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

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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”

“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