Tuesday, July 7, 2015


beauty and the beast
in every molecule and atom
renaldo and clara round the world
in a dirty gondola
obsidian brown or mineral coca cola
oh why do these long pale sheets of cloudy mica
stack between the angular wires
where the sleep grouse pouty
and the chattter fire swallows
through shredding cloud keys
then sweetly whisper and drift on through the day
kemet km.t comet chem trail kempt
cometh key met came at coo ma'at
in a white jumper and white helmet
and white rocket pack with forearm rests and handgrips
floating gracefully through rocky valleys to the music of mahler
and gliding over hillock and outcrop
Hern O'hirn to Das Narrenvolk:

In 1954, Radovan Ivšić finally managed to escape Zagreb and
emigrated to Paris in 1954 at the age of 33. Within a few days
of his arrival he met surrealist poet Benjamin Péret and, a short time later,
André Breton. The latter, impressed by his reading of King Gordogan,
which he described as a peerless work, “limned with the dew of
primal innocence,” quickly invited Ivšić to join the daily meetings
of the French surrealist group that were then held at the café Le Musset.
From this time to the formal dissolution of the group in 1969,
Ivšić was prominently figured in all its activities.
While his texts and photographs appeared in all their publications,
he was also known for his work for sound.
The sound system that he installed in the gallery
that housed the international surrealist exhibition of
1959 on Eros created a stir for its unprecedented use
of the sounds of lovemaking.

beauty and the beast
in every molecule and atom
renaldo and clara round the world
in a dirty gondola
do what you will with a vertical hyphen
the vampire paper
laid across the fat flesh neck desk
its repose lit up, neither fever nor languor, on the bed or
on the meadow.

it's the friend who's neither ardent nor weak
the beloved who's neither tormenting nor tormented
the air and the world not sought for

the luminous psychic central pillar
the thinking alabaster axle at the center of the wheel balcony of white iron lace
the curtains of emerald lace which cover the psyklopfian eye, a wheel bead
traversing a diabolical circle of peace

and the subject
an explosion of doves
whose empty spaces
form the cataracts of lost equations
laid like nictitating nymphs
in the clear gelatinous bodies of babies

oh why do these long pale
clear gelatinous bodies of babies
house nictitating nymphs
of exploding doves
in harmonic blueprints
of mediocre décor

Ajax and Xaja
round the world
in a dirty gondola
obsidian brown or mineral coca cola

to cut the line

(exit rotating stage mandala with flip-top compartments)


neither sun nor death
will still the progression and operable elementarization
of the network toward new synthesis
meaning has loosed itself from whatever deep structures
supposedly tethered it
and floats freely toward active constitution
from combinations of particles
each tendering their own character
all writing is a metaphor for synthesis
grown atop a loamish table of operable elements

golden Etnas of frizzy trembling dawns
our prison floats offshore facing the villa and its organs
which form an isthmus as mysterious as Epirus and the Peloponnesus
or as great as Japan or Arabia
temples lit up by returning processions (progressions)
and in Venice the old irrationality and the new
the ancient theater pursues its agreements and segments
its Idylls

the deus machina is widely seen on stage as a character
an erotic and dangerous puppet
which burns the hands of those who pretend
to trifle with its elegant being
the magic spectacle maneuvers
like a great amphitheater topped with silent thickets
which moves like a ship among the tawdry streets
where scientists drink in restaurants with names like
Coco's and Birds from Mystery Plays
swoop down onto masonry pontoons
neither sun nor death with still the procession

morsure de chien

the drunken dog bite begins its fester
deep in the crook of the joint of the thumb
and the only numb poem visible there
is like a flat and calloused cauliflower
which has laid itself to rest
as an abstract icon
of a puncture
for the actual wound to the dog
was the drunken master
though the master was kind

the reel has no continuity

after the flood
parade sideshow
being beauteous
in what must be the original ray
to a reason
morning of drunkenness
fragments of workers
the bridges
mystical dawn
auburn daub

when I awoke it was noon, and up the road near a laurel grove
a stone smooth rabbit
foetus her in the veils I had collected
a statuary
I felt a little her immense
stone embryo image DAWN
and the child fell to the bottom of its wooden mouth
the great stone rabbit foetus was buried
and was the entrance to a well
where the magician pulled more veils out

and would stand at the focal point
surrounded by an impermanent navel of golden tiers
festooned with silk chords, grey gewgaws,
green velvets and crystal dice

I see the foxglove opening on the carpet
of filigree eyes
I see the roses pouring from the holes
of marble letters
laid in a drunken profusion
saying nothing
or maybe

dog bite

Wednesday, July 1, 2015


who in fact saw himself on a sort of literary crusade
against decadence
when the collective
was born already into neurological decadence
born into a kind of high (or low) {gargantuan or wohlgesinnte}
Sperl or Dommayer or Volksgarten or Apollosaal  auch Freiluftlokalitäten
and when he chose Rimbaud what or who could he choose
but the fundamental or close grotesque
of the cave within a cave within a cave
a sea within a sea within a sea
for Rimbaud could tell you without theorizing much
about the hyper-sea which is (already)
the collective hominid-as-bio-literary decadence

The buttocks bear two engraved words: CLARA VENUS;
—And that whole body moves and extends its broad rump
Hideously beautiful with an ulcer on the anus.

Venus Anadyomene as the Medusa of decadent recapitulation (echo) {poem}
the boundary between the hideous and beautiful
A JOKE (yoke), a lie, an oracular thwizsitt
as here I rely on Pound to make another joke
an odd detail you’d have to see with a magnifying glass
poetic organelles
Neanderthal hybrids
and Mungo lady
the soul a wunderkammern
the world soul a grotesque machine
which in fact saw itself on a sort of literary crusade
to exhaust this hideously beautiful promise
this gyre of hyper-sea
whose blunt opening
toy of this sad eye of water
the golden current on its way
conjugal faith (fate)
a con-jugum
a together yoking
hideously beautiful
richly poor
baroquely simple
queerly narrow
succinctly ambiguous:

As from a green zinc coffin, a world’s
literature with weird heirs heavily poemaded
Emerge slowly and stupidly from an old bathtub,
or bravely, and strange
like the Mimis (memes)
from Arnhem land

our name
E man roux
red butter
Georges Méliès
a shoe-maker
visits the Egyptian Hall
in London
where he sees
John Nevil Maskelyne
stage magician
and inventor of the pay toilet

tao pen
even the end
takes wing