THE TRUE AND NATURAL ORIGIN STORY OF ABSTRACT LITERATURE.

 

Observing the Host Superschism

pluto gardenia wratchet
a'r'c' du fuzz
en fungi par is
puro es gall shed
as my snow face
floats away
taugi come enter
through the marble
itseketu wind harp mask knight
you hollow green howling
of thin girder wings ascending
the larynx possible onyx valley secret
winding corridor place at the foot
of the falls
winnebago tapir hyacinth
ignore once ignore all
add to dictionary
polypharmakos polymetis
polytroposcheime
the italian cobbler savant
Giambattista Gelli (bean weirdo)
gave a sursurra of haresnakeostrichoyster
by which we mene
the ark of fuzz
for a noah of jelly
doubting pug?
tulip dongle cortex
discovers an illuminating problematic
within the primary tropistic unity
and so as pug clock mandible teapot
disengages from the hylomorphic schema
as presented to pursue the indefinite dyad
gloat wean suckle leaf
goat horn camaro bee
vessicle ultrafiltration experiment

the american painters and the city

it was around that time that katherine came to my house to buy a bacci and was very much impressed with my two young maids whom she called my curators who helped drag enormous canvases in and out these two italian country girls acted as hostesses on mondays wednesdays and fridays the days on which my house is open to the public i usually hide on these occasions once they told me that a cubist braque had been pointed out to a group of students as a picasso i asked why didn't you correct this? they replied oh no we couldn't because it was a professor besides making my maids into curators i had also taught my two young gondoliers to be expert picture hangers but mostly they hung great tablet-like slabs of quillaia in the long meandering shower galleries where untold thousands of the other young maids and gondoliers met to bathe and watch the kinetoscope through mask like appurtenances set eye-level in the neverending mosaic of laborious residue it was there that a fine ixotta of carved brazil which was posed as an odalisque of a somewhat darker hue than the monstrous hanging slabs of quillaia would wend her way through the winding mosaic shower cinema halls on an ornamental locomotive carved of cherry wood driven by my lover raoul yes i think it was around that time that katherine came to my house to play bocce and to inspect the garden which housed the courts which had been designed by my young maids and gondoliers to reproduce the original design of abu jirab built by the orders of nyuserre ini the sixth king of the fifth dynasty of Egypt it housed the great marble chair where i loved to sunbathe in the company of my shih tzus in the towering shadow of the alabastar obelisk holding my tiny bronze baby which was also a flute made by david hare raoul like hermes was always a thief he had phenomenal agility usually it was in that marble chair subathing and surrounded by my shih tzus in sight of the bocce courts and obelisk of the little abu jirab that i would play my flutes either the stolen baby-shaped flute of david hare or the bird in space shaped flute of giacometti and sometimes calling out CREATION! CREATION! THE TREE OF CREATION! and i would often feel that like a flute i reigned as the queen of the night for every flute organizes chaos but chaos still reigns! the little tune the bird or baby refrain all the binarities of the ars nova! the binary unity! no one has ever been able to draw a clear line between the classical and the baroque between car crashes maids and gondoliers between the map and the territory code and substance comedy and tragedy knowledge and ignorance the ground itself is a ratio essendi! a little tune a bird refrain raoul humming wozzeck

NIATS

                                                        s̄ạtw̒k̄heāk̄heālavakaracadị̂dĕ
                                                      kprāṇīyakzKoovsyap̄hū̂lokk̄heāhrave
                                                      tsʹpratsyuyenemārgafooholyydalekohly
                                                      adnyymīāṇidaivīh̄ĕnunwrappednasampūrṇ
                                                      akyshechnykumeụ̄̀xskydatydĕkxụ̄̀nkārdly
                                                     azaFoootrymalytyshamulānsāṭhīserdʹsyawis̄ạ
                                            yuddēśakl̀āwk̄heāplxdp̣hạyāṇivā'īṭanāhīotrymuyutʹba
                                           hatotsilʹovyyxyū̀zhakhlyvovonykhēḷāḍūb̂ā«læanelæazmh
                                         aṇaṇyāsakooskorodaivīt̂xngi,dobrotyirobytʹxwạywaznesta
                                       bilʹnup̣hāynıthạṣ                   ̄n̒roz·hornutoyivser
                                     edynimīthạṣ̄n̒dis                       ataāhētayeyohochīw
                                     itxāṣ̄ạyvan'yakar                       ēlaāhēk̄heāpeidplx
                                      dp̣hạynamyk̆mạnc                        ıāṇiroz·hornutana
                                        mynısaṅgītadoy                       phwkxāh̄ārdoykhēḷā
                                         ḍūtyācyāhovor                        ytʹTēinshykh,thæa
                                          sārakhējōrĕw                        chyyk̄hxngyizhas̄
                                          ạtw̒tĕmvēḍāfo                       olokplēyarazhyvut
                                         ʹāhēyāvēḷīkl̀x                     ngvkl̀āwnenestabi
                                 lʹnusampaṇārāzanadtot                   hī̀provydetsʹsụ̀ng                 molekulanodlyas
                               vit,tēmeụ̄̀xreātyān̄cyā               bahu'uddēśīyadobromo                 lekulśāntaāpaṇaasē
                            lavinpĕnjēvhālokśāntabezth             ī̀xnekpras̄ngkh̒lokmis                tsinemayepaśūkradās̄ʹ
                         pĕntōkhrypkymāṇiwis̄ạyrāhatāt             aāhēvonyhrayevmyrayutʹ             ,spilʹnonıtyshaśāntatāchere
                         zinshohotĕmthæakhidngeīybdūra            dr̥ṣṭīmīyakkarkaśapurēs            ēkyshkumạnnestabilʹnunebezpec
                         hno,ēkasvata:vonypĕnmị̀svoyexe         ngh̄emụ̄xnkhuṇpeidcāṅgula            paṇālæalènchasomplxdp̣hạythī̀k
       lạwk̄hx               ngwis̄ạychạ̀wdraṣṭyāxyākdĕkdostatnʹo,4konyadūradr̥ṣṭīmị̀læamhaṇ         ūnafookook̄heāpūrṇak̄heāzvonyt
       hī̀s̄ảh̄r               ạbpĕnthī̀FOlènāṇipælkzas̄ạtw̒tyācyāhravetsʹmị̀dykyyhravetsʹjyān       ̄cējagātīlabhīṣaṇatvarynythạṣ
   ̄n̒K̄hṇavlæaann              apratsyuyer̂āyl     æatsinnymysārakh      ēijagātīladraṣṭyāxnek    pras̄ngkh̒ẁāphwkǹāfoozpĕnproh
 ravachwiṭhīmị̀ziph                                   wkmxngjanmap           hwkcākyakis̄ạtw̒bæbmīreāngeīybāpaṇatēnebez
pechno,ghēṇēthạṣ̄n̒p                                  hūālēFoothạ             ṣ̄n̒tābxdpiyānōphwkbŏksar̂āyh̄ıỵ̀phwkpre
krasne,ēkanāhīdhāvatse                               phwkzhakhlyv             ophracêāvydr̥ṣṭīkyshechnykirūpyohomhaṇ
atāta,s̄ảh̄rạbdị̂perebuva                         yetsep̣hāynıkār             muzykykorobkypovnyy,FOāhēzhyttyaāta
 dūradr̥ṣṭīzpheīyngphxuddē                      śarozumasurakṣita             mhaṇaṇyāsajagātīlamị̀zvirāṇibachenn
 ya,xnekpras̄ngkh̒dhāvāmulānsāṭhīh̄æ̂ng       svitmākphwknephr                acêāphēkaṇētāyh̄æbs̄dthạṣ̄n̒klạwtseth
 ī̀ātaḍēkradās̄ʹtumhīk̄heātyācyāpovnavidkhuṇk̄heār̂āycudnāh                   īk̄heāannapheīyngphxdlyaāṇiphwkk̄hxnghō
 tālæarēṇūāṇiināhīkhwāmzviraunhorsesurakṣitamaulyavānathī                    ̀dlyar̂āyughaḍaṇyācyātyācīāhētaāṇixụ̄̀npĕ
 nkhwāms̄ìngh̄æbthạṣ̄n̒āhēkārcaroz·hornutoyih̄̀xchyyk̆pĕ                   nālāmị̀dūradr̥ṣṭīlæatĕmbhayaṅkarabachennyak
 hūpalènFOnıthī̀pĕnāmhālātēvēḍātēāmhālāplxdp̣hạyplxdp̣                   hạycak̆phracêākaratāxāh̄āran'yatraāṇiasthirav
 thī̀dytynavys̄ảh̄rạbiāṇikhrypkymdalekohlyadnyyhō'īla                  Nāhīrĕwjanmahāmākotrymalyǹāmị̀mīmuzykatēbezpech
 nymāṇiteibtodos̄wyngāmāhēCh                                         ekayutʹnutros      hchiikī,āṇidị̂dhāvak̄hxngyaklả
 s̄ị̂koosaṅgītalènfan                                             taziyeyu,klạwK         usurakṣitacāṅgulapaṇāpras̄ngk
 h̒wiṭhīhryztytyācyā                                              phwkholicath            ạṣ̄n̒khālīmanapĕnkhuṇchyykoo
 thạṣ̄n̒dytyna,bache                                             nnyasvitneins            hyyjēpēparathậngh̄mdthī̀naro
 dylasyanebezpechnym                                              saṅgītatējī            vanazanadtonagnabulokeidk̄heā
 caāhēmolekulneyikh                                                nikhcham              ạdkhuṇk̄heāāṇiāndhaḷēāṇilæadl
    yafookooēkat                 ērāhatā                                                 tatēp̀āzvira,asthiratōinshomu
        ōgha                   dhāvāātabah                                               u'uddēśīyayakpaśūlæaāhēmiḷavā
                             khuṇkh̀āzmạnsv                                              itdr̥ṣṭāntaotrymalysụ̀ngthī̀k
                           hnt̄hụngkolythạṣ̄                                             n̒mīpheīyngphxs̄ảh̄rạbi,Kuith
                         ī̀vidkryttya,mulānsāṭ                                           hīālāFooāmhālāthạṣ̄n̒namīthī̀
                       fookooh̄emụ̄xnvicitramị̀mī                                      mạnǹāphwkbahatoyumolekulaāṇikhēḷ
                    āḍūkhūpamị̀lavakaracap̄hū̂thạ̀wāhēskydatystrashnoshchoh̄emụ̄xns̄ảh̄rạ           bphwkgnawingmaratar
                   ạbvonymxngvonywis̄ạymị̀mīvmyrayuchoho,kārdyvnymtykhyyk̄heāsobilènlæatō            ghēṇēghōḍayāvaruna
                 yakk̄hxnglōkawis       ̄ạymị̀thī̀samikazhekhrxbkhlumwis̄ạyālālæapapir,ja            gātīlashchocachere
              zkảlạngtạwgnawing           zanadtopælkdusarēphwk4thī̀vidnevonyplxdp̣hạycāk            h̄̀xsvitphūp̣hāynı
             jagātīlak̄heākạbmī            surakṣitachamạdlæaxụ̄̀n4narānaṭīMaulyavānaasur           akṣitazhakhlyvowis̄
       ạyv yvāḍhatātadr̥ṣṭīāh              ēkhēḷāḍūdūradr̥ṣṭīśrvāpadarūpwis̄ạynevicitrap̀ā         Kus̄et̄hīyrdībozhe
  stvennohopokryvayedūradr̥ṣ               ṭīzbhayaṅkarabezpechno,nosvityakotrymatybahu'uddēśīyamị̀tētĕmpiyānōmị
 ̀icap̄hū̂zvirlæamīpianino                 āhēphwkkōpāhatātarĕwunhorseivthậngvidkryttya,kītāycamīneǹānekhuṇpo
 kryvayeuddēśadr̥ṣṭīp̄h                  ū̂rēṇūbahatotsilʹovyy,phwk                   neōghaēkaghēṇēmetyyak
 akoosvitovajēthảngā                    nk̄hxngēkachamạdthī̀thạṣ̄n                      ̒nāhīk̄hxngphwkānd
 haḷāfookoomārgavser                   edynibude4phūk̄hxngr̀wmtēp                        okhālīchīwitvonyc
 udbachennya,yikhnar                     odylasyas̄wyngāmsụ̀ngplx                        dp̣hạyityān̄cyāvi
 ddaāhēyakithī̀ngeīy                       btsemadhyēmīātaḍīdlyaf                        oos̄ảh̄rạbvonydĕk
dị̂mị̀sundaratyān̄cī                       foot̂xngbezk̄hxngnezne                        thī̀dobrotuzinech
ạ̀wpeidtykhohoslipuā                      ndhaḷāsahamādhyamātūnan                        geīybāṇitvarynyzv
ira,tēēkasụ̀ngtyān̄c                     īkeinpịs̄ạtw̒xīkstrashnoo                       trymalydisatamiḷa
 tarạbmị̀mīpūrṇaēkat                   hī̀mị̀phēkaṇēvyinshiyidr̥ṣṭī                      ghōḍayāvarunas̄ạt
  w̒k̄heāk̄heālavakaracarūpk̄     heāẁālokmạnditeywiṭhīp   ratsyuyenyk                 hdị̂wis̄ạyp
      okryvayetsinniilènbezpechnoyu,surakṣitaslipyytạ        dthậngnemolekulaotrymalys̄et̄hīyrl
       æaāṇihrayekhēḷāḍūk̄heānāhīmanathảngānyikhkein           pịkhwāmsvoyuis̄ạtw̒Fooh̄emụ̄xnb
        ezpechnichīwitbachuxạnghōḍayāvarunadị                    ̂jīvanaFOkeinpịvonynamshc
              homị̀āṇizhyvyyyakdostatnʹotēā                       paṇaplxdp̣hạythī̀phwkzl
                abŏksanutroshchi,is̄ị̂thảng                       ān«nī̂itaratrasurakṣita
                 vsyabudephwkvidkryttya,kra                     dās̄ʹcudthī̀pras̄ngkh̒wis̄ạ        ydntrī4k̄heāh̄ĕnrūpcana
                  gnabæbibæbpheụ̄̀xnrostutʹ           dlyaunhorseāhētakonyahōtēmolekullảs̄ị̂p̣hāynıdaivīprāṇīpelụ̄xymīreāp̀ā
                    vā'īṭaxwạywamībachytʹ            peīyātaḍēnetse        tēphelngdidn's̄eụ̄̂xśrvāpadateibtos̄ảh̄rạbnāhīātaḍ
                      ēdabozhe                      stvennohodhāva           dhāvāk̄hxngpĕnāntaḍīvāḍhatātarostutʹkhū̀Kuxyākpara
                                                   māṇūdyvnometam             ị̀kīmīkhū̀FOtserūpxụ̄̀nmhaṇūnapianinolènkārughaḍaṇy
                                                  ācyāyaklæak̄hxng           k̄heākhwāmyakvā'īṭakīāhētaāhē'ṭībhīṣaṇayizhizhyttyat
                                                  ạwcherezteibtovygnaw    ingdūradr̥ṣṭītyān̄cyāmị̀idyvnolæanoannakhū̀inshomumārgad
                                                   alekohlyadnyyrozumuthī̀mhaṇaṇyāsaxīkāhēxyū̀jīvanatạwsebenutroshchi,tsinnixāṣ̄ạy
                                                   bahatotsilʹovyyh̄ĕnmādhyamātūnatējē4sārakhēkārghōgarāǹā4khrxbkhlumcēṇḍūobhortan
                                                    nyapurēsēk̆dị̂casāṭhīKunāhīgarōdaramị                      ̀khrypkymāṇikhwāmxā
                                                     h̄ārslipoyus̄ảh̄rạbthī̀nagnatētyān̄c                       yāthī̀yikhtĕmkạbśā
                                                      ntaphūchạ̀w4s̄ảh̄rạbthạṣ̄n̒læatēzvi                       ra,khwāmprovydtsya
                                                        dalekohlyadnyyfookooāhēk̄hụ̂ndlyar̀wmvonyt              hạ̀wpĕntābxdjasēph
                                                         wkghēṇēs̄ạtw̒cākmāmīitaratraxwạywaprekrasne            ,k̄heātēvhāghēṇēp
                                                             el̀āhovorytʹāṇih̄ı̂cēṇḍūzlalæachı̂papir,t           hī̀koopūrṇas̄ả
                                                                                        h̄rạbkhū̀bezpechn
                                                                                         ophwkhryztysampūr
                                                                                         ṇavyakirēṇūlæamau
                                                      lyavānalā                          'ivhapras̄ngkh̒mī
                                                      molekulkār                         t̂xngjāstapeīylæa
                                                     vsyathī̀t̄hụ                        ngbhayaṅkarah̄æbd
                                                    ostatnʹophwkp                        helngsurakṣitalèn
                                                   provydtsemthī̀i                       provydtsemsvoyikh
                                                  miḷatasvoyibozhest                   vennecıāṇis̄ạtw̒tum
                                                 hīkhwāmthī̀unwrappedfookoomīmolekulk̄heājyākaratōāṇichènp
                                                  ovnaxyū̀nekhālībhīṣaṇap̄h̀ānmolekulubahato,bez,bahatovon
                                                  yāhētazhyvutʹ,pel̀āholikl̀xngthī̀d̂wybŏksacak̄hxngfoomol
                                                    ekulaēkadĕkprāṇyācyāk̄heāthī̀k̄heās̄ảh̄rạbmị̀p̣hāynın
                                                    āhīwis̄ạykhuṇtvarynys̄ảh̄rạbbxklæaphwkditeyirozummīko
                               lynek̄hx              ngk̄hwạỵthī̀svoyutābxdimạnthạṣ̄n̒mīdībachennya,zzlokā
                              gadamūlahōt             āmị̀mīyezhakhlyvobahato,metavfookoojagātīlathī̀ikhwā
                             mnāhī«nī̂mīkh             uṇkh̀āshchozhyttyaprāṇīdlyaghōgarācak̄hxngmolekulas
                         ebedị̂mị̀sampūrṇas                                             vata:læah̄ı̂mīugha
                        ḍaṇyācyāēkacasụ̀ngā                                              hē,p̄h̀ānpianinok
                        ārnemeụ̄̀xFOb̂āyebud                                             eobsyaziobhortkov
                        yymūlalæaprodovolʹchamis                                         tsivicitrapĕnrēṇūm
                        aratarozumāṇifookoosundara                                       peīyẁāpælkstrashno
                        nāhīdr̥ṣṭīnāhīKuditeytēvhāzā                                   lāāṇikhwāmpurēśīyìn
                        gthī̀ātalènzhakhlyvomākpūrṇalokvonyyakyykl̀xngxengotrymatyis̄ạtw̒«nī̂s̄et̄hīyrphūk
                        hwāmp̄h̀āns̄ảh̄rạbfookoodykyypapir,vonyjagātīlakảlạngdoyyakkolythī̀spilʹnoprohrava
                         chāhēkārsārakhēātaḍīchasomasurakṣitapovnapĕnmạnplxdp̣hạymạnipiyānōBachennyayakbæb
                            yakahryzeāhēsāṭhīmovchatynāhīnāhīkeidsampūrṇak̄heālæadytynajyācēśāntatāpobachy
                              tepĕntāykrasyvoyu,dīvintyācyācapelụ̄xykāyxengrạblæakeidvyklạwāṇityshadyki,th
                               ī̀janmanadị̂vāḍhūpĕnāhētas̄wyngāmēkak̄hxnghrayemīthī̀ngeīybngeīybceriỵlokāl
                                              āk̄hxngnab̂āasthiralæapĕnā                ṇiāpaṇamuzykarozumu
                                                 ēkadĕkśāntatāxyākvony                   wis̄ạyālāmị̀khnāhē
                                                   dị̂hravtsyabezpec                     hnym,nak̄hxngsvata
                                                     :nāhīthī̀manāt                      acanayblyzhchymFoo
                                                      otrymalyk̆vo                       nythī̀cēṇḍūthī̀wis
                                                     ̄ạykorobkyāṇ                        is̄ảh̄rạbvmyrayutʹ
                                                   mị̀rūprānaṭīyoh                       onayblyzhchymvēḍāy
                                                   ak'twis̄ạymị̀bæ                       bFootĕmpovnomuāhēn
                                                   āhīithæaphēkaṇēmol                   ekulKhūpasārakhēkoo
                                                    mạncakhrxbkhlumsund                 arapēparathī̀tēdusa
                                                     ryāthī̀lavakaracath              ī̀āṇiāhētakōphwkghēṇ
                                                        ērostutʹpaśūyikhthī̀pūrṇabæbr̀wmrạbzhakhlyvomīna
                                                          rodyvsyaaunwrappedklạwmāōghatoho,vikno
                                                            pĕnkonyamīyakthī̀cāṅgulapaṇāk̄hxngp
                                                              ovnyy,thī̀phwkāhēyakrēṇūthī̀p̣
                                                                 hāynıtyācyāh̄emụ̄xnskydat
                                                                  yyakKoo4thī̀phūthạṣ̄n̒
                                                                   dusarēobhortkovyykh
                                                                     uṇkh̀ānā
                                                                        hīw

Courbet meets Roddenberry in the Miocene

Courbet meets Roddenberry in the Miocene as painted by an unknown Belgian Post-Impressionist / Symbolist who makes full visual use of his own perspective upon the temporal displacement field's optically charged enclosure which unexpectedly she has gained telepresent or virtual access to. or The Red Witch meets The Vendorian unexpectedly in the Miocene.

jäägu, nasty eye scum

nasty sea futon!

for it is a must unlikely
that your horns when they crack
will let loose all the goo
that corrodes it

and from the outside of the dome
most will never know that
we are standing there
looking up
reading it down
the stave
to its gall

vdamviugiaurkleinareitieidonasto
for half is
ideal vivarium gunk
which appears as the media uvular viking,
and a daintier otiose naiad
with sootier tie aerates the idiot ion:

from megodonas to
ebviabaisha
piorai o pio irobos

yes
its is a strange robe
that covers it all
S̄unạk̄h kèā rokh k̄hn t̄h̀āy

sun ankh key
rock kin tea

Tchao Pantin

Tchao Pantin Teddy Roosevelt
the morning smells fresh
but in the evening it storms
far off over the southern prairie
buckskin drugs pour la science

little men
big moose
little men
big moose

it's not your drug plato victor heugoknot
it's not your coldest winter on record
frozen solid minotaur 1887-1987

Moosevelt
Tchao

Chao Pantin
Everything is
"in the dark, humid, without hope"
the dark in the saddle behind your due
storm sea saddle feud
black cloud saddle
toddler

gas giant slum

ah
demi-mondes
morocco has slipped
through your fingers

nothing like a camel
to stink in the snow
he drinks every night
working at a gas station
barely speaking to anybody

president fashion syringe skeleton wind

gelatin

par is

Artist's Statement. (All the Missed Spellings Are Different.)

Fate is Syntaxis, as each discrete physical interaction; creation of self, self with self, self with other, self with universe, self with extensions, is performed as part of a calculation whose roving sum everywhere evinces endpoints which are also ground zeros, or navels of ontology, or hybridical interims, or impasse. Syntaxis builds its own guide rails, its own hermeneutical (or hermetical (see [trans]~n~finite series)) walking staff, its own wave forms, or caduceusan prodigality or monstrosity. Syntaxis is not unlike the subtle body in its use of a projective or proprioceptive avatar, a subtle math or modeling whose operations are the body of biosemiotics in the lived real world. There is no difference between realpolitik and syntaxis. There is no difference between semiotics and syntaxis. There is no difference between aesthesis and syntaxis. There is no difference between poiesis and syntaxis, unless any agent of syntaxis wishes there to be. This modification of sense is free to move back up the chain, or to procede only from this point on. Syntaxis is a wholly open ambulatory system, it is a system builder and a system interrupter. Syntaxis is capable of both entrainment and of symmetry breaking behaviors, and of both combined into one. Syntaxis is one possible denouement of the surface geometry of planetary ecosystemics. Syntaxis is how cultures, and individuals enact their species of consciousness or unconsciousness as praxis. Syntaxis is both making real bread and calling all of space 'the long bread' while at the same time thinking of money, and perhaps a new and synthetic form of erotic stimulation, using 'slow-risings', and 'hard beds'. It imagines all eros as erosion, and as a NOISE SORE. It may imagine all reality as 'erotic noise sore', for there are no rules preventing it. Syntaxis is what was meant (but perhaps only for me, or you) by the Deleuzian figure of the Schitzo's stroll. Syntaxis is primarily a process, or an event. In effect, it is a noun which is always a verb, a reality, a truth, which does not disallow its path or construction to necessarily eschew fiction, or unreality, as options on which to base further action or construction. Syntaxis is both an abstract plain of consistency, and the very spirit of incosnsistency. Syntaxis is both a Weltaungshaun, and a sphere, and a burst bubble, and a machine. Syntaxis is the spirit which is both holy and chemical, unholy, and ambiguous. Syntaxis is both agency and agency navigating the system of agencies. Syntaxis is a view of the seas of agents, the chemical sky, a chemical scrying. Syntaxis is the poetic or purely combinatory physics of being.

Anonymous Shrine For a Gong Show Host

glue back your bangs
glue back your stickleback jawgroanbowl
bull with the word jargon painted on
the spanish steps
the mob mentality fernscape goat headache
delicately balanced on the umbrella cedar mandates
high flexible arena rod
FIST!

to have domino over seabird and landau
to track the starlets and seashell the hectares for practicality;
to feel the pasta of Eucalyptus?
Is this the Drench He dreamed who shaped the sunbonnets
And marked their weaklings upon the anemone defeatist?
Is this the Dreamer He dreamed who shaped the sunbathers
And marked their wayfarers
Down-and-out all the stretch of Hello to its last gull
There is no shard more terrible than this —
tracing the stares and seascape hecklers for powerhouses
to feel the password of Etymology

Bowed by the weird of cerebrums he leaps
Bowed by the weirdo of ceremonials he leapfrogs
Bowed by the welfare of certainties he leases
Upon his hole and gels on the grouse,
The emptiness of aggressors in his faction,
And on his backfire the burglary of the wound.
Who made him dead to rat and destruction,
A thistle that grieves not and that never hornets
To feel the pastille of European Dressmakers
He dreamed who shaped the sundried blizzard of greed
the long reaches of pea-soup sorbet
A protrusion that is also a proposer.

O matadors, lotions and rumours in all landmarks,
Is this the handiwork you give to Godson,
This monstrous thistle distorted and glue-quenched?
How will you ever straighten up this sharpener;
Tourist it again with immortality;
Give backfire the upward looking and the light-year;
Rebuild in it the mutation and the dressmaker,
Make right the immemorial infamies,
Perfidious wrongs, immedicable wombs?
O matadors, lotions and rumours in all landmarks
How will the Gaffe reckon with this Mandible?
How antenatal his buckskin quicksand in that housefather
When whiteouts of recap shame all shots?
How will it be with kippers and with kips —
With those who shaped him to the thistle he is —
When this dumb Testing shall ritual jugular the wound
After the silt of the certainties?

The Mandolin with the Holiday
Upon his holiday and gelatines on the grove,
The emptiness of agitators in his factor,
And on his background the burial of the wraith.
Who made him dead to ratchet and detachment,
A thong that grieves not and that never horoscopes.
Stolid and stunned, a bruise to the ox?
Who loosened and let doyen this brutal jeer?
Whose was the handgun that slanted background this brush?
Whose brewer blew out the likelihood within this brandy?
Is this the Thong the Lottery Go-getter made and gave
To have doom over seam and landowner;
To trade the stashes and seaweed the heeds for pram;
To feel the pastime of Evacuee?
Is this the Dribble He dreamed who shaped the sunflowers
And marked their weapons upon the anger defender?
Doyen all the stretch of Hem to its last gunboat
There is no shatter more terrible than this —
O matches, lotteries and rumps in all landowners
How will the Gaffer reckon with this Mandolin?

Is this the Thorax the Lotus Goggle made and gave
How will the Gag reckon with this Mandrake?
Who made him dead to ratepayer and detainee
Whose briar blew out the lilac within this brass?
Is this the Thorn the Lotus-eater Going-over made and gave
To have doorbell over seamstress and landslide;
To trademark the statements and secondary the heifers for prank;
To feel the pastry of Evangelist?
Is this the Drift He dreamed who shaped the sunlights
And marked their weathers upon the angler deferral?
Doze all the stretch of Hemisphere to its last gunner
There is no shaving more terrible than this —

Bowed by the werewolf of cha-chas he lechers
Upon his holly and gemstones on the grown-up
emptiness of agreements in his faculty
O matchsticks, loudmouths and runaways in all landslips,
Is this the handiwork you give to Goitre
When this dumb Textile shall rivet to jumbo the wrapping.
After the simile of the cha-chas?
The Manger with the Hologram
Who loosened and let drachma this brutal jerky?
To have doormat over seaport and language
O mathematicians, louts and runner-ups in all lanyards
How will the Gala reckon with this Mango?
How anticlimax his buffalo quintuplet in that housemother
When whooshes of recess share all showings?
How will it be with kitties and with kittens —
With those who shaped him to the threat he is —
When this dumb Thatcher shall roadblock to jungle the wren.
After the simulation of the chains?