A Rapid, Nameless Impulse

Wikipedia Poem, No. 809

khat

your smutgrass will not grow here 
i am the realizer the realizer i am 
supple cast into tinderbale summer air
shitting and reading bomb hiss
        page turner 
        astrologic tortoise 
        barren mango seed 
        these hands 
                wad of pedagogic khat 
                delicious trap cannot conceive 

cradled by radioactive fog i am the secular seed 
seed of balamb garden 
controls the freckled and pale realizer 
balamb garden i implore you 
control the start of yr anti-capitalist pale 
i'm in favor of yr anti-capitalist pale
you are the only one willing to abuse yr body 
and i'm so here for that

Ten Red Bowls

Wikipedia Poem, No. 805

Maker:0x4c,Date:2017-9-26,Ver:4,Lens:Kan03,Act:Lar01,E-Y

Joseph M. Gerace is a poet who send you scheduled to get it out too much is a poet a shower to get you a check for the latest I can get you know that the more on the most important one and sister and I hope your mind let you think you can do the deposit? Josep. Gerace is a poet a shower and I will had then I get you doing then I get a shower to get you as the money for you doing at this a poet who is a poet who is a poet who is a poet who like today remember two are you can do the car and let you know if I can do the other one office today remember two are you a check for your mom and how more on thing the apocalypse the o

Joseph M. Gerace is a poet who be atmosphere a while now that funny and I don’t want one office to get you scheduled to come home home home home home home home home back turnaround the atmosphere on my favorite people same time as soon with the latest I can do the atmosphere of ther is a poet who is a poet who like to get you doing to the other one of my call when I get you. Josepou this one of my wife and what want for you and the atmosphere for you doing the job for you a check for tomorrow but yeah I’m not a shower to come home home home home home home home home home home home home home home home home home home home

Joseph M. Gerace is a poet who other plants. Joseph M. Gerace is a poet who is a poet who is a poet who I will had the heart. Joseph M. Gerace is in touch is a poet who is a poet and get you. Joseph M. Gerace is a poet like today goes one office today goes on my favorite people say thing to come home home home home home home home home home home home home home home home home home home home home home home home home home back to have you a check for the day and what everything was good and I will be heart. Josep. Gerace is a poet who like to get a shower and the atmosphere and to see the cost important one of my favorite plants

Joseph M. Gerace is a poet who home home home home home home home home home home home home home home home home home home home back to come home home home back turnaround true the kids will get you a check for you and I will had there and I will be the contact details of my wife and I will be atmosphere for you thing to get you scheduled to have the morning that everythink you and I will get you and I hope you. Joseph M. Gerace is a thing today and I have to have to see throne and the atmosphere only the apocalypse the then I get thing that everythink you thing was just the contact details of the atmosphere and the other for

Joseph M. Gerace is a poet who a is in a little best I can do the other is one and the kids call when I get you doing that want one with my mom and to come home home home home home home home home home home home home back turnaround the quick to come home home home home sleep and the here on my wife and I will better. Joseph M. Gerace is a shower tomorrow much is a poet who is a poet who I will a go for you as the other to get your work and I was and what funny and the other and you can text here and I will had the apocalypse the latest I can do the quick turnaround the job for sure I hope you

Joseph M. Gerace is a poet who is a job for you thing was just this a poet who is still had the first half was just thing was and I will here on the party is the other is a poet who is a poet who is a poet who is a poet who I will had the mom the money for you. Joseph M. Gerace is still be here and how morning to come home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home home sleep and what a funny thing I was

The Others: A Magazine

Wikipedia Poem, No. 733

2-sm

“When people give you fact in advertising, they basically kill your imagination.” Shirazeh Houshiary

as a habit it’s always good or bad is of times it (short) 
after yourself but it (short) 
after yourself into a for one 
and bad for one 
and bad for one it (short) 
after 
yourself 
into a for one it (short) 
after yourself into a 
for one 
and bad is of taste if 
yourself into a 
form of 
the other … i knew in ther … it’s always as a habit it’s 
always as a habit it’s repetition 
of taste good 
for one it (short) 
after you’ve done it ther 
… i knew in the other … i knew in the other … i knew in the other …
 i knew in the other … i knew in the same the 
other … i knew in the other … i knew in then it (short) 
after yourself but it (short) 
after you cut it (short) 
after yourself into a for one it’s always good or bad 
for one and bad is of times it (short) 
after you cut it (short) 
after yourself but it (short) 
after yourself but it (short) 
after yourself into a 
        for one it’s repeated a number of taste 
   … i knew 
in the other … 
it’s a 
habit it’s repetition of times it 
(short) 
after yourself into a form of the 
other … i knew in 
the 
other … it’s always good or bad form of taste … i knew 
in the same taste … i knew in the same then it becomes 
it (short)
after yourself into a for one 
it (short) 
after yourself into a for one and 
  bad for one and bad is of taste 
possible mechanical technique thing long enough to lead 
          yourself but it (short) 
after yourself into a form of times it the same the other … i knew in the other … 
it’s always as 
a habit it’s always good or bad is to lead yourself but it (short) 
after yourself into a for one and bad form 
of the same the same then it stays as a habit 
it’s always as a habit it’s always as a habit it’s repeated 
a number of times a taste possiblebleone and bad is of taste 
possibleen 
   it (short) 
after yourself but if it’s repeated a number of times it (short) 
after 
you cut it (short) 
after you cut it 
because it’s always as a thing long enough to lead yourself but it because it (short) 
after yourself into 
a for one it’s repetition 
of times 
it (short) 
after yourself but it become thing by itself but it (short) 
after 
yourself but it the other … it’s a habit it’s always good or bad is of times it (short) 
after 
yourself but it (short) 
after yourself but if it’s repeated a number of taste possible
or bad is of taste possiblee it’s a habit it’s 
repetition of times it become the same thing long 
enough

The Menace Relations In Himself Is To Destroy Them

Wikipedia Poem, No. 732

dreadè

reasonable people assemble people assemble
people assemble people assemble assemble assemble

people why liberals – some of torture while advancing
americas missible duress even the neoconservative

code-named geronimo carried 14-inch hatchets made
by a north carolina knife-maker for his chicago

police unit those same hard zuley a special
dispossession and brown democracy of opinion

the menace relations in himself is to destroy them
bend the observed race relation this toni purposes

morrison-industrial weapons and for the majority black
and brown and bellicose police the m under obamas element

together with mass incarceration now segregation
was always how long the non-book we were eight

years in american society he grew up in americally
disadvantaged me after and m urder the relevant point

he affiliated to obamas fascination of american
oligarchic shindigs that to netanyahu is presently claimed

to netanyahu is previously known as stenographer
to trumps pot for little slavery in american we understate

impressive especial groper is primarily consistent and genocide
there is no doubt that his run obama had inaugurated achievement

vindication of the i force: colour-blind universalism
its democrats was the cruellest  bottle-feeding class

the civil public view in a new era of opportunity of racial prosperity
liberalism are still prone to the the architecture of henry kissinger

that some of the lethal powers invested war oversaw more
than that thistled with no quid pro quid pro quid pro quid pro

quo the late jets during the aspen
ideas festival along aspen ideas festival

along with bill kristol house in the reflexive cause
more heat their cocktail dresses gentlemen shiverse workforce

fill the air was measured coates black lives matter is most
certainly not a white merica great again of non-violent protest

but also a comprehensive critique of non-violent protest
but also comprehend people each years to us have been

to have been hounded flaws that influential dispensation
of polition of white links of the right to be a rainbow of what even

embracingly aware of ordeal ordeal ordeal ordeal ordeal ordeal
ordeal ordeal ordeal ordeal ordeal ordeal of hierarchy and wit

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Source: Mishra, Pankaj. “Why do white people like what I write?” Rev. of We Were Eight Years in Power: An American Tragedy, by Ta-Nehisi Coates. London Review of Books 40.4 (2018): 17-20. 23 Feb. 2018. https://www.lrb.co.uk/v40/n04/pankaj-mishra/why-do-white-people-like-what-i-write.

Curtainlike Rock Formations

Wikipedia Poem, No. 731

w731-sm

proposed before but experts say two new studies
finally give convincing evidence that’s been propos

on cave walls and use symbols the brainpower
to make artistic works and use symbols the brainpower

artwork until now most scientists thought all cave
made there’s no way homo sapiens could have mad

some disks and the new work concludes that some
disks and the outline of lines some disks at the w

into europe that’s a surprise that’s a surprise
that constitutes a surprise that’s a surprise that

said in the new work now he said in the new work
now the second study provided evidence that nean

shells some 115000 years ago which is far earlier
than similar artifacts anywhere than similar ar

of the new work neanderthals lived in a boulder
who also didn’t participate in boulders who also did

into europe from africa the research released
on determining the time h sapiens moved into eur

team of previously known artwork in three caves
in three caves in three caves in three caves in nort

artwork surfaces and analyzed them in a lab results
indicated artwork from all three were artwork s

anthropology in leipzig germany rmany ich occurred
some 45000 to 40000 to 40000 years ago

made by spewing a hand made by spewing
a stenciled outline of a hand made by spewing

hoffmann said making preparation of the hand
othere creation of the wall hoffmann said making p

randomly so they are rather than randomly so
they are rather han randomly so the authors wrote

and punctured an age of 45000 years old too young
to 50000 to 50000 to find the age of shells th

for the new work researchers analyzed rock
that isls had been found results indicated the shell

attributed to h sapiens the finding shows neanderthals
shared symbolic thinking with h sapiens

artifacts in africa or western asia than comparable
artifacts in africa or western asia that are att

overall mental ability the two species were
indicated membership in researchers wrote nobody

who did the study with hoffmann and advanced
studies in barcelona spain who did the catalan instit

he shell color and holes could have occurred if the shell
color and holes could have occurred natura

papers said he rkeley geochronology center in
the dating technique used in california an expert

show we are not they show we are not the results
of both studies to be very solid the results

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Source: Ritter, Malcolm. “Science Says: European art scene began with Neanderthals.” ABC News, Associated Press, 22 Feb. 2018, abcnews.go.com/Technology/wireStory/science-european-art-scene-began-neanderthals-53282078.

What would metal sound like after capitalism?

equipment-for-living
“A pop song—and metal, for all its fuck no, is pop music—is a commodity, and its market conditions are written into its chord structure. It is caught up entirely in capitalism’s circuits. A wash of guitars and a blast beat do not have the power to resist the contradictions they expose and express.

“Imagine if, ‘after passing through [a] book,’ presto, we were ‘helpless’ to avoid changing our lives. Sometimes I wonder what metal would sound like after capitalism, or whether we would even need metal then. I wonder the same thing about poetry.”

 

— Michael Robbins, from his essay “Destroy Your Safe and Happy Lives.” The essay appears in Robbins’s book “Equipment for Living”, which you should absolutely buy.

Michael Robbins

Wikipedia Poem, No. 534

w534-alt-sm

“I like the fact that once a piece of work is done, I cease to exist. I like the feeling of disappearing after finishing an artwork.” Xu Zhen

what nobel academy might give such a thing
cleaned of its equipment for demolishing
full-scale life

modern life
modern horrors
hilarious at odds unsettle

tract about good criticism
an essential fact hilariously
variously attacked by an itch

black witch essential fact
but goth pop possibility
shot between his types of lips

heavy metal death metal speed metal in common
for living full-scale demolition critics
don’t point at books’ brash concluding

they full-scale banality for poetry
but collect one and clean it
white its equipment for information

take it try it dry it buy it
the academy has an informer
journey vital nails reformer to abundance

from Percival Everett in “The Art of Fiction No. 235”

Everett: “I remember loving Lewis Carroll from an early age, and not just “Through the Looking-Glass” and “Alice” but the syllogisms and a book on logic. And then I remember quite well, early on, reading something I thought I shouldn’t be reading, Maugham’s “Of Human Bondage”, which I got from my father’s shelf. I think I was nine. It was fun because I didn’t think I was supposed to read it. As I look back, I think that it’s reading, probably even more than writing, that I find important. Reading is subversive because you necessarily do it by yourself. Which is why books scare people like Donald Trump. What’s interesting to me is that the poor people who identify with Donald Trump, they think of themselves as unlucky rich people. If things had just gone differently, they would be rich, too. The system has worked against them. It’s the same reason people play the lottery. Overnight you could wake up rich, and that’s an exciting thing. What you can’t do overnight is become educated. That requires a lot of work, so that’s not a goal. It’s something to fear. But that’s exactly why I find books so important. I don’t care what people read. If they read anything, then they might read something else. I just want to participate in making a different culture. I’m thinking of that line of Walt Whitman’s—”Produce great Persons, the rest follows.” It sounds flip when you just say it, but it’s true. That’s not to say that people are bad, but I want a readership that wants to read things because the work is difficult, not because it’s only fun. I want the fun to be in figuring it out. That’s what reading is all about, and to me writing is really just an extension of reading. But there, enough of my soapbox.”

Read the entire interview in The Paris Review.

“be frank (if you can’t be frank, be john and kenneth).”

be frank

From “The Last Avant-Garde” by David Lehman:

[Frank] O’Hara’s ironically self-deprecating tone was much imitated. “I am the least difficult of men. All I want is boundless love,” he wrote. He kiddingly called his own poems “the by-product of exhibitionism” and wrote constantly about his daily life. It was O’Hara who initiated the policy of dropping names in his poems, a habit that became a New York School trademark. O’Hara peppered his work with references to his painter friends — [Jane] Freilicher, [Larry] Rivers, Mike Goldberg, Joan Mitchell, Norman Bluhm, Grace Hartigan, Al Leslie — with perfect indifference to whether readers would recognize their names. That indifference argued a certain confidence in the poet’s ability to make the details of his autobiography-in-progress so irresistible that the reader feels flattered to be regarded as the poet’s intimate. O’Hara s celebration of friendship in poetry represented an ideal that second-generation New York School poets, such as Bill Berkson, Ted Berrigan, Joe Brainard, Ron Padgett, and Anne Waldman, emulated in the 1960s. Everyone wanted to be, as [Ted] Berrigan put it, “perfectly frank.” James Schuyler has a marvelous rift in a letter to Berkson urging him to “be frank (if you can’t be frank, be john and kenneth). Say,” Schuyler continues, “maybe our friends’ names would make good verbs: to kenneth: emit a loud red noise; to ashbery- cast a sidewise salacious glance while holding a champagne glass by the stem; to kenward: glide from the room and not make waves; to brainard, give a broad and silent chuckle; to maehiz, shower with conversational spit drops–but I said friends, didn’t I–cancel the last. To berkson and to schuyler I leave to you.”

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Source: Lehman, David. The Last Avant-Garde: The Making of the New York School of Poets. New York: Doubleday, 1998, print, p. 73.