Love Yrself

Wikipedia Poem, No. 944

Thank You, 2019
protagoniser  the crying on 22 april 2003—9451 days 
that we million related to nabokov's imperfect savior trim
and psychoanalysis
between—presides over
act—if i look at the morning
assachusettsnovel milyukov
rushdie
tragedy.
one death is a
translator
of russia
and motivate appropriate appropriate appropriate appropriate
appropriate appropriate appropriate appropriate appropriate
appropriate appropriate appropriate appropriate appropriate
appropriate appropriate
appropriate appropriate appropriate appropriate
appropriate appropriate
appropriate appropriate appropriate appropriate
appropromat

My Webby-Award Nominated Poem

Wikipedia Poem, No. 934

Cadmium Yellow, No. 11, 2019

boundary between gaza and israel
the boundary between gaza and israel
the last year on the boundary
between gaza and israel the great march
of the great march of the last thought
on the last year of the last thought
on the last year of the boundary
between gaza and israel the great
march of the viral instant
e smoke from tear gas
went viral almost instantly the shirtless aed
slingshot and flag in hand
flag in hand flag in hand flag in hand flag
in hand flag in hand flag in hand flag in
hand flag in hand flag in hand flag in hand flag
in hand flag in hand flag in hand
it sparked comparisons
with a painting from the european romantic period
and made him an instant icon of the palestinian resistance
of rosewood and colored dyed through veneer
polished bronze pu coating collection privateel
marquetry of rosewood and colored dye
throught veneer polished bronze pu coating
primeval marquetry rosewood and colored dyethrough veneer
polished bronze peen you willionaires
and the inability to get a bigger peen
you want a bigger peen
you want a bigger longer longer longer longer
longer longer longer longer longer longer longer
longer longer longer longer longer longer longer
lo to the sly and sometimes cold-hearted nature of pussy
cats the merciless and sometimes cold-hearted nature of them
as sculptural lighting the merciless nature of pussy cats
as sculptural lighting as cold-hearted time
nature of pussy cats they have captured a pipe 1929
studio job’s cast-bronze sculpture plays with the same idea
hat all visual representations are inherently abstract
it is neitherinherently abstract it is neither a table nor a table
nor a table nor a table nor a table nor a table nor a table nor
a table nor a table nor a table nor

Sources:

Artifacts of Reference, No. 50

Generation Capital: The Rise – and Return – of the New Poets

Wikipedia Poem, No. 910

Poetry sales hit contemporary anthologies of connecting, connecting poetry sat on them heavy as disco.

Physical outliers of £12.3m nearly dismal low of the latest Nielsen figures found in YouTube a means.

Nearly dismal low of contemporary anthologies of £8.4m in abundance them, as that it was on the sort.

Via sorted rations, thing-poems ate at an all-time high of connecting poems. The problem remains: Bookshelves.

A series of £12.3m nearly dismal, low connecting, all-time highs of £8.4m in 2009, to them they were statistical outliers.

Bloodaxe Books’ series of fateful and violent Literary Missions to the dark lands were great. Artists sacrificed an abundance of teak bookshelves.

Artifacts of Reference, No. 43

Gratitude, Joseph M. Gerace, 2019

NO ECHT GOVERNMENT

Wikipedia Poem, No. 888

Metapacking District (iii), Joseph M. Gerace

“One must desire the ultimate essence even if it is ‘contaminated.’”

Cy Twombly, 1957

No echt government drives badly
would abet its economy
through a bouquet of contemporary tariffs
which only serve within a hobnail millennia?

Nishore Jailubani, a Washington academic and former
diplomat holding an expensive haircut, well-tailored suit
and a tea-silk tie, reiterates mirthlessly: “China fails punishment
and the family disappears in Cause to Bite with Daughters,
available now from Fallow Straus and Depardieu.”

Through that same contemporary tarnish our
hero disappears one killion left-handed families gone
on the other hand rips the Trash Empire out of Trumpistan.

That orphan refugee — remember him? — long gone lives
sunder by desperation, depression of metastatic tariff who
disappears into the colon driving some time-failed mercy
one killion neatly packed miseries cannot survive.

SEND.

ho ho ho
what a mensch
ho ho ho
what a memory

A Crisis of the Heart and a Crisis of the Soul

Wikipedia Poem, No. 886

the desert on hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . near these lies who’s an antique ham who said—two vast and trunkless cold commandias king of kings the hand the decay of its sculptor well mocked colossal wreck bound trunkless and despair! at the estates at lanuvium nothing’s heard sneer of kings of stone trunkless things looks forward to dessert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . near these lifeless cold commands commodus who said two vast deserts? . . . . . . . . . . . . . . . deserter near the decay of that sculptor’s cold command, who said bonespur—too vast to despair? fountainhead of the empire bank of nothings … look on these lies who’s even from an antique land anymore, big beautiful half sunkshattered visage king of sneerstone stand behold mock sculptor well of passions that sculptor cold commodias, king of stone stand desserted. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Really Big Beach

the boy’s fingers tie
a dozen plastic
battleships
with copper wire
to unstretched canvas

anselm kiefer
mistakes
monet’s grainstack for
pure painting

tell the story
of colin powell
at the united nations
advocate of war
in 2003 his staff
covers guernica
with a curtain
atlantic blue

anselm kiefer
purchases
the mülheim-kärlich
nuclear reactor

i swipe my plastic
hammer i have
no respect for
other languages
or birds or the elderly
parked diagonally across
three quick edwardian lakes

i smile into a german car
i wish none harm
the past squeaks when
i am violent
the air forced from
my plastic head

i implore you
save yourself please
please i can’t
do it for you
i won’t

Fuck Theory Kill

Wikipedia Poem, No. 880

On hand acidic trap in the bowel of what I’d contained with soft steel wire. Am I alive oil, salt, too late now I’m 28 and acidic trapped in this newspaper executive security forces in the making like delicate membrane fangs. The dog struggles in the bowl. The bowl of nervous broiled potatoes, olive who pretends he’s a word: I’ve got to brandish fangs. I strain at the calcium light a less periphery universe? Bowl of bloodless bone of bloodless bone

any work that creates discomfort “makes officials here nervous.”

Of bloodless bone of broiled potatoes In a way every newspaper executive who pretends he’s got the word: I’ve got to wire the bowl of torn flesh refers to background themselves off conside Myles Brecht less bone than broiled potatoes. In a way several different mixtures of contaminated withering electronic senses someone else’s fairly compensated to be? A bowl of flourishing myself. Sick and acidic trapped in themselves of torn flesh. My lips burn. I stop reading magazines and

any work that creates discomfort “makes officials here nervous.”

Acidic trapped in hand the french dykes burn. I stop reading. Suddenly a tired bind: interred in my mouth: I’m not sure If I enjoy it themselves consider Myles Brecht less bone of broiled potatoes, olive who pretends he’s the word: I’ve got nothing to do today. I stop reading magazines and son. The leaf sure I enjoy it cost broiled potatoes stretches brecht less bone of broiled potatoes — in a way several different mixtures of wire then copy editors hurl themselves far above

any work that creates discomfort “makes officials here nervous.”

Themselves above contained with soft steel wire. Am I alive Who pretends he’s words: I’ve got to be millefiori i’ve got to bind tired: That term, i’ve got to be? A bowl of broiled potatoes in magazines and the bowl of broiled potatoes struggle off condo roofs — And don’t call the jump acidic trapped in the money to be honest — even they’re flesh. My lips burn. I stop reading once free the copy editors hurl themselves

any work that creates discomfort “makes officials here nervous.”

Myles Brecht tossed off condo roofs — and settling myself Sick and the bowl of nervous flourishing electronic something or other myself Sick metal tin? covered in thousand books Myles Brecht less bone than broiled potatoes. The dykes burn. I stop reading electronic someone else’s fairly compensated to be useless bone of broiled potatoes, olive oil, salt, too much pepper Burns my mouth: I’m not sure If I enjoy it is too much pepper Burns my mouth: I’m notorious

any work that creates discomfort “makes officials here nervous.”

Sources:

  • Qin, Amy. “Their Art Raised Questions About Technology. Chinese Censors Had Their Own Answer.” The New York Times, The New York Times, 14 Dec. 2018, www.nytimes.com/2018/12/14/arts/china-art-censorship.html.
  • “Guangzhou Triennial Pulls Works on Biotechnology and Artificial Intelligence.” Artforum, 17 Dec. 2018, www.artforum.com/news/-78111.
  • Dewey-Hagborg, Heather. “Artist’s Statement.” Deweyhagborg.com, deweyhagborg.com/statement.

BODYGOD

Wikipedia Poem, No. 878

 

ONE

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TWO

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THREE

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