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1. Ils existent.

/
2. They exist only in the larger perception. /
3. Ils existent non bleu-clair mais vif et bleu ou pourpre. C'est
seulement une question de ce qui entoure autrement ils. /
4. La dialectique est un mécanisme qui nous guident./

5. Étude aussi soigneusement comme possible le processus


par lequel une réaction devient automatique. /
6. Ramenez tout à une initiale simplicité. /
7. In the majority of cases, second personalities are essentially
different, so different in fact as to compel us to accept a
different name
8. /
9. Réalisez la contrainte et l'économie. /
10. Select larva that most closely resembles the pest found in
your house or pantry. /
11. ensuite cela après ceci /
12. La satisfaction de pathologique curiosité. /
13. La texture des mots sont difficile /
14. Suspicion should rest upon the complete. /

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They do exist. They exist not pale blue but vivid

gaping mouths and blue or purple. It is only a

matter of what otherwise surrounds them. Blue

and purple charged with secrets. The low level

hum. Pale blue and gingham check is the dress

allowed for summer. Knee socks knees higher just

below the plumb line. The milk float chiming on

cobbled stones, comfortably in each others space.

My bed. My bed clearly my schooling is dimly lit.

Me. Open eyes. Mouth a drift. I get my figs

and seeded batch. When I arrive at school I see

girls running ribbon the length of the yard, and

others drawing aside the elegant howl of laughing

skirts. Is the dress allowed for summer. I am

caught in the woods with my tiny violets. Each one

a name after that after this. Almost in the shape

of Ruth. The texture of words are.

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To swallow there is an order and a shape and

sound and. A bright yellow cup on the windowsill

reveals an earwig beneath the dome. And still

broken glass fragments arrive on the urge. You

make blisters of light. You missed your cue. When

you tilt your head east we suck aniseed. Often

bare legs in the back seat. Absence has little to do

with silence. A six/ inch/ gash/ a /cross / the /

knee. The smell of lavender. Pale cotton

handkerchief starched smooth and rigid. Of

comma of ferns, more obligatory mould. Neatness

virtue your furrowed brow.

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Shift enters the dull the mischievous; their voice is

reasonable and ironic; their subjects are love, invertebrate,

the end of the world, disease and. Try to describe the chair.

To meet he is, to begin with, shy, and then becomes warm,

open and funny.

The young trees are inching through plastic sheaths.

The thicket of holly and blackthorn frames the plot.

The plot is almost bare.

On the hillside opposite, established woodland makes a


copper splash.

Try to describe the chair.

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mark black mark red mark red mark black mark brown

chair white chair orange chair red chair

brow chair why chair ore chair rare chair

buh

ruh

OW

en

why

tuh.

ch ch ch ch

Ruth has red hair

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He looks at the box. In the

winter I fall from the horrors of

the city. Attach pretty arcs in

the winter sky. Is the dress.

More flux in the air. The shoes

for dancing make sparks of the

cobble. The softness of ferns

comma comma. More binding.

In. Her. It. Syntax error. I

have yet to learn to knot. I

have not to yearn. Perhaps

she loves him. Mot is a word.

He is in her. It. A pulse. A

heartbeat. The only thing to do

in church is to observe the

elegance of embroidered stitch.

A man is reading a newspaper.

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Try to describe the chair.

These words are justified. Try

to imagine a collective

existence. We identify

birdsong. More binding

confines the issue. In the soil

beneath the mountain ash.

Discovering microscopic forms

of life. Not baking pastry. Not

pressing flowers or

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cycling to the next village. (33)7

A CIRCUIT

It is not naturally such a thing such as probability


gives in this case the line, real or imaginary,
unless of course there is no such thing as
containing a line which limits an occasion whole.
The distance around it is nothing than more than
a triangle is a line composed of all sides. A
straight thing supposes that crooked a bent and
there that is.

SALT GLAZE

exist not pale blue but vivid gaping mouths and


blue or purple. My oma, still sewing seeds in
batches. My oma on the back step. My oma on the
back step boiling ants. Still sewing seeds in
batches. A dunghill a dungheap a midden. The
summer mantle is a garment always.

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A CROWD

The letters written with ink exist beyond the


existence of letters in truth. The exception of
existence is the ink originally discharged.

Reality unfolds many uniforms. The reality of


selfsame ink in all the letters that precede
hereafter.

A procession affords conversation.

My oma on the back step.

Tobacco in the pouch

Sweeter the smell of tobacco in the pouch.

My oma on the back step.

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Fig 3. Four figures look toward camera. All

except oma tilt their heads east. A memory is

always bright. A memory is always bright the sun

on your face. Look toward camera.

It is not the point of

departure as much as the point of your being.

hear

AN INSTALLATION

As yet to be given a species or sub species or genus


or classification of mammals which is no longer
apparent supposing bats and birds and humans
represent a completely distinct group.

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CLEFT

The purest monument to the nullity of art had


shifted reality which at once had the sense to
reproduce itself. A coal or chalk first imitated man
in a yard or more of muslin. A yard or more of
muslin.

A MISTRESS

To counteract an errant condition by another


condition which is itself errant assumes

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In Tunisia a pear-shaped lute.

I look at the box. A medallion

spins in the swirling streams

of competing gusts. A crowd

of dancing men. The sound of

an urgent violin making

sparks of the cobble. Winter

blankets the ottoman. My

oma on the back step still

smoking tobacco. A memory is

always bright. A memory is

always bright the sun on your

face. A memory is always

bright the sun on your face /

close eyes against the memory.

Tunisia is a pear-shaped lute.

The view here is over roof tops

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A large screen with beveled

glass implies magnification.

The view here is over roof tops

familiar question mark

disappointment. Pale blue and

gingham check is the dress

allowed for summer. I am

discovering microscopic forms

Exits. An entomology. Of the

cartographer mapping a

terrain comma hyphen comma

The flow of blood an electronic

reversal of ions. Open

quotation Study as carefully

as possible the process by

which. Close quotation

A reaction becomes automatic.

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A feeling of effort. Remember

this. A sensation of arm telling

the word. Remember this.

Two figures. One stands

illuminated in the open

doorway. Obscured by

shadow he writes the other

supposing the self. Remember

this. An awareness of self

contingent on memory rapidly

forgetting becoming

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A LOCOMOTIVE PROCESS

Suppose a feeling of effort.

Suppose a sensation of arm telling word.

Suppose the word telling movement without

impulse.

Supposing a self.

Supposing a self naming the self.

subject: a feeling of effort

subject: a sensation of arm telling the word

subject: a melange of visual material

subject: the inertia of a retina involuntarily

observing the material describing the word

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an armour

a wave of pleasure new or fault deciphered in one removed


to forget a distant oblivion

TO SEIZE

A GASP

AND PAUSE

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She has been all day binding my texts. By definition.

By definition she is pre-disposed. More binding

confines. 1 The difference between music and philosophy Also

no-body shouted out the name of the station when

the train stopped. So I had a bed at home and

another small bed at the friend’s house in Essex

Street. My mother goes to the markets to get

remnants of material to make clothes for me. She

makes a coat of an army blanket which keeps me as

warm. She knits gloves and socks. Trees, talons,

bees, sun. 2 The difference between. My mother entered me

into it and I won first prize. Perhaps she loves him.

It is a warm late December day. I wear my visiting

dress. The view here is over roof tops. She doesn’t

know her strength, her beauty. Sitting, art, drawing

lines. Faces exploring lines from the corners of eyes,

the backs of heads, noses, trees, leaves, mutters and

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drifts. The marks at first appear A symmetrical. B

Love, which laughs and carries my lightgreen coat.

C Kohl rimmed eyes. The same I’s. The same eyes C.

Do the same eyes see. Do the same eyes see the

image. In the same way. Kohl rimmed eyes. Gaze

directly at the viewer. I laugh inappropriately.

Posture is correct. Describing the line: your gaze does

not meet my gaze.

Grandmother

Grand / mother

Gran duh mu th

Gr and moh huh

Guh

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