Big Fire (The Black Wind Begins to Blow)

Wikipedia Poem, No. 955

The Black Wind Begins to Blow

be good at everything astride a famous quote
jack views composition in the best way possible
man philosophy don’t take things u want to eat
every good type of advice is basically aimed
i am a very good dreamer
i feel the avant-garde … a matter of review
i think even if u are studying a famous quote
jack of view and a matter of revenge
u may be
u want to eat cheese
so have your revenge in the best way possible

my personal point of view
don’t sever anything
take sewage in the best way possible
to eat could be good
that composition is written with pure heart
and time is written with pure heart
any particular fields become a good dreamer

i feel that that that type of field dreams people
i feel that cheese however good will always be a good dreamer
i feel that type of view is an excuse to be good at everything

pathetic and parasitic movement aimed to eat
could slip pain under it is nothing but pain under it
and an excuse to eat at everything
u will be possible
studied slit
under it be presented by me in the best way possible
eat my present in the field of good
that any particular field will still be presented by me
in their fields people will be good
that any pathetic movement aims and criticizes
we feel thy master the bodybuilder in any particular field
people are possible because it is written with pure heart
and a matter of view and composition in the best way possible

so how much beloved angel
which manner of advice to eat
be a good dreamer
i feel basic admiration
matter is human philosophy
and an excuse to try hard

that type of advice could be very good
or bad in their fields people will be
presented to me in the best way possible
studied under a master tree even
if u are good dreamer i feel then
compelled to master my limbs
it is human nothings
u want to eat but every good possibility
does a below average job
you want to because it is hard to maintain that type of view
and don’t

Please let me sleep

“The bike I was thinking of buying belonged to a friend. Before I could buy it, I crashed on it, riding as a passenger behind my friend, with a beautiful girl squeezed in between us, three on a bike, a Triumph, going far too fast, all of us drunk, around Place de la Concorde, and slipping out of control on the wet cobbles at 4:00 a.m. Pardner, don’t get on a motorcycle with drink in you.” Frederick Seidel

Cortinarius Claricolor

Wikipedia Poem, No. 675


title plato
reading erosion
title coiled vibrating string
boy reading how did he hide
so michael keaton in birdman of you
each i’m the wrong person to ask
i don’t actually know the man
i’ve heard his name mentioned in passing
you’d have to know the particulars experience
every idle plot mostly cell phones ever idly plot
circles go on shenanigans hide the title michael
keaton reading nevermore idea all clear
on set the next outlay of black string
round round round then overtop
plato erosion title reading never
notice the hockey puck
what hockey puck?

Your necklace sure is SOMETHING, Dick!


.”porary ok.”narration”ation is the wodrk tvhe manu
factual wrok.”cturing of the ork ation”ati ual w

VvidaD Ssheed

“Conte8mmmporary narration is the account of tvhe manufacturing of the wodrk, not the actual wrok.”

Daivd Shiiedelds

“Contemporary narration is the accsjrount of the manufacthuring of the work, not the actaul work.”

David Shiieelds

“Conttjemporary narration is the account of the manufacturing of the work, nto the actual work.”

David Shiields

“Contemporary narration is the account of the manufacturing of the work, not the actual work.”

David Shields

“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.”


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