Are You Rea (Robert Heinecken, 1964-68)

Wikipedia Poem, No. 721

w721

Joseph M. Gerace. Justice Building. Hackensack, NJ. 2018.

gaze     hesse objective    their reasonable           bro        
however  the submerged bitch        understands broadly felt 
brecht  answer the gaze    daily 
some deception of detachment hooks that projective      of a logo (a 
certained composition      as if subject           if        
that looking and this            opposition were simultaneous

expensive  replay for cumbersome degree of life         say:  picture  
say           to happen say        to the  choreographed simplex protested — persona 
degree of photo's           size               the risked  up  
wearing and waving     with small schools beyond a doubt         
but his opposition to life              however           
expensive that logo'd thing (a ceremony broadly felt by brecht

“Fights about artistic tastes are nearly always about submerged social hostilities”

Wikipedia Poem, No. 685

Processed with VSCO with f2 preset

the past year had declined by 45 percent 
between 2002 and 2012   the most beautiful 
and common weed in the world     down 
to 6.7 percent of the 
population endowment for the survey of arts 
participation   the most beautiful and common 
weed in the world     
      released in 2015   the most beautiful 
and common weed     found that 
the number of americans who had read at least 
one poem in the past year 
had declined by 45 percent of 
the population released in 2015   the most 
beautiful and common weed in the world     found 
that the number of americans who had read at 
least one poem in the past 
    year had declined by 45 percent of the 
population released in 2015   the most beautiful 
and common weed in the world     found that 
the number of americans who had read at least 
one poem in the past year had declined by 45 
percent 
between 2002 and 2012   the most beautiful and 
common 
weed in the world     down 
to 6.7 percent between 2002 and 2012   the most 
beautiful 
and common weed in the world     
down to 6.7 percent between 2002 and 2012   
the most 
beautiful and common weed in the world     
6.7 percent of the 
population endowment for 
the arts survey of arts participation   the most 
beautiful 
and common weed in the world     
released in 2015  
 the most beautiful and common weed in the 
world     
found 
that the number of americans who had read 
at least one poem in the past year had declined 
by 45 percent 
between 2002 and 2012   the most beautiful and 
common weed in the world     down to 
6.7 percent between     the most 
beautiful and common weed in the world     down 
to 6.7 percent between 2002 and 
2012   the most beautiful and common weed 
in the world     
down to 
6.7 percent of the population
       in 
2015   the most beautiful and common weed 
found that the 
number of americans who had read 
at least one poem in the past year had 
declined by 45 percent between 2002 and 
2012   the most beautiful and common 
american who had read at 
    least one poem in the past year had declined 
the most beautiful and common weed in the world     
down to 6.7 percent of the population endowment 
for the arts survey of arts participation   the most 
beautiful and common weed in the world     
released in 2015   found 
that the number of americans who had 
read at least one poem in the past year 
      had declined by 45 
percent of the population believed 
   the most beautiful and common weed 
in the world     that numbers 
americans at least 
once 
in the past year between 2002 and 2012   
the most beautiful and common weed in the world     
down to some percent between some years
and some worlds     down to 
the most beautiful 
and common 
weed in our 
fathered world

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Source: Wilson, Carl. “Why Rupi Kaur and Her Peers Are the Most Popular Poets in the World.” The New York Times, The New York Times Company, 15 Dec. 2017, www.nytimes.com/2017/12/15/books/review/rupi-kaur-instapoets.html.

RNG (Robbins v. Goldsmith)

Wikipedia Poem, No. 663

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in that particular place
at that precise instant 

virtue in late fall      sniff
modernism rhyme disappear 
from poetry sometime in late fall    sniff
jealousy
the primary output of modernism
rhyme disappears from poetry sometime next week
early winter    is that   sunrise
or sunset    culture moving        
thereby the young reproduce    like culture
and naive move along       high-end users 
ibid 
originality    the key party of modernism
rhymes with commerce 
disappears from poetry sometime in late winter
when     on average     users taste drambuie and tang 
in 1910 if surrealism happened today    in early spring
it would be over in a logarithmic curve 
along with technology's potted hipsterism 

ibid     originality 
ibid     fetish object 
ibid     of average users 
ibid     modernism
ibid     rhyme

Free of Language, Freedom and Confidence

Wikipedia Poem, No. 583

“— I took several steps to the right, and saw / Kennedy was paper-thin,” Frank Bidart

       flow of creative shackles one purpose, but 
upon its existence 
a         machine of possibility of language man in a language making 
toward liberty,       free of language freedom and confidence 
a machine of creation 
untethethered of creation untethetic, made 
with speed and confidence 
a machine of possibility of language man in a language 
man in a language man in a language free of fairings man in a   
language free of language 
on one purpose,        but upon its existence 
a machine of creative shackles 
one imagines one imagines      one imagines one 
imagines one purpose, but 
upon existence its existence a machine of language 
man is a language man is an essence on two wheels in a language 
man of one purpose, upon existence its existence a machine of     language 
man in a language making love toward the wheel this 
is the liberty, freedom and confidence 
of language machines

The Two Orchard Thieves

Wikipedia Poem, No. 577

w577

these two orchard thieves
a series and a brother the spirit seems somehow yet
feminine oily laughs when campfire staircases rise
up like milk our bodies sculpt a cheap iron colocynth
breaks our ranks touch again
doves watercourses a campfire
family laughter incorporating me
as simple as poetry
is a series and brother the black brawl
breathing cannibal horse

Have you ever heard of Piero Manzoni?

“I should like all artists to sell their fingerprints, or else stage competitions to see who can draw the longest line or sell their shit in tins. The fingerprint is the only sign of the personality that can be accepted: if collectors want something intimate, really personal to the artist, there’s the artist’s own shit, that is really his.” Piero Manzoni

Oh, honey… Who can deprive a word of its meaning? Do you claim the words when you arrange them? Do you borrow them? Lease them? Leash them? How do you own them, particularly?

Have you ever heard of Piero Manzoni?

You are a vector. That’s all. I am a vector, too. The second you say something is beautiful, or a poem, or art, it becomes that. It’s that simple. Anything else is violent colonialism. Stricture.

This is what post-modernism is about. And by post-modernism, I just mean a movement projected forever forward into space. Like a light never dying. Sure, you’ll stop perceiving it at some point, but your explication of your perception is just limiting the reality of that object. Those words ever only meant anything to you. What happens to them as they super-ball around the room is exactly as irrelevant and as cosmically important as the words (objectively) and you (also objectively.)

I poop on a plate and present it proudly as art, it’s art. I put your words in a grinder and call it a poem, it’s a poem. Nowadays, it’s all just a matter of will, marketing and polish. Meaning is expressed by how words relate to each other in the reader’s mind, not in the poet’s mind.

We’ve (I’ve) been doing this for years (times infinity) does the practice (product) gain meaning because it’s remembered? Remembered to what extent? To what ends? Because one can quote it? Because it has generational weight? Because it effects policy change? Because it puts one smile on one face for one fleeting moment? Because it locks one professor into her peach tenure track?

Ever wonder why Wittgenstein ended up designing doorknobs?

(I love you, btw, as a person who is interested in poetry. I’m not grumbling here, just twisting my own nipples to get a bit of magma flowing.)

Toothpaste for the Young Poet

Wikipedia Poem, No. 514

w514-sm3

to rescue to operate on 
the marks of infinity to be 
transcended against one's will

time rubbed into lather
	for your opponent every deck 
		underhanded or made gape

i'm less 
jorie grammatically 
buys a vowel
      
your immediate opportunity tomorrow
	fidget spinner i promise 
		it's not you it's me this working problem has 
       
your poem 
wants to be bleach with its brief 
heavy handed whitening as declension

suicide i'm still
	novice be let bezos-loose 
		keep it just   write deep mystery

new tooth shapes become octuplets 
holding hands ripe bipedal feelings 
unbruised "skin the concerned"-essential 
     
is this how surprise 
	tastes? great
		all my new deepstate teeth 

shaping edits 
a poem but 
it has a point: threatening 
  
your own image/experience of the stuff 
	and when i wouldn't make your art form 
		how weird 

to be bleached 
	on the castle keep 
		for posterity

Undiscussible (Such

Wikipedia Poem, No. 460

wiki460

“If it can be safely assumed that all things are equal, separate, and unrelated, we are obliged to concede that they (things) can be named and described but never defined or explained. If, furthermore, we bracket-out all questions which, due to the nature of language, are undiscussible (such as why did this or that come to exist or what does it mean) it will then be possible to say that the entire being of an object, in this case an art object, is in its appearance. Things being whatever it is they happen to be, all we can know about them is derived directly from how they appear.” Mel Bochner, 1967

an object
    use of a material object 
    not a thing
in this 
or explained 
or explained if 

furthermore we are undiscussible 
(such as 
    degree or extent in addition 
    forth comparative suffix -eron -uron
which to say that we can all be 
nature of an object    like    (simile 

in things being 
of language are equal 
separate an object in this or
explained or that all questions which
    fourteenth century utterance not requiry 
    examining doubt past participle stem of action 

due to them is in this 
or explained or explained 
or explained or all that they 
appearance things being 
    as here a qui the face form shape or
    in french to make into or face out of 

language of language
    of words what is said of conversation talk 
    manner of dialect merci mannerism
are equal but separate an object in this 
explained or explained or explained 
or all questions which due to their 

appearance things being of 
an object in this or that 
all we bracket-out all we can know 
about that
         dark enveloped in darkness 
         original sense blindman's holiday

Mary Ruefle

think like that
no like that

sniff around a burrow
don’t hunt birds

think like this
no like this

raccoons yes groundhogs
yes opossum definitely yes

think for yourself
no not like that

not the robin though
nor the house sparrow

here give me the controller
let me have a go at it

nor the half dozen finches
gathered near the volkswagen

put your hands up
don’t move a muscle.

Two a Rhythm of the Mind

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“6. Greek mathematicians did not think one was a number because the concept one did not involve number. To them, two was the first number. And the hybrid marriage of one, which was not a number, and two, which was, begot three, the second number. And from one, two, and three, all other numbers proceeded, so that all odd numbers had in them an element that was not number. This is why Plato said that the leap from one to two was the leap to rationality.

Leonard Bernstein, speaking of music, said that two was a rhythm of the body and three was a rhythm of the mind. This has been contested by people who say that three is a rhythm of the body and two a rhythm of the mind. Not everyone has weighed in on this subject. But it seems intuitively right, doesn’t it? To say that there is a groundedness in the symmetry of twos, off which threes seem to play, seem airier.”

Robert Hass, from “A Little Book on Form”