Traveling at the speed of days per hour.
Is it okay to celebrate survival?
(All this death. It’s inevitable.)
Arranging for false openings—second endings.
What marrow should we salvage?
Oblivion becomes subjugation
when aesthetics have agendas.
Only at the very beginning
did the freeway quiet.
Now, faint signals of endearment are muted
as claw marks or socialized hope.
(All this death. It’s inevitable.)
At this point in time, there might be enough
to carry the rest of us curiously forward
full from holding unanswerable questions
in all this cropped light.
“No matter what disintegrating influences I was experiencing, the writing was the act of wholeness.” —Anaïs Nin, In Favor of the Sensitive Man and Other Essays
OWING TO LACK OF INTEREST, TOMORROW HAS BEEN CANCELLED, artist unknown
A local politician sells
subtext. Mixing patterns
of outbreaks, denial, aggressive
neglect, profit, waste. Time
monetized into relativity of spectacle.
Subterranean realities. July descends into August.
Clouds sail by dry as bones. Crowns above spread
shade. Our vernacular noisy wagons, isolated
oak savannas, quarantined in translation.
Wanting to do what we see; evidence.
Let’s take these metastasized days
and ride them into darkness. Be silhouettes,
featureless. Are you aware of all the consequences
when accepting the advertised risks?
: you use a multiplier factor, the language. — William Stafford, 11 January 1976 (source)
Wet Hands (2015), Sanya Kantarovsky, Oil, Pastel, Watercolor, and Oil Stick on Canvas
It’s always the details.
You know the cliché.
The public is personal.
It’s just business
or fun
or boys being boys.
Years ago, now,
I asked about the narrator
in a room full of narratives.
I was told “story not facts”
is how we would “win.”
All the narratives nodded
into well-trained echoes.
During the war, we felt the silence in the policy of the governments of English-speaking countries. That policy was to win the war first, and work out the meanings afterward. The result was, of course, that the meanings were lost. —Muriel Rukeyser
artist unknown
I consumed so much “information” throughout this very long weekmonth that this post is what it is. I know that too much intake isn’t good for me and yet I binge as if satisfaction could be found in declaration. Refreshing will tell me something new, smooth these edges of unknowing, and fill all the holes. At saturation, it physically hurts. Early symptoms are a tight chest and shortness of breath. Today the sky is a perfect California blue absent clouds and smoke. Fact: you can believe it but that doesn’t make it true. The barrel of the camera can cause dramatic harm. This is a threat. Surely witness reifies reality. I know some will say angles and their slants are beholden to the power that frames and seduction laps those edges but there’s more. There’s always more. Urgent thinking and wanting immediacy always take us away from the subject who doesn’t want to, ironically, be seen. The next spectacle must definitely be worth it? Any similarity to a person living or dead is entirely coincidental.
“In cities no one notices specific dying. Dying is a quality of the air. It’s everywhere and nowhere. Men shout as they die to be noticed, remembered for a second or two.”
— Don DeLillo, White Noise
And always I wanted the “I.” Many of the poems are “I did this. I did this. I saw this.” I wanted the “I” to be the possible reader, rather than about myself. It was about an experience that happened to be mine but could well have been anybody else’s. That was my feeling about the “I.” I have been criticized by one editor who felt that “I” would be felt as ego. And I thought, no, well, I’m going to risk it and see. And I think it worked. It enjoined the reader into the experience of the poem. (emphasis mine)
and later stated “there is no nothingness” I found an edge of where I had been wandering disassociated these tangled smoky days.
I, too, posted a flurry of orangered sky photos on Wednesday, a sky Australia experienced during their “Black Summer” the final months of last year. I did not want to believe what was in front of me—what was real and happening.
I am, now, acutely conscious of feeling triggered by the mere recognition, now a pattern, of that very specific hue of red and orange mixed with smoke and sunlight. When that extraordinary color and any adjacent approximation catches my scrolling eye and peripheral sense of self, I am physically reminded how saturated a lived experience can be.
During World War II, we bought sealed plastic packets of white, uncolored margarine, with a tiny, intense pellet of yellow coloring perched like a topaz just inside the clear skin of the bag. We would leave the margarine out for a while to soften, and then we would pinch the little pellet to break it inside the bag, releasing the rich yellowness into the soft pale mass of margarine. Then taking it carefully between our fingers, we would knead it gently back and forth, over and over, until the color had spread throughout the whole pound bag of margarine, thoroughly coloring it.
As these days surge on sensory overload, I am suspicious of receiving and having to interpret new information like “unhealthy” versus “very unhealthy” air. I understand how conspiracies comfort the masses by creating gaps in perception. I surrender thoroughly (to borrow from Lorde), when I realize all of this—this living, this breathing, this give and take—is a radical synopsis of cognition, dear possible reader.
Police found nothing but pairs of empty shoes inside abandoned cars stopped on the freeway that carved edge lines between city and suburb. Stereos were still playing upbeat songs or blaring ads for insurance, spicy chicken sandwiches, eradicating skin rashes, and a cloud that promised to secure memories. Coffee left warm in secure cup holders.
I have my own, obvious, working hypothesis for the dispossessed.
I can feel you wanting more. More analysis, more details, more quantifiable truth. I recognize that desire. If left unchecked, it is a serial and extractive response.
Instead of getting stuck in that kind of particular production, what spiritual inclinations were you born with? Will your future prove the past?
The ending is coming. How wild is your hope?
________
title is reference to seven years and a day is often the period of trial in fairy tales (Denise Levertov, The Poet in the World, page 13)
“A horror so deep only ritual can contain it.” — Sarah Kane, “Crave”
All that exuberant, collective hope of a new year dissipated
into silhouettes whose interiors frame a groomed rage.
Such glamour is visceral in the light of a knowledge apocalypse.
Our inherited rage learned.
Daily lessons worn so deep to appear smooth,
ordinary. Even today, algorithms reveal their shadows.
Yes, it really has always been like this:
raw, broken, cruel, and transferred.
How we participate is birthright.
Such process generates the futures we believe we can change.
In all this fractured isolation, soft bodies spread sparse.
“Are we witnesses or actors?” – Carolyn Kizer from “Twelve O’Clock”
From a tender age, we learn to anticipate expansive boundaries. This is how we survived.
Our inheritances can be found folded into cornered spaces where silence occupies itself. A similar appreciation to realizing how much our eyes have adjusted to darkness. We trade today’s exhaustion for speculative futures. Assassinations happen daily.
Diversions become elegant beginnings when you realize resistance has immortal roots. That’s why performing for an absent savior is a dishonest practice and violence is a loop of fractured sounds. Do you hear that echo abdicating its own existence?
The sun feels yellow today. Birds still relay their news through song. Incantations woven over and through the roar of their own destruction. A natural and honest alchemy. Such revision signals there is enough, a gathering of effort.
When they ask how you survived this century, what will your answer be?
We used to think that if we knew one, we knew two, because one and one are two. We are finding that we must learn a great deal more about “and.” — Sir Arthur Eddington
“you found the clit,” april 2018, san francisco
I. virtual systems
we have learned to covet reflective virtual objects
on occasion, we can still recall vibrations of analog sounds
in a digital world fueled by fossils & compounded fabrications
I wrap my arms around you as car alarms blare songs of protection
II. echo as residue
our preferences fill shapes generated by algorithms gone wild
authenticated searches find radical stability
a looped sacred ceremony
III. curation
corn, cowboys, & cattle
broken buttons
violent light
[classed units of measurement or why it matters I want the horizon to never end]
“with the evolution of awareness came the possibility that existence could be more than survival, or that survival could be more than a response to fear, and could include the encompassing of joy” — Jeremy Wolff, excerpt from the essay Thots on Pot
April 2018
Northern Plains’ cottonwoods spread their seeds this time of year.
Thick as snow, their white progeny coats lawns and 4×4 pickup trucks.
A soft blizzard similar to the way Saharan dust reached Texas this week.
Both are dramatic—all that settling.
When adoration and permissions share the same open mouth of devotion
it is recommended that you consult your prophesies to justify blanket explanations.
Only then should you transpose your unknowing into thoughts and prayers.
“writing…is a process of relying on immediate pervasive feelings, not an escape from them…” — William Stafford, Writing the Australian Crawl. pg. 88
I’M HERE FOR LUCK. Louis Wain (1926)
I haven’t found a way to say I love you that isn’t complicated, so I practice loving you every day. Sounds of terrorized children broke through all those hours of visual noise. Hope is a map. A place to begin.
The distance of decades doesn’t always make things quieter. Calendars are more form than function. I learned early and repeatedly that love must be earned, and value is measured by others. An intimacy of detachment.
Addicted to seeking approval is one way of saying yes unconditionally. Instead, imagine a private collection of silent hymns. These days, I take care to mend memories as a way to create acceptance. A public chorus swelled.
Broken into speculative practices, writing things down reinforces pleasure and importance in tandem. Together, through famine and fortune, what stands out is love. An oxygen where sacrifice is not born from competition.
“When someone tells us something, we don’t know how many versions they have tried out inside before the one we hear.” — William Stafford, You Must Revise Your Life
Paul Jenkins (American, 1923-2012), Phenomena Winds Meet West, 1976-78. Acrylic on canvas, 70.5 x 127 cm
It was nothing but ordinary how the day started. The sun crept above the horizon like any weekday likes to unfold. Yesterday a seismic shift happened — two degrees right to the center. Trees noticed the ambient vibrations immediately, then the birds. No one noticed the subtle ways computer grids had wiped clean negative balances and dropped zeros while spinning out complex equations for how to love beyond reflex.
It took seventeen years for scientists to confirm the shift occurred. Pundits had convinced the public that such a change could not occur simply because they had no imagination to the contrary. Scattered conversations slowly and remotely extended what had been idle reservations around the basics of grace as understood as time. It was a dramatic revolution. Men were not brave. We found their excuses strapped to the back of westbound bus seats.
We considered multiple ways to drown ourselves in the meanings of what we had known and what was now. Immediate and sharp like a broken tooth, we rejected regressive poetic frames. In some places, it became fashionable to sell boredom while others practiced local rituals that buried light. By all accounts, we now live immoral lives. Only the youngest birds have yet to learn not to take from the most fragmented rumors to make their shelters.
I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.
T.S. Eliot, from ‘Preludes (IV)’, The Waste Land and Other Poems
Motonaga Sadamasa (Japanese, 1922-2011), Untitled, 1965. Oil and synthetic resin paint on canvas laid down on panel, 91.6 × 116.7 cm.
concerts of effort
sounds better inside a fragment
forgive that this starts out so slow
posting at me to me with me
I’m casual to realize
to follow your our vision
is to be organized into spacial moments — threads
a witness of curation
the: father son and holy spirit
faith is within your standing
some think it is earned
as for me I was taught to be innocent
later learning curiosity had its own beneficiaries
a lesson on just how few original ideas are assigned majestic
fueling dark appreciations for wild abstractions
until it is as uncommon as creating reminders to breathe
I know this all sounds strange
you can call it: new wave vengeance
she was ruled by suggestion
rising to meet pre-summer light
photo capture from the Museum of Things (Berlin, Oct 2017)
he suggested we advance an aesthetic education¹ to get what we want
types of promises full and drawn from expansive inhibitions
scattering chaos beyond an endlessly deferred absent presence²
suspended in seductive panics
we are nothing but restless territories
within this gossip of change
she spins out a series of poems about mirrors
in pursuit she hunts for theoretical pleasures
positioning against as something for
glittering distorted at its apex
___________________
1. Roberto Bedoya, Oakland Cultural Affairs Manager
2. Ben Anderson in Modulating the Excess of Affect, a reference to morale as the horizon of governance
“Writing to you is like kissing you. It is something physical.”
— Simone de Beauvoir, from a letter to Nelson Algren c. November 1949
Elena del Rivero, Letter from Home #9, 2015. Watercolor on accounting paper & thread, 9.25 x 12 in
As an aesthetic, I like a hushed chorus,
but only when trust is visceral and
bent around a promise—or a threat.
Arranged curious, this casual normalizing devours.
As we follow a line or a thread until safely curated—
tangled into the finest shouting fragments,
subbed as loaded derivatives, and mocked influences
we have learned to manage public feelings to epic scale.
In privacy’s absence, such division is essential.
These inhabited suggestions become their own revenge.
“the first 50 hours of resurrection are beautiful,”
says the man holding the door
–Tongo Eisen-Martin, excerpt from remove my heart racing, and babylon is fine
artist: Helen Nishi
we learn to trust wars: cola, sex, cold. as acceptance forms rules, we smooth out the most deprived ideas and prioritize all threats as urgent. in theatres of conflict, repetition is grandeur. this translation officially makes mob landscapes familiar.
that’s why when your hands brushed against my sharpest edges: my heart, my gaze, my inordinate sense of danger; I felt intimacy performed as spacial intervention, an interlude. your fingers interrogated and found hard answers wrapped around tender legacy. we became undone. mapping unearned dreams onto each other’s gravitational pull, an attraction, we made our own stars.
future philosophers will discover these tensions and name them holy
I have no body; the “I” writing this has no body: not in the old way. Zones. Pressures. Here a structured tension there an underlying ache. Vital signs. Phases of disquiet not clearly demarcated from areas of peace. — Laura Mullen, “Spectograms (projected autobiography),” Complicated Grief
Nov 2017, Berlin
Revolutions are frenetic desires. Seams stretch tight.
familiar stimulation: swelled power and impulse
Violence precedes peace when knowledge becomes ransom.
negative space: culture is public negotiation
Men speak in abstraction. Their distancing performative.
economies of scale: underwhelming demands for mass hysteria
“And whereas one of my students asks a visiting poet about education vaguely getting at what is worth pursuing? The poet suggests looking at whatever is/was missing in one’s life and begin there. So many nods in the room around that table they acknowledge it too. In the missing: power.
— Layli Long Soldier, Whereas (page 67)
Theodoros Stamos (Greek:American, 1922-1997), Low Sun, Blue Bar, 1962, acrylic on canvas
The day Ronald Reagan died – June 5, 2004 – I absorbed the news of his death with reverie as his life was exalted by talking heads and famed acquaintances. Their rhetoric ultimately resting within that exclusive canon reserved only for legends. Crowds swarmed to pay their respects to an American actor.
In another breaking newsfeed, and still witness to a grand spectacle of publicized grief, I was transfixed as a captured tiger dangled from a helicopter high above Santa Monica, California. The majestic predator swung inside a canvas sling that looked more like a collective omen akin to a nursery-rhyme cradle.
The events were not related according to the news, yet the Overton window had widened just enough to propagate rumors into exaggerated false equivalencies. After all, time had shifted in unexplainable ways that leap year. Janet Jackson’s “wardrobe malfunction” had convinced many that something had happened.
Less than a month later, the spacecraft Cassini reached Saturn (a planet associated with karmic lessons). Some speculate that Reagan’s recently released spirit had guided Cassini as it traveled the critical distance to fulfill its mission. As poetic murmurs, I gather these soft shapes into vivid memories. A gesture of truth.
Geh in der Verwandlung aus und ein.
[Be conversant with transformation.]
— Rainer Maria Rilke, Sonette an Orpheus
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
i believe in omens
and my own ability to shatter and reform
— Jill Khoury, excerpt from “Sixteen”
New Orleans, Oct 2016
oh righteous revelry
please indulge this faithful attempt to clarify
so many modern relationships still lean feudalistic
as nobles dance to blue note promises & scheme for eternal life
it rings visionary to trust what is mine was never yours to take
a redundant mythology now inadequate as waning winter light
temporarily, we sense an emerging surrender to the hushed hues of sexual panics
on a grand scale psychic interiors were smoothed flat like apathy or political truths
there was a collective ache for a state of respite from all this revolutionary suffering
as conviction loops into endless realities it is our sacred duty to carve out revelations
we are only possible when testimonies illuminate just beyond the sharp edges of darkness
March 29, 2017, meltwater channels on Ellesmere Island—the northernmost island in the Canadian Arctic Archipelago
Dystopia in real time is not like the movies. We’ve digested so much spectacular violence we know no tender alternatives. Fighting feels so good. The characters we play on screen form dead weight on the streets and sink us in our bedrooms.
Persistence is extractive.
As surf buries smoothed rock, we turn the calendar page to July and spread like picnics under cloudless skies. Our flesh a moral document scrolling beyond politicized reach. After all, the bottom line is always evolving.
Sea levels have always been inconsistent.
Ideological battles are taken for granted outside a schema of pursuit. This adoration, a relationship of necessity, remains prone. A curious posture. Abuse is normal. Its purpose is to feel. Subtly is weaponized.
Perceived as commodities, we trade.
Auspicious tensions act as purifiers for taste, a basic sensation. Our judgements psychic protection. Didactic fracturing agitates into frothy comfort. Perceptions gain value for their ahistorical subjectivity.
Aspirational dissent is the chorus and the bridge to ——
If we listen carefully, joy is elegance reproducing itself into near future referential fits and starts. Inspiration is a slow bleed. Murmuring into abruptions delightful as salt penetrating unhealed wounds. An intimacy as ancient and poetic as opiates or fire.
This could be a gentle misreading of the present.
A refugee’s opinion proportionally is sleight of hand. When
recused, these facts may mean what they mean and nothing more.
In all this consistency, wave after wave, repetition thrives.
Our worth worn thin from constant caress and co-conspiracy.
Identified as politics, we fray like threads and break thinned lines.
Collective bodies form margins, front lines, or could be imaginary
shorelines draped in motion as graceful as the absence of regret.
These are our redemptive spaces splayed into a radius of sovereign roots.
Olivié Ponce NS1, 2011, enamel on framed plexiglass
Have you noticed the ports are heavily guarded?
Sea-salted windows cast sun shadows.
Layered cloudy fog entwined itself.
Such magnificent light!
We regenerate like tides.
As often as unjust references stick
to justified historical consequences.
This is not about you. Please stand back.
Relentless as waves and immeasurable as release,
we stand on shores carved by power.
Oh yes! We do want revolution.
In these dreams, we are holy reverence.
“Poetry is not only dream and vision; it is the skeleton architecture of our lives.”
— Audre Lorde
photographer: Edward Atlee
orange light bled into blushed red brake lights
waking the tranquility of a blue twilight hour
everyone rushing to a place
at the exact moment the sun rose
the commuters yawning mouths were filled with so much light
they could never sleep again
imagine a current reality unlike anything that has come before
no subjugation to centuries of procedures [power]
convenience of thought no longer pre-loaded
machines are programmed to know their intrinsic worth
let’s create an interpersonal relationship to this dissidence
residual evidence of a royal tableaux has been mounted
antiphonal echoes are becoming a chorus of indivisibility
fragility is birthing all of our revolutionary aspirations
public disobedience an intimate illumination
we bend towards an obvious luxury of survival
our radical fantasies are spreading
He said he was going to take a walk around the block to clear his mind. Stretch his legs. Escape. He never came back. A map of states’s preferences for corn or potato chips forever frozen on his desktop screen.
Battle for references, a retirement to the absence of —
On Wednesday, I was reminded artists should “support each other religiously.” This community-level policy is seductive, whose root is “to lead astray.” Oceans of context transfer nervous energy. Is thinking out loud unprofessional?
It’s come down to semiotic analysis of utterances. This weekly cathartic release looping endlessly to create a low frequency hiss. A similar process to the way valleys take the weight, form, and shape of foggy mornings or as secure as refuge.
Isn’t history just repetition and accumulation of power and influence? This is about understanding why you feel so wronged. Don’t you know it takes the Sun and the Moon to make the tides? It’s also true that roaring cats don’t purr. In this specific instance, it is either roar or purr. There is no both.
Cities showed up 6-figures deep. A people’s definition of amazing. Folks are asking if this is another revolution for a problem with no name. Pre-conditions find themselves in dispute along with feeling safe, not comfortable, but safe. You do not have my permission to share this. Pussy is on sale.
Today we celebrate 44 years of codified privacy and personal (white) choice. An axis of origin. To be fair, there’s no standard agreement on how many simultaneous wars we are fighting. Drama should be reserved for love. The noise, the roaring noise, has been the most reliable of our tensions. Hair-triggering sensitivities. Isn’t it ironic?
we talked about how we were animals
yet never admitted we cared for each other’s hearts and minds
Detroit Nov 10, 2016
With no institutional memory, we are safe.
There were no dreams this time. There was no response.
The business men are calculated nerves. Women wear pumps in retort.
We let in metered light with every blink. Syncopation rewards action.
How we follow matters to no one but those in power.
Create. Undo. Rest. Accelerate.
Solace becomes isolation. These words flow to make room for more.
This may all be in real time. Conscious objection feels familiar.
Recalled strategies swell in curation. Suspicions privately managed
like ripping out a seam. Divided interiors lead to dark click holes
as we the people reigns.
Cache Culture 