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

bike-sm

“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”

“Charles Bernstein”

cb-sm-tk3

 

Charles Bernstein,
Here is my litany,
How does it compare
To yours? Not a thing,
But an original tense,
Unknown to word, sound
Or light—the carefully pent
Birthday present
Approximately the size of a bowling ball
And the weight of a human heart
As you remember it—
Bowed and hysterical, still
Forever and unobserved.

Wikipedia Poem, No. 306

wiki306

control is most options
when information like butane
exhausts opacity with center flame

to lear the brush of many
added to infrared and behind
new york holds fortitude and fortune

and combines blends experiments
smoothing the based god the
scattering smash placement

a pc is any artist with a stylus wheel
hardboiled in the grass and smashed
what while opacity shifts over and over

and for the user forever this can be paid
for these second and third brushes dipped
in setting but heard to shift

keep for the alliterative
and one could use
their design as company

Wikipedia Poem, No. 180

Untitled-2222-01

“The smallest girl / in the wild kid’s gang / submitted her finger / to his tomahawk idea — // It hurt bad, dropping off.” Les Murray

a word augustus?
on cities and positions
capability of technique

we are the same
original champions
success in superville

devices we composed in sophistry
this particular route through memory
our warehouses mine back rooms

methods of ariel
hawksquill studies
forget-me-not the mind’s sireling

desirings sprayed above dubbed imagery
from contact with einstein the words
of augustus sink to obscure paradise

Wikipedia Poem, No. 93

“Woman is part of the formidable workings that order the course of planets and the sun; she is prey to the cosmic forces that determine the destiny of stars and tides, while men are subjected to their worrisome radiation. But it is especially striking that menstrual blood’s effects are linked to the ideas of cream going sour, mayonnaise that does not take, fermentation, and decomposition; it is also claimed that it is apt to cause fragile objects to break; to spring violin and harp strings; but above all it influences organic substances that are midway between matter and life; this is less because it is blood than because it emanates from genital organs; even without knowing its exact function, people understood it to be linked to the germination of life: ignorant of the existence of the ovary, the ancients saw in menstruation the complement of the sperm. In fact, it is not this blood that makes woman impure, but rather, this blood is a manifestation of her impurity; it appears when the woman can be fertile; when it disappears, she becomes sterile again; it pours forth from this womb where the fetus is made. The horror of feminine fertility that man experiences is expressed through it.” Simone de Beauvoir


mouth

mother 
of 
times

reviews 
when it seems  
a fever   the 

book 
of justice 
shivers   watch 

it 
can feel when he and in him thumes 
a wimp

film and black of silence 
eyes stiff
they’re playing 

all randomness
the mother of 
theorism 

the book
        dies
at feeling 

when 
the main struggle to be 
true 

delivers   mother 
— that it can feel — unsettles  
into   another’s film 
    
his or her book   any thinker any way 
or 
at least the way the 

end explores supersuicide
to be 
grappling

against he against 
her stretched luxurious
across the pearl 

teeth