abstraction, to the lyricism of “Raw.
Sway. Loud.” But with a growth spurt in the writing, writing’s
milieu—now digitally networked, chatted and posted. “The text is
(should be) that uninhibited person,/non-site) anachronic subject,
adrift” (498). The poet resigns: “I’m tired of poetry” (501). The poet
re-signs: “This is to want a text which seizes the subject the way the
reversal of origins could not be written” (505). The bardic ideal: “Poetry
is one/Great essence” (506). Yet also an underwhelming, poetry’s
current state: “Development of our literature/whose cobwebs over the
stubble, vigorous grown lame” (514). But an optimistic turn: “These
songs indicate the era of dissolution/has begun” (514).
—Crag Hill

xv

RAW.
SWAY.
ALOUD.
Book One

R a w. S w a y. A l o u d .

A touching obituary notice
Again we are called upon to perform the painful duty of announcing the death
of one who, if not altogether [word unknown, blotted out], was chief among a fraction
of thousands of spirits who are not yet perfect. We refer to “Shacknasty Jack,” the
genial, whole-souled, or perhaps (considering his mixed parentage) we would say, halfsouled, copper-colored gentleman, who recently died peacefully and in pieces, in his
little lava bed. Jack, “poor fel,” did not wrap what little drapery he had about him and
lie to pleasant dreams, but his demise was hastened by a seven-inch shell that entered
and exploded in his diaphragm, ruining his digestive apparatus that had never been
disturbed by banquets of roast dog, salt horse, washed down by copious draughts of
fiery, untamed benzine and needlegun whiskey. As we recall the virtues of the deceased,
our pen unconsciously drifts into mourning, and we are led to exclaim:
Oh Shacknasty, thou hast left us,
No more horses wilt thou steal;
But twas Gillem that bereft us,
He can all our sorrows heal.
First we heard it was old Schnochin,
Then heard twas Scar-Faced Charles
But the latest news, Shacknasty,
Says tis you have quit the earth’s snarles,
Gone, but not forgotten.

Friends of the family invited to attend—covered carriages for all who wear
gloves.
Born of poor but honorable parents, “Jack” manifested at an early age those
traits that in after years made him famous, and would in time have sent him to Congress
if his soul had not been shelled out of his ephemeral shell by a cast of iron namesake.
He had served his tribe as tax collector, president of the baseball club, and was about
organizing a “YOUNG RED MEN’S HORSE PLAGIARIZING ASSOCIATION,”
when he felt a sensation of goneness of the pit of the stomach, and was gone. Possessing
many of the virtues that marked the Credit Mobilier operators, Shacknasty was almost
as generous as the increased salary voters, who only drew their back salary to pay off
the public debt, and the news of his sudden death will cause a thrill of anguish in many
a bosom—anguish that he was not permitted to die longer and slower by inches.
—reprinted from the Journal of American Bureau of Mines
Grand Rapids Tribune
Grand Rapids, Wood County, Wisconsin
Saturday, August 30, 1873

3

Samsara Conger ies

BREATHING BONE

now
willing
much
dream
for
events
of
words
breath
ing-tongue
of
the
Healing
Guest

4

R a w. S w a y. A l o u d .

CONTORTIONS
wearing masks of
deerskull & antler
they hide behind most tree
& bush like wet furry moss
within all my visions quest
eagles distract time
seems as I crossing
the dawn of open field
a man’s loin of desire
feathered quick with sweat
is surely way enough
for all strongly gathered
to make known oral wisdom
tho fewer words not said

5

Taking

Tea
Book Two

Samsara Conger ies
some one thing else
not all dead leaves fall from the branch
as the word as the tea crops

“There are a thousand different appearances
of tea leaves. Generally speaking, some look
like the Tartar’s boots, some look like the
Buffalo’s breast, some look like the ripples
on water caused by breeze, some look dull
brown, and look like a piece of newly cultivated
land covered with puddles after violent rain.
These are good tea.”
-lu yu
uh breath uh the restless lore
a chinese emperor:
“Set an old three-legged teapot over a slow fire.
Fill it with melted snow. Boil for as many minutes
as it takes to turn crayfish red. Pour the boiling
water over the tea leaves and let it remain upon
the surface.”
flags of speech
“He must manufacture it.
He must develop a sense of sensitivity and discrimination about it.
He must provide the proper implements.
He must select a suitable water.
He must roast the tea to a turn.
He must grind it well.
He must brew it to its ultimate perfection.
He must, finally, drink it.”
-lu yu

62

taking tea
drool loosened the door and
split into view. he amount
ed to a creature dazzled by
light was small and trying
more. drool he splintered
into the cracking eye and
mattered in his brain he cat
ted to himself inside his
ear “wush ma haire when er
turne tha lights down bah
doon huld me ta ma wurd” it
mattered more again and again.
due to twin feet maybe par
don or preserve a small place.

“““““““““““
the act of
taking tea
one sitting
in the micro
cosm
a muscle
or two
twitch &
a few words

dear aisle;

said taking tea

I still havent gotten over
the blackened ambition of
history the urge is even
stronger to commit myself
lonely into the secret
society of letters but
how further could us go
before left weeping the
side of the river. must
I always settle for the
continual fusing to the
larger molecule.

on the white

querencia, drool

63

birch stump
sort of by
the stream
called weeds
by the dam

““““““““““““““““

Samsara Conger ies
drool (
somewhere the world ushered a quiet
candle thru the pines a small man
humbled of back and sleeping stocking
cocked over part the heads the leading
——
I follow cuz I know the way to the
cloister so poorly
——
put a stone in my shoe and I musnt
even step to relieve the pressure
——
I limp accordingly yet know as little
of any passion other than those Ive
been given
——
chilled by the clever and the shrewd
each new fancy repeats itself
——
never more the larger thing at the top
of the brain since then lookt away com
passioned...

64

taking tea
“according to the Vodova, the past is contemporary”
-ishmael reed
river is lure gained more on itself
the the the tea-heads sit still
stump some where else
& black gills underneath
palm
held out
sweated in
lieu of
unrest any
gagged word
clears the air
some pollen
maps the
extending hand
a line a line
sympathetic green
anticipates
double virtually
some place else in drool’s head

65

this
line
its

as a
wet line
knots
easily
Book 3

as a wet line knots easily

BY.

LINE.

A DECATHALON.
which way goes in.
in a forehead creasing.
thinker aloft in movement
against time more than art.

all the children
do before they
ask so they color
before they speak smartly. everything
began in its infancy.
the

child corrupts the artist.
a derangement complete in itself.
& better than cleaving
the apple to find no seed
inside. Tafadhal helped himself.
the browned & roughened pigment
of his
breast. aureole of the suckling
word.

she walked by & was distracted
his breast a tight eye.
she disposed of her
preoccupation with
formality. Tafadhal
was grafted with joy.

invitational.

he smiled widely. how
widely a belief can
spread short of culting

83

Samsara Conger ies
the temperate minds
of the fugitive culture.
the street pocked with
jays & black squirrels
Tafadhal recalled
a dawn before a
bohemian guitar player to pick
blues & rhetorically summon
the sun with half-eaten pineapple
in hand. earlier that morning.
she walked by repeatedly in his mind.
her footsteps countless heartthrobbings.
the sun rose this morn
ing. the street where it had been
yesterday.
gone was the traffic the birds & the squirrels the bohemian
guitar player.
the distortion begins
when the child is badgered to
imitate our language.
Tafadhal was complete.
this morning
he will cat out the front door &
coax a child to reveal lastnights dream.

the black robe snugs
his lithe dancer body.
the sun unfolds.
a drama.

steady.

Tafadhal is here & containing everything
imagined.

84

as a wet line knots easily

OVERHAND

NAILhandHAMMERseparateNAIL IN A TREE
handplayingwomans
HAMMER LEANED AGAINST A CEDAR SHINGLEsparechangeSO CLOSE
THE WINDOW
IS ART
voyeurfadDANCER ISADORA DUNCANdoublesthestomach
DANGEROUSDAGGER
SOUND
dancer couples
2 hands
NAIL HAMMERED BENT

BENT NAILstreetTOOMANYPEOPLEragpickers
MANY RAGPICKERS
COME HOME ONLY
NO HOME CAMP
house with nails sticking out
BETTER THAN
ISADORA DUNCANarches jumpingwell
twoMEN
PLAYMANY
FEMALEINSTRUMENTS
only what woman pianos flutes & synthesizers
a female note feminine in muse in rhythm & vibration
in taste & departure

ORALBELLFIRSTFOUND

85

Samsara Conger ies
IN SOME RICH DISTRICT OF
COMMUNITY
actioned on the
gallows ISADORA DUNCAN
nervous
driving a
car
tirepuncturesa
tackpopperflat
hammerslappingcedar
HOWMANYDANCERSCHANGEAFLATTIMEWHILEISADORADUNCANWAITS
taxi drops
off etudes
musicallyfinished
ANERVOUSDECLINEOFWORDSRICHLYILLUSTRATED
NOT a thing
PUMPINGsummer

86

cant
book Four

CANT
why am I so
uncomfortab
le here / I
say slang /
why dont yo
u tell me I
m so uncomf
ortable her
e
then tell me how to
say my name how do
I say my name I mea
n really five me a
chance to sit down
& write he raged /
he out cried even t
he quickest most su
re disposed manner
of writing he one
too much to reall
y complete a thou
ght I mean / he’
d mean real commu
nication is that
which even a quic
kest most directe
d velocity cannot
reach the center
o say the praying
mad
t o t e m
literati who that
there is by one o
f that name an ev

135

Samsara Conger ies
ice.
shocks
the air
wave

en song of mixing
verbs words man t
o the intent yet
flagging slight i
ntuition opening
of why the laylong
est & the
field a rose
that the lily
spiced a sur
vival of the
innocent sha
dow sights
freely rapun
zel let down
your golden
hair am I darker

t h a t

//////
wAvEs
WaVeS
wAvEs
WaVeS
wAvEs

//////

f l y i n g

wAvEs
WaVeS
wAvEs
WaVeS
wAvEs

prob;
ably begun
from the
cold shore

?breaker.
wake
the silence.
rules the.
lake clear.
of waves.
crestfire.

136

CANT
templetongue.
skin the.
tongueripe.
kiss/ing
wakeup seem?ing
a place for
scenery 2 hands
man the woman
that weave of
each ing own
surface whose
lying
the bottom
once the wild
duck flies
back
wards un
ravels
from there
you strand
that fly
ing that
‘love from
far away’
“swing
the day
loose
“frost
light
:soar the
agéd
strength
face thru
& face
ing the
front, tri
umph

137

Body of
Laws:
Refrains from
Book Five

Body of Laws—Refrains from

R e f r a i n 1
Rafters of a roof
Dial of time
Storms undressed for bed
Late strangers have enough trouble
Welcome to spare

& reserve rare speeches

Having little flesh out of water a torpedo ends speech
Liberal stint
Bareness
Fair cut of meat
Small minerals somewhat lusterous
The great dash
Sprinkle words in your diet with hot water
Hence a thrust
boxing
against my stomach
A spray of match seldom sleeps
Brewing a wordy dispute
Also uncertain
relationships
Stem-word

is

the

base

of

action

A bar to leave unharmed
A sparrow allowed to escape a sparrow hawk
161

Samsara Conger ies
Shut-up from some task
& gently save fear
Cocks visiting sin
Due to the feet
maybe pardon or preserve a small place
Practice from fire motions of attack
Remove burning Body in the arms
One disputes words
Hard body on
Another young cock
The beasts are grown
My lady immediate
A small fix
Atom of universe rattling
Consuming the vital trace
Store us a small headless
Will his
Spark
adversary
Ruby parsimmons
spare
Diamonds
my beard
& heels of boots
Passive debris left unused
Again you will
not retrace any
portion of the
Some mineral or other cloth of light
day he hoped in
some way to close
Full electric bandage used with restraint with a spark out
of his eyes
Asparagus at a short distance apart now rare
Only wanted oneself to reserve in ones throat
a constant thirst for some friendship
162

Body of Laws—Refrains from
A spare
room set apart This blue stone filled
with copper
beneath oars knocking down the ocean

Leaving unhurt
yet in trouble
harmed left alone
without inconvenience
he remained quiet

The score
to save genius Sentimental diamonds arresting
sparks
cut them on any nature They spent &
liquor at
some time had a use—tongue
& pen Next
rose a woman
not in trouble
with a young
man Lover
an emergency
sent experience
Lonely lands
cause your grinning A very woman
& now a word I was given away

163

Argot
Contents
“I do not believe in education.
Your only model to be
yourself, how frightful that
model may be.”
—Albert Einstein

Book Six

Argot Contents
Period. Attention he was clear. Running pockerfaced & tight to
caution. By way here first & some smooth chain of thots proven
real that are gone. Detention came first. The increments
of image saga. Until one found, by the way darkness is
remote. Cause of liaison. Not that her. & wet & wet. But the
cadaverous art the writingll work out into. “I’m not one older
he is the other.” We’ve between us this Caucasian complexion.
Take it out on me for the longest hair. Honor image her. Take
for now. The longest ruining single memory came back to me
before I can recall the past. Memory that in the happening
molecule of dialect takes the place of sentence (way of thinking.
The nightrain out reaches the caustic sun down holiness. If’n
we compete for the decorum the arrangement of obstacles in
speech: there he can change. Not action & shadow juice. The
creation of source of light. He shakes off the outer clothes.
She justifies his nudity. Tassel hair mound & tongue. (The
depleted sound) quoting the alchemists for their science. In the
air of the chin the syllable of the known universe. He abstracts
the whole of it. Quite by chance a river arranges the restless
city town alcove community. If you hear it right. Something’s
steeped in rigmarole knit too fascinating, he works into a
fuzz the cheapening budding miserable alone. All too he &
she. Sun time warbling prism & he for his body drone walking
too fast the thots. Boot in line that the side walk analogues
the tempting evacuation from the losing energies. He & she
positioned for the retrieval of the sun the moon & the earth of
sex.... Not a possession but the resuscitating fixture in mind
& body concurs with the instinct. He & she runs off into the
vapor of america. Abstract words & all a multi-dimensional
literal experience. In dealing with opportunity the controlling
enigma exerts least or so they say. Practice the scent. Brother.
Games to speed thru. Rush I explain. Each shape barks nasty,
together how I winter the competing climate. Overnight brother
to sleep home with me here. Brother quite your speed. An oak
kitsch slums. He all at one we sing nicely. Route by the river
elms are popularly river of embankment & hometown park.
How never once too sure. A gaming family chain & lunch on
the counter I’ve this once to deign eat. You hunger or money
by thrift catches the bus for women first. Male net. The telling

217

Samsara Conger ies
difficulty he says for her to have been light. Conjure finally. I
meant for that I feign my reach. Talc between your fingers & I’m
the one you touch. Fingertiplight & the piano soars. Knock &
drift. About the layers of soil & loam. I can crawl thru to meet
once I’ve redeemed by physique. I cater to my skull that she
tells me by now she goes thru all this before. Take any window
light remembers. Name. For closing in the language tape leader.
Rats scrub the flesh away. Should I make small my indecision
my longing I crate up all my tricks & firm enough to once more a
completion understated & shrugging. Topaz in the ring of your
choice & much hinges upon resolution upon a discrete belonging.
A corridor of trees blackened--she flees the one way the rudder
of anima depends. Affix on end. Knock & feather cast luck in
time with circadian rhythm the animals of our delight match &
bleed. The wildernessed library I range to find the pliant book
or not. Trade the sensing memory, to mind I lease the acts the
shelflife. Into mind a way. Without the induction mannerly I frill &
spend each repeating sound & without track indeed the soft inside
diamondness. Gone all wrong lips.
gawk aloof printtough
people dissolve
I’m already happening
Beyond type. Any cross of things. Is there. Now specifically a total
at all. How many rungs to the ladder. Brainjazz women. Each
remnant postpones inclusion. There by itself. Deft to those who
sang before. The folk of the disjointed undertaking. Slow up to
the exclusion of all else begins to hormone. If at all I include you.
He never minds. A topical affront. Sexing the invention of eyes.
To & flee. He has all the trappings of a madness & I in agreement.
White thread beam. She are plenty. In that many. I meant before.
All come home all come home. Mend one mend at all. Income.
Traggy Fineleaf. The special blend of time spent can be only
occasioned by belief. If he could exaggerate the bynowweary life n
style he would condone a river. By the river into the seams of the
city & wood ducks & gullflight allude. James Joyce is the species
alone & from Dublin to Paris is someways literary & words are not
to that purpose as confirmed. Blazon to dull she & he stomach.

218

Argot Contents
Raiding forecasting the swing o things. & in madrigal surely the
pantaloons are noticed. Left wide-open hopping. A wooden house
concrete sidewalk & some furniture next to the instruments. Dab
the sorely needed eye with fist of palm anxious to paint out putoff by the imaginary English. Actual to footnote sensation by relief
& in this instance that allows some distance toward the blending
distractions. Necessarily abstract & moderately incomed he has
not obtained a seat as sinecure. Rewrite me more. Little by.
Lower case alphabet managed by ear alone. If he recalls bathing
clean if. A longlineofwordsinline. Solid plants retired in cold
with by now brown excessive leaves. Hostage. I’m taken thru by
someone else. My next is legal don’t random looks into a faraway
voice. I hurt leaflessly. Rank & full to bright words I am taken. In
& out. Ripe set time. Garden fresh ink. Comma intention. The
passion she chopped, the hand warmed the tongue blue wing.
A sort meant. Density rings. The garden of our undoing. He
now that the panama hat is secured against the wind, tucks the
newspaper in the crook of his elbow. What gone medium. In
alarming hour. Her earshot away the hands of her diction link the
carnal momentum. I proceed with the length of the sun. Intimate
stone jars like coughing clouds just to play it safe. I swam thru
the early world. Too many episodes in contention. She is lenient
& the fibrous maps are my model. I spell bind the first surprising
lines that carpet the floor each segment black the find. Her cords
of want found little enough to play with. Was my hair this long.
Blond or straight to the curl. The wise are hiding & will not come
out. Extortion eyes. Fright & familiar living books come together.
Alight on & run the blushing field. Wrong tossed line & blue
shades of armlegsheads caterpillared. Thru an ordinary sweating
hair I’ve cast & doubled fingers. Lean & behold the minister of
voice & heighten quest too many. Run thru the art uptight. Keep
lingering I know then. Top of the word this restraint isn’t mine the
couple kindred at all. Tone wise censor she tenders. How ell is
long. Concerning names of those outlived by now are engraved.
Ancestor. Wall road wing & space between. Hot ink & the impulse
electronic language. The start meant hung up on the test & fiction.
Rundown. Monger cigarette smokerings. Music touchling for the
youths of thrill. Red topping the enormous halo. I figure. She rut.
Teeth for pearly before morning can rise. The book is large & long

219

Knowledge
Swirling
Man Tell
Slow
Stories
Book Seven

K n o w l e d g e S w i r l i n g M a n Te l l S l o w S t o r i e s

LIKE MUSIC AGAINST DREAM
The visual-verbal interface a target per se delivery of perception.
Collusions between all elementals, impartial sensing alphabet, symbols
& images as interchangeable. The depth of affection counter to the
obscurity / coded. Exposure as common, the districts of apprehension
in a mechanized perception, should they give rise to understanding,
depend on sensate imagination, conditioned as it is, or which truth
within our subjectivity do we trust, a choice once recorded as a
decision, & understanding becomes a function of bias.
Once our attention returns to the page, a new art becomes betrayed
following recognition / identification, that really familiarity replaces
reactions.
I am encountering unexpected sequence. A page after page
turning coinciding with retentive effort. In the course of a lifetime a
commonality of experience arranges understanding.

THE ACTS THE SHELFLIFE
The fortune of seeing, of the non-idiomatic, is probably a species away
from becoming the condition, our state now minutely distracted by
media / media & the experience of our selfsame art is unconscious.
Should the design of being change, the capacity for a truer rendering of
non-idiomatic art is elevations above the posing which informs much of
the recent experimental interpretation.
23 may 84

265

Samsara Conger ies

Neo-Iconography
The Madagascar Event
A man identified by
his mementos, we get
outside music, on course
regularly pursued by
preternaturalist––aside
from the rigor of decision,
interactive decay among
all cells of investigation
until the question disappears
inside all of our heads
are long sustained notes
and surplus of people
waiting in line––music
is not indefinite combination
––uptoward and again the
first place to look for
lost
Regain the world in
The last rememory. Or
They ordained impossible
Language as transmission
& mind over thinking
and we are bombs inside
a ticking lack of
bubbles soak the
dramas, and are your
notions at the worked
boundaries, overlooking
transparent and angles
of villages buried in
rays and concert lights

266

K n o w l e d g e S w i r l i n g M a n Te l l S l o w S t o r i e s
at the bottom of a
moveable valley. we
in science backed out of
the laboratory into bootfuls
of mud. California
is raining everyday in
ritual time. kept in
bags next to a river. Set
and numbered distinct dragging
head arced under radio
of an axle computer
is changled, thereby resolved
a cringing man in an ordinary
car behavior is lagging therapy
used loosely he savored
an abandoned country will
suffer his death he
filmed over & over
by the authorities was
not the last time an
oddly remembered fugue
I stood at a part from
sureness of drone in a
cubit of indecision and the
manner of speaking thusly
indicated. There is no great
manner matter ever replaces.
up rhythmic so-called tally
of many heads in
a soaking barrel and
hazy winter recalls
of decent old ladies
bricking up the front
of a labored house. He
little Tibetan foretold
ending is in place of
growth mental jazz and
ancient spirituality renewed

267

Samsara Conger ies
with spasm of fetishness,
barren insistent soul that
old ladies lying shallow
in a piano death bed
should hum and plagiarize
continental tunes, rehearse
her face and expressions
for the decaying relatives
there isn’t a single
trainstop that will
satisfactorily leave you
and the homeland, querencia,
whistles & bells lapping
up silence, another tall
building collapses onto
a cartoon of eggs left
on the sidewalk. an earth
quake in 1908 left sizeable
damage in the equatorial
lost cities. voyages there
were delirious, missionary,
and bodies lying
pinned under stacks
of collapsed villas. a
lava shoots and flutes
the cracks and opening
of their piled bodies.
heat swells and pyramids
break from the earth
and culture ridden
from stress on from passed
on portrayal. we who
learned the crammed
sky is responsible, makes
me I am lone
in madness this very
confession missionary

268

K n o w l e d g e S w i r l i n g M a n Te l l S l o w S t o r i e s
stone piles next pathway
with many unblazed
directions accounting for
possible decisions.
10 ways I’ve heard
every sensation buildup
and make molecule
arrangement obvious
square of activity.
performer involved
surrounded by ordinary
assertion and holding
patterns ciphered.
faction to sensing
amazements people so
they cluster around
and frozen cliffhanger
god and they what
jumps out of the sky
into the mouth of variables
or districts / partials /
sounded in act up and
disappear before any
evolution and planet
get mucked up under
hideous flora and
personalities from antic
Greek theatre stood barely
in rows and configurations..
they who knows what saying
ingrate they gander ahead
of. sitting in the flaming
bleacher are childlike amazons
craving each other.
aside for habitual human
touching the martial distress
ing attention distracts from
the play taking place

269

Samsara Conger ies
amphitheatre. navigation
occultly amoral travel,
below the tiny village
under overhung forest
and nightmarish midnight
howling I am a journeyman.
one who beguiled and
attacked by wintery
transfusion, live and
live out the claim.
characterized by adulthood
or parents surrounding their
adoption, sexual metaphor
the peopling children, &
so many once lost in
the sucking night, a gaining
a little bit about rocks
rocks landscape slippery
music. hold down for
repair advancing and
this is a being the danced
and the changements—
and finally there is the
notion of intelligence as
proceeding from the guises
back of material planet.
about some thousand years
have in manner passed by
the thipple speech those
crazed to transmission. bits
play a heredity. my eyes
trans/delinquent exposure
and click click off the
footage in a time when
everyone watches. watches
for the time against the
motion of people story after

270

K n o w l e d g e S w i r l i n g M a n Te l l S l o w S t o r i e s
story nodding to oncoming
slowman. ––a return
to a minority impulse they
stave before this appetite, minds
are transferred and
imposed on blasphemy
intoxicant they cause
celebration onfront
of drunken misnamed conflagration overheard ahead
some many speakers are
agreeable living living
square. and a stature
of conquered over
dragons, over dragons
they are so said speaker
but the ways for plunge
into ocean and curled
away hair, distaste
outfront of the thang
concert, the bend of his
skull was proposed for
visual affliction, daily
intercourse of learning,
part two is somewhat different,
and what organized
saying gets interruption
and should there be
an other way.
social head gestures are
in a lack the pushed
against wall retaining
a valuable information
rolling in the diversity.

271

L=I=N=G=L=A=G=E
Book Nine

Samsara Conger ies

THE CAVE CHILDREN OF NEW YORK ARE NEVER FREE
A dime is no longer than the air of misery the day of yearning forgot.
Who twisted when mounting all ages of wobbling. Hurry border. Hurray
fits sat. Avenue child anagram. Who alerted taxi is the criminal of media
of fight of knife a document. Sense tense, cent tense.

352

L=I=N=G=L=A=G=E

THE CAVE CHILDREN OF NEW YORK ARE NEVER FREE
I had six of that many. Under the newspaper delivery the door slipped like
an ominous doorbell. Stake lock of who should come. E not satisfying
by why show that matters. A done the first new year in platters a shelf
of fingertips destroy destroy. Outer wear, terrain came, a plausible, din’t
he bite trigger, narrow lames of beautify them. As if it shall comment.
Dont? Tariff protrudes almost twice the cracking. Book of Of. Every
shelf in every dream bat. Only too long the vamber’s locked grooves
undulate triumph after footloose furry fury. I bang enough impressions
thought total like traps. No deloraloriolius. A cute as fire four fickle
fingers blunt & mute.

353

Samsara Conger ies

THE CAVE CHILDREN OF NEW YORK ARE NEVER FREE
Ask a dispute the derivation conjugal. Nax of powerful tankas, ok
brethren, navally. Deed or something like other than availability. A
hundred & an estimate equals an astral length a-ma-bob, if you comp?
Laid a fair enough away worth is esteem. Notch of agreement as if
tandem in quadruple. Stationary Amsterdam swile the many jersied
gamut as if the geomorph studied late for once. Checking up on
occupations damned the noble. The church isn’t. But stood in line to
exchange bread for chromatics. She rang “lay-lay” arenas after I’d already
arrived extant. The last book suffered. Stood in lamb for watery game.
Like the mouth likes. Ain’t avenue from the right the first on the left?
Looking at the windows—

354

NO
MOON,
DANTE
BooK ten

Samsara Conger ies

Against Dreams
A Noise Opera
they fly thieves handwound round edge
system stuck in a hask str ay writing
ear this hur ricane
fogs or
bent hunted finger
caution
for cantata
god tooth but seen
hunch play by leg
to tenth house
splinter lodged tor que
blay for act
sculpture groan
naggle
leaving
waste
toucan
deliver y pear led words
IQ r ant believe dolls
br ackish r ainwater
taunt 2 legged couch for
between letter stanchion
spike kind elbow complaint
sketch prose found of divy
tump digger
Im faction
he growl
& continue
thumping in docent tandem
layer burial enter device
apt loader conlingual

five occasions pr y opting
scener y
bald wise

384

No Moon, Dante
sensitivity homage
split atwixt chiaroscuro
automobile atelier tr ade
blackening bird walked
levitation
sedate bylines
foreplay
I & they
it too told
helter financial greener y
medieval polygamy tur ntable
variety altitude
helix tubular anxious
vascular coaxing all plane
flinted fusiar y lame deems
vowels recuper ate dental
homing
fix fowl tomb
was touch binding
awaver recall loquent
& touch one after
r acket tr ansplant
per turbance
once fire on tantric
heir loom washed dagger
yet foothold
to gaul
island high licks ter mination
focus rousing
splume should lag Fr ance
minute
agit action

385

Samsara Conger ies

FUEL ATONAL QUALM
augment along tor ture
too heat plaza
wear y or phan
a
glit
Tanguy cloak
throne it of gar ret
wagging stronghold
thema recluse
solve zing detail
woken heretics
layering wisely
air st faction
blowing

CONSERVATIVE WORKER, SOLIDIFIES
“The wrecking crew in trenchent
landcalls. A wor thless r atter
rose from too tight direction of
a wor kless nature & told to deny.”

WOMAN CLIMBING ROCKS, BEFORE HER DEATH
“Not to think twice, & each occasion to
probe sensate explor ation, & that portr ait could fit into a word. Eion, hot
in female body appear s in time of commencement, the ver y waking super na worded
contention spelt out of being, that long
ways force a hyacinth to quake upon entr ance of preter natur al. What one says the
other under stands.”

386

MORES
Book Eleven

MORES
THERE IS MORE THAN
ONE DANGER WE HAVE
TRANSCENDED
ATLAS
FIRING PINS
THE PLACEBO
INSTINCTUAL ANALYSIS
BY PREDETERMINED
I’M THERE ALOOF
THE GANGPLANK
IF NOT TOOTHY GRIN
THE MAGNET’S ISM
FORECLOSURE

425

Samsara Conger ies
I EARLY ON
BY RING ONTOLOGICAL
HEARING NAIRLY A GRIN
TOOTH MATTER
TOOTH

& LILT
TEAR A MINE
GONDOLA PRACTICE
FIXTURE ONLY OCCUR
IN MAGIC SIZE SEANCE
WOOL OVER ORPHIC
EYES, LATER
A WHIPLASH VARIETY
CAN OFF
CAN IN
THERE IS
CAN ENTER
CAN THERE
PERMANENT
THEORY RIVAL
KIN OFFAL
THE GRIN
RECITE
REPETITION
ENTER THERE
INTO IN
OF ACES
BARGAIN

426

MORES
FEEL THRU THE SEAL SKIN
COLOR A PRANK FOR SLAVE
OF TASSEL BRIGIT, BANK ON
SEVE RAL BASE OF SPINE
BY THE STOP TO GRIN
YOU HEAR EXTRA FIDELITY
NON-INTERRUPTAL THAM
GASM NEVER HER SQUEALING
STRIDE OR IF RELEASE
AUTOMATION THE GANG
OF SITUATION, BY BANKS
OF HAD THOUGH, DANGER
CANCELS PLURALITUDES
TAKE AWAY ONE FACTION
GYNAL TERM THE
LEGS OF DESIRE BLED
REALM
THE DUTY BOSS LITERAL

427

the
missing
text of
the lost
tower
Book Eleven

Samsara Conger ies

M

ost characters compromised
by flinching. He stood to write.
A test of coherence administered
as if particulate matter
collided. In green is blue.
And the way of seeing divined
by the irregular strokes of
cuneiform. Periodic doses
revealed the repository of
altered ideas. How many
languages are available
& why the disparity between
idiom & the forecastable
future. Never wobbly, the
foundation settled into the
landscape. Bird tracks
began the communication
routine. If recorded prehistory
immobilized modernity &
stepped out of line. I have
heard all of this before. A
book located in a ready-made
symbol, identified by a bibliography
of waking no more than one
anagram puzzled the remaining
civilization. Talk around but not
inside. The subject he wore
was a thread-bare suitcase.
The complaint rain paper
into a harlot garden. Tho invisible,
walls were erected as mnemonic
devices by decree of the
commune. Writing survived the
character by virtue of predatory
458

the missing text of the lost tower
extinction. In the center of
the book was the eye of the
hurricane. The paraphrase.
Certain fleeting symbols held as
vocation separated by an apparatus of
misconduct. Some aspects of the
interglacial have come full circle.

T

he sentence bequests an
extraordinary truth, tho failure
to arouse habitats of instinct is
crucial to the life of the character.
A remedy for hairline instability
was discovered in the pocket
of the mustard appointee
working for a change. Bottles
siphoned a cackling
liquid into a much discussed
effluvium. Negative imagination
played a hand in disorganizing
the rhythm of the obvious. No
more than one entity could
recite Finnegan’s Wake from
racial memory. Looking down,
earthward, skeletons of hands
with 2 thumbs, prying
open geodes, unearthed but
weathered. A bard & an echo.
His eyes neglected the act
of writing the character
at home in its text. Whodunnit
alone. Maybe the length of
459

BABBAL

LY

The Destruction of Mindfuck Diplomacy

Book Thirteen

Samsara Conger ies
Heir Approach Convincement
Ouchless capers escape
suite may contaminate
the vapor god broken ink
novice flasper -13 by
organ-planting pockets or
edges for gastoid bridal
contusionistic intraplay as
briar nags make do table
squatter’s breakfast aptly
napkin jam sequence &
war of coddling neighbor
mindfuck diplomacy
as if broadcast poking
open maxtle -12 event
structure on the morrow
suggest that her’s all
knowing will minorly
interfere with a hodgepodge mouses share of
knowbility pledges as
if that wont replace
the mirthless wander’s
backward dream & the
class of noise known
as powerful struggle
amplitude has hanker
spirit chloroformation
moniker spillage
what little if anything
continuous vaudeville
aperture wobbles therily
& so told bawd jibe gangster
philantrophies the burning
decade or approximate to
-13 Integrity of the mirror language, not only in practice but in the continuational
idealogue.
-12 Daggar-breath anti-truth, known to sterilize the vacancy in correspondency.

464

Babbally; The Destruction of Mindfuck Diplomacy
wanton or dismal
chasers cant refuse
for sinister more damage
diegn appraisal outa
bitch gadgets
ever under quaker pay tubes
thence Babbally walls
characterness plagent
bytastine oldgest badzwut
eggid twab odo -11

An Edge Mountain Picture
instinct
could have more to do with a careless
desire to contribute possibilities
& mount an exactness as time
would have it or taxis to nowhere
might deliver
particles spleen removal
a rejenatrant less caustic
than denial
mucous plugs capital frenzy
by gains or houses
rankle merit supposit
a Ka dinkie quavers
forgotten uncles ancient
horticulture waveforms
you gas or breed belief
anyway so shape of wedge
minus the libretto of charmsy
8 told others bus Ka novel spins
dainty holder for letter-forms
& pageant copter guesster
ways over islands under
computational
-11 This one would be best to memorize as it is the cadence of questioning, of
recalling the rhythm closest to the expectation of assumptions & positivities.

465

Samsara Conger ies
a hold on wreathes stumble
like cockle yes gender no
but I use gorebid theoroid
a way form of alphabets
natty calm baking westerly
bottle woo too bade survival
along side of
underneath tore cad off
insects of queezy
most of robes had
wedge border tips
look for sky where
optical dichotomy resorts loss
Babbally node Ka -10 pluck tremor
dot edselish look 2 ways
score trattle beaver coupons on road
edge tapers back to New York
ho chin men stood tall
for there is no path
quest ionosphere
prattle indifference until
loops terrible gawkle
names a worrisome successor
cove would lay solitude
a steering had taken place
loads stood on end
eye told brooder that yes
happened no
all told chabs
easy dock mortal dupes bugle sweeper
unknown query snare sharp bobble snack
a 2 told all when have
ball known wed blade old had
near gave realm label gorge
in lieu 2 mad yester second
a sheet stuck a quaver melted
the town broken Babbally snuck
-10 Nar nobody attempted this duality without first ridding themselves of all remembered
speech. The trick has always been to concentrate on your breathing until the spell of
disintention could rabble the swack of nowage.

466

truth
squeal
vacuum
Book Fourteen

truth squeal vacuum
cybele introduces jouissance as a formiddable concept

———————————————————
“never apologize, never explain”
No flesh, only internet tactilespeech for Desire. Limbs & orifices,
just conveniences for the relocation of passion. Desire is waiting
in the chatroom for you, hands behind back, humming or skipping
to a catchy song with no hooks. No one who comes in the chatroom
will talk to Desire because they are afraid to confront what they
confine inside. There was somebody once, but she was a goddess,
like Cybele should be, if we remembered her with new stories &
bloodless awe. Desire does not like ICQ because everyday many
men write asking do you want to fuck, but the internet is not for
fucking, it is for the way language lays closely beside you when you
are alone, deeply desiring Desire.
Monsieur Desire, it’s a piece of wishful thinking
to desire, to wish, to want,
to long, to yearn, to sigh, to crave, to be eager,
to be anxious for, to want very much, to desire eagerly,
to desire to wish to do, to be desirous of doing,
to wish for, to be done, it is desirable that,
I wish I were, I should like to be, I want you to speak,
much to be desired, to have nothing left to wish for, what
would you like? what do you want of me? to make oneself wanted.
what can I show you, sir?
Desire Desire, ICQ #45422642
When the war is over I will be available. Probably you will not
contact me, because my fingers are too stiff from hiding the war
journals in the sheets of the other man’s fiction. Trumpets when
called for call. It isn’t conflict without managing a bite behind the
neck of her surrendered hiatus. A bite around the neck-neck, minus
the text left, unreconstructed, minute & aplexy—typo shimmering
devices of translation. Babelfish is my avatar romp. Come to the
war & speak forth the ear trumpet. “Cough” your synlexic suprise.
The war is turning. Rattlecoat Brigade, snookered in a hollow
hill in yonder wisconsin underground railroad, 1864. West Lima,
Wisconsin nearby.

491

Samsara Conger ies
misha sprocket, ptomaine@libido.infect
Of course this is the story we know so well, how the characters
interact as if they know each other, as if the subtext is a
semiotician’s nightmare, barely unraveled in the dicotomy of
notions & nomenclature. Without characters no one will breath
or make exceptions for the ponderous density of the
downloads. While once & for all linguistic madness is not a cute
name for an honorary pasta, or for the charlatans of the early
20th century masterminding modernism’s closure. “I ask you, as
a character embedded in this know-it-all text to pray with
alphabet structure & gematria equations, but only late at night
when cyberspace beckons your undoing.”
A. Sally Forth, gideonspellcheck@trace.org
HI~I AM SALLY~GIVE ME A BREAK~LOVE IS FOR SOMEONE
ELSE~WHY DOES THAT SOMEONE HAVE TO BE YOU?~AFTER
ALL THE TROUBLE YOU GOT ME IN~LITTLE STORIES THAT
ARE JUST BEGINNING~I’M SO FRESH THE PUNCTURES HAVE
HEALED QUICKLY~OPTION CHARACTERS ARE NOW THE WAY
TO WRITE MY EXIT.
Louise Pubescent,
Where are the men in the narrative, what is all of this femalia,
journals of the she & the she & the she. My friends are standing
nearby, waiting for the men to arrive so they can kiss them
when the war is over, to thank them in this lackluster dimly lit
bar, hoisting stout after stout to those who died & those who
ran away & those who sell love short when war will do. Someone
s arguing outside the window, I must go & see what they want.

492

truth squeal vacuum
& that noun awoke biome the master
———————————————

Cybele, panshaman@hotmail.com
Cybele screams for retreat—the longest day in virtual space never
ends, one day for all her memories—one datacluster for his anxious
intercourse—the lips sealed around wilderness might be sucking
the fantastic from the approximate. “YOU LAND THERE!” with no
body & a gender to boot. whose desire when the backstreets are
filled with academic junkies longing for a creative thot. “NO, NO,
NO” noun case & a blackened sunday when the tastes leave the
mouth before the food is eaten. “I WOULD LOVE YOU CYBELE” the
chorus of clearcutters rhymes while the biome disintegrates.
above & swore, a fortune garden
beach cove & door, a tight surf
war dove & messenger pigeon
tangle conflict announcing the
perfect textonomy
Avatar Mundi, wilderness@threshold.of.disappearance
Even tho Cybele has grafted herself to the story of LOVEANDWAR
she cannot add herself to the cast of characters on the contents
pages. She will always be marginalized & forgotten, just as her
priests in the pits, blood of centuries & fertilities raining on them,
washing them away without an omen.
Cybele-mon, cybele’s multiverse garden / linguaMOO
Humanity has left me behind because their blood is newer & spilled
with less cause. The priests of renewal are now car salesmen in
Akron, OH, but they are slippery now & will not give you the deal
they make you believe. Her ocean is washing over me, agitated like
war or dread anxiety. There must be others in this story who we are
forgetting, I have seen them pressing the submit button but they
never appear on their own, only their writers take credit for their
appearance when it is this noble cast that elaborates the theatre.
Torment is never conditional for those who are not spared.

493

Related Interests