Brenda Iijima’s Animate & Inanimate Aims is forthcoming from Litmus Press.

As well she is the author of Around Sea (O Books, 2004) and recent chapbooks: Early Linoleum (Furniture Press,
2004) and Color and Its Antecedents (Yen Agat Books, 2004). She is the editor of Portable Press at Yo-Yo Labs. Painting, drawing and photography happen concurrently with the poem
making. She lives in Prospect Heights, Brooklyn. The Portable Press at Yo-Yo Labs email is: yoyolabs@hotmail.com

Rob Halpern lives in San Francisco. His first book of poems, Rumored Place, was published recently by Krupskaya.

The poetry of Robert Lax (1915-2000) has appeared in collections by Grove and Overlook, and by Pendo Verlag in Switzerland. Lax began lifelong friendships with Thomas Merton and Ad
Reinhardt as a student at Columbia in the early 1930s. A contributor to the New Yorker and a Hollywood screenwriter, Lax lived in the Greek islands from the mid 1960s through the end
of his life.

John Beer’s poetry and essays have appeared in periodicals including Barrow Street, Chicago Review, Chicago Tribune, Crowd, Iowa Review, Review of Contemporary Fiction, and Verse. He was
Robert Lax’s literary assistant from 1996 to 1998. Currently a Ph.D. candidate at the University of Chicago, he edits poetry for Bridge and co-curates the Danny’s Reading Series.

Matt Turner has been published in Ur-Vox, Fence, and Horseless Review. He has also shown work at the Chela Gallery (Baltimore) and the Woods-Taylor Gallery (Providence). He lives in
Brooklyn.

Daniel Borzutzky’s Arbitrary Tales will be published by Triple Press in 2005. His work has appeared in many journals, including Fence, American Letters and Commentary, LIT, Mississippi
Review, Denver Quarterly, La Petite Zine, Blaze Vox and others. His translations of Chilean poet Jaime Luis Huenun appear in Circumference, and they will be hung on buses in Los Angeles as
part of the Poetry Society of America’s POETRY IN MOTION Series. He teaches in the English Department at Wright College in Chicago.

Kiki Anderson runs Jody Monroe Gallery with Mali Anderson. Her writing has been in Traverse, Gam, Fell Swoop, and Street Cave. She plays bass for Master Zaster Blaster.

kari edwards is author of iduna (O Books, 2003), a day in the life of p. , (subpress collective, 2002), a diary of lies - Belladonna #27 by Belladonna Books (2002), and post/(pink) (Scarlet
Press, 2000). edwards’ work can also be found in Scribner’s The Best American Poetry 2004, Civil Disobediences: Poetics and Politics in Action (Coffee House Press, 2004), Biting the Error:
writers explore narrative (Coach House, 2004), Bisexuality and Transgenderism: InterSEXions of the Others (Hawoth Press, 2004), Experimental Theology, Public Text 0.2. (Seattle Research
Institute, 2003), Blood and Tears: Poems for Matthew Shepard, (Painted Leaf Press, 2000). kari can always be contacted at: terra1@sonic.net

k a r a fe e
ly p r e s id
ent
of the
u n it e d h
earts m
ark boo
t h b il l
brenda m a r s h je
n n if e r w
ii ji m a r o
b h a lp e r a ls h e r a
n robert y b ia n c h
la x a n d i ja m e s
jo h n b e e wagner
r matt m ic h a e l
turner d p is a r o d
an mach
a n ie l b o
rzutsky li n
and mar
k booth
k ik i a n d
erson ka
ri edwar
ds anten
nae
covers by mark booth

antennae 7

antennae is published biannually, single copies are $6, two-issue subscriptions are $12, payable to Jesse Seldess at 2325 w ainslie #1 chicago il 60625

submissions and correspondence are hoped for—please use the postal address mentioned above, or use email: j_seldess@hotmail.com

antennae 7 copyright © april 2005 by jesse seldess

all rights revert to authors and composers upon publication

issn 1539-5308

Kara Feely is a writer, director, and performer based in Brooklyn. Her work has been seen in New York, Los Angeles and throughout Europe in various venues and festivals, including the
Fringe Festival (New York), the Transeuropa Theater Festival (Hildesheim), the Bulgakov Theater Festival (Kiev), and the Thespis Theatre Festival (Jerusalem). “Is this a gentleman?” is a play
comprised of 36 scenes. Any arrangement and number of scenes constitutes a complete version of the play in performance.

The Big Melt shadows the ruinous disorders of American politics and war mongering from three weeks prior to the 2004 US presidential election through three months of corruption following
the election. Private and public literary and political correspondence and conversation, among various other literatures and media are at play in the poems assembled, and more-or-less as
dated. President of the United Hearts, the collective responsible for this work of dissent, lives in the American Midwest.

Mark Booth is a Chicago artist and writer. His solo show “Panda Bear Insemination Team Picnic and Other Micro-Fictions” will appear at Bodybuilder and Sportsman Gallery in Chicago, June 3
- July 9, 2005. http://www.bodybuilderandsportsman.com

Bill Marsh helps run Factory School out of San Diego and is currently lead apprentice for the San Diego Poetry Guild. His work has appeared recently in Aufgabe and Score and should show
up soon in 26. His book, Tao Drops, I Change, co-authored with Steve Carll, came out in 2003 through Subpress.

Jennifer Walshe was born in Dublin. She is a composer, vocalist and improviser, and is currently living in Berlin as a guest of the Berliner Künstlerprogramm of the DAAD. www.milker.org

Raymond Bianchi is a native of suburban Chicago, educated at the University of Iowa. He spent most of the 1990’s living and working in Brazil and Bolivia. His work has appeared in Moria,
Near South, Poesia e Cultura, The Economist, Red River Review, Tin Lustre Mobile, Znine, and Fiera di Lingue. Ray’s book, Circular Descent, was published in 2004 by Blaze Vox Press and was
nominated for The Pushcart Prize. Ray is also the animator of Chicagopostmodernpoetry.com and publisher of Field Press of Chicago.

James Wagner is the author of the false sun recordings (3rd bed, 2003). Other pieces from Trilce have appeared or will appear in BathHouse Magazine, BlazeVOX, Bridge, Effing Magazine, gam,
Parakeet, Shampoo, and Typo Magazine. His requisite weblog is Esther Press (http://www.estherpress.blogspot.com).

Michael Pisaro lives in southern California and teaches at the California Institute of the Arts. His “Harmony Series”, a book of 34 pieces, will be published in the Fall of 2005 by Edition
Wandelweiser (Germany).

Dan Machlin’s 6x7 Series will be published in Spring 2005 by Ugly Duckling Presse. He is the author of several previous chapbooks of poetry and his poems have recently appeared in Fence,
The Brooklyn Rail, Cy Press and Crayon. Dan is founder and editor of Futurepoem books. He is currently completing a full-length book project tentatively entitled Dear Body.
 ERASURE IS INSUFFICIENT FOR DISPLACEMENT from IS THIS A GENTLEMAN?

there is a double winner bounce wink . . . a dead letter in-law,

the moment terror freezes; that was a tree, behind a tree that
once stood as a tree, without a count that could be a bush, that
was laid to rest, unnoticed between smoke and mirrors, where
all X’s have been placed, put in terror’s margin, stump-to-stump,
supporting the beforehands, afterwards and aboves, beyond
and below; that unnoticed leftover left nothing; but the original
hum, obliterated in the length horizon, sinking in a persistent
never; persistent ever blurring, persistent ever burning; half of
the last passage of a distant bombing; a sample letter for
grammar longing, deformed to another startling half-past
burning, lost for eternity behind a memorial, deformed by
pharaohs; another barrier upon the furnace; errors without a
name, a day stranded in letters.

90 / KARI EDWARDS KARA FEELY / 3

RENÉ’S BIRD

Mockingbird sings.
He’s high in the tree.
Flower lies on the ground.
Is life so simple?
Our hell finds joy in all of this.
Then the wind is so super
and the stars discolor
and oh, aren’t we
crazy to travel through
so much fatality.
SCIENCE

a woman of distinction estimates the significance and

extracts the components.

she perceives individual features and, with an air of

recognition, sets them apart.

this distinguished woman analyzes the features and the

characteristics.

she then divides, abstracts, undergoes and vaporizes.

There where the dangers splits, barely reacts,
where diverse attempts constitute a league,
it’s only the duke’s assassin who’s going to
throw it all into movement, more by a ruse
than by force, and thanks to the support
of the mayor’s office, he’ll put his hand
on the big citadels at the beginning of
the century. He’ll make pacts with the
oligarchy of the second-rate middle
class, and tolerate the passage of
power, but this will alienate part
of the gentlemen, and some of
these gentlemen back royalty
although many barons don’t,
like Antoine the too famous.
The moment is particularly
difficult, country people
are armed and ready
to run. Misery grows.
People are tired of
giving and he, the
duke’s assassin,
is no longer the
governor who
encourages
revolution.
From this
point on
he’ll be
heir to
the
crown.
OH, MY HAPPY!

I can explain may imagine sound not

and not me. A lot of sound for itself of
another and now me. Like the you on
the boulevard my inhabitual look ear
heart café. Any more than the warmth
my love walk beautifully. But also look
beautifully! Your ice more than blood
in springtime & your boulevard happy
wanders off then arrives to inflame me.
Cream for a bird but oh do imagine the
modernity of my endlessly happy.
FOUR

four o’clocks will be always were

this moment in the air.
the exact at this moment; wholly
fixed. the sun descends or rises.
another martini or wait for coffee.
four o’clocks breathe white and piss
noisy stripes and steam to attention
while music scratches.
always and exact.
four o’clocks wander off to where
are you. like music, set the set
and one’s heart on a platter,
to eat. classical, modern, exact.
MY BROTHER

Same sound of a brother who

left economics school to study
math and philosophy. Growing
silent the same sound of
economics are boring. If the
dogs if the dog if our dog is
eighteen months old my brother
is twenty. Around and around the
planet in travel he called us from
India to scold mother. We were
at a concert. That’s nobody’s
business. Same spelling in Spanish
but without the U. To be British is
not to be English. Same sound of
my brother growing older. A brother
who is older once a week meets
his sister. They have a great
everywhere because they are.
And because they have they know.
 from THE BIG MELT PARENTS
November 3, 2004
Sometimes I fight with my father.
Bush won Indiana is his brother happy What is interesting about him is also
I thought you were going to finish what is wrong with him.
Put a key phrase in their chairmen My parents and I get along well
What are you concerned about, because I seldom see them.
What are you worried about tonight? My mother and I get along well.
Let’s make sure everybody gets in I slug him every time, or,
Where are you? Take me into the world sometimes, my father and I dispute.
Selling the ‘oppositional defiant’ It looks like nothing ever happens
And post-election challenge but I rarely see my parents
Sixteen states about to close winners and this is because we get along well.
That colossal closeness margin We understand one another.
Reports are encouraging, cautiously My father and I are both industrious.
Optimistic urban vote counted My mother plays tennis.
Ohio, particularly when you look at
New Mexico it’s now a tougher hill
Let’s see if that happens 98%
The possibility of an error is so small
Ready to call creativity generic?
I thought people wanted change
The strategy ran words in the ground
Sprinkled mistreatment like prayer
An impassioned dilution
The linear and passionately felt
Fictional smear marginally did better
Pessimism must make an effort
This is a thesis paper, not a book
Assimilate up to 200,000 votes
Democracy, privation, and arrogance
The air is inked with cowardice
What else do we have to do? Devastation
Horror in over 78% of the precincts
“Tonight doesn’t seem a very good night”
Hostile instantaneous consequence
The ‘brutal beauty’ made solvent
Everyone’s focused to a second term
Yea, I’ve got a friend like that
Guns god gays the pantheon elected
What provisional are we living in

10 / PRESIDENT OF THE UNITED HEARTS KIKI ANDERSON / 83

The sirens
Of the silent city appeared and silently
Asked Annie Sprocket to get off her
Socket and join them for a round of
Tarring and feathering.
Little Annie Sprocket was tarred and feathered
In the courtyard of the courthouse
For the tweezing of old Ed Crumpet’s Peter.
November 3, 2004
The older we get the more we layer over
It’s the club of identity and of mediocrity
Why not hang up a sign: “No poor people allowed”
To step outside the identifiable, to refuse
More Americans voted against George Bush
Than any sitting president in history

She enjoyed being tarred and feathered The almost blissful absorption induced
For she was a member of the Mary Macho Society By this suspension
Who met each Tuesday evening in the Recreation Room at City Hall.
The big melt has begun
The members of the Mary Macho Society
Sang a silent song
As Little Annie Sprocket November 21, 2004
Was tarred and feathered
In the courtyard of the courthouse. A twist in black and white
The runoff of renewable imprecision
The sirens of the silent city Smacks your head
Sang: “Oh silent city, convince His keenly developed lampshade is closing
Us that the song we sing This mirror will show you what you wish to see
Is not being sung by us.” She wants to get down to earth
Do you want to eat?
The wolf, dressed in sheep’s clothing, The hillside hopelessly introverted
Silently sang: “Oh silent sirens, convince Has bled
Me that the song I sing Your slave understands what you read
Is not being sung by me.” I didn’t get to play like you
The reading is half melted, the reading
Little Annie Sprocket Can take anything from the air
Was placed on a rocket Its tough thought eats up all time
And sent to a land far away.

Old Ed Crumpet
Took out his trumpet
A silent gay tune he did play.
 The wolf grew hungry.
November 23, 2004 He sang: “Aren’t there any young girls to eat?”

A survey Monday by the Norway-based Fafo Institute for The wind licked the leaves on the path.
Applied Social Science said that since the March 2003 The rats scurried into holes.
Invasion, malnutrition among children between the ages The second act ended.
Of 6 months and 5 years old has grown 7.7 percent
From 4 percent Act III
Little Annie Sprocket appeared on stage.
Years of sanctions, tyranny and war have crippled the She wore Italian boots
Country, and even before the latest conflict one in every And had a look about her that made the men of the silent
Eight Iraqi children died before the age of 5 City whoop in silence. She produced an envelope from her
Hand bag
Lt. Gen. Lance Smith, deputy commanding general of the And placed it into the outstretched
U.S. Central Command, told reporters in Washington last Hand of one of the mayor’s men, a certain Ed Crumpet,
Week that humanitarian assistance in Fallujah was being A major silent player in the Text Clipping scandal
Provided by U.S. military forces, Iraqi security forces and Of the previous year.
“Other humanitarian organizations”
The wind kissed the windows
He didn’t elaborate, and relief organizations based in Of the room
Geneva said they had no idea which humanitarian groups In which
He was referring to The characters stood.

The citizens of the silent city

December 11, 2004 Watched in silence as

The window is closing, it’s perfect and soothing Little Annie Sprocket
They resist the changes rather than embrace them Sat on a socket
Its ornamental softness eschews the dispossessed And poured old Ed Crumpet a gin.
The impeachable pierces their supremacy
This mirror will show you my prisoner is more than She pulled on Ed’s Peter
Compensated – let people estimate And clipped it with tweezers
What is said is illiterate For the adulterer that old Ed had been.
Tyranny and war have crippled the country?
My thoughts are with you, though Ed Crumpet screamed in silence as the lights dimmed.
The heavenly collar and chain falls away
Let them throw a wide pass to center The lights came back on and Little
The loss leaves home in an invulnerable heart Annie Sprocket was still sitting on her
Its scheduled vibration Socket.
Is the ruin of our souls
Ed Crumpet, meanwhile,
Had vanished.
Act II
The citizens did not dream and they did not ask to dream. December 13, 2004

“No dreams to gobble, No dreams to be gobbled,” In the bestial frenzy of insatiability

Americans in flight escape the melting, fearful
Read the inscription Greeted and free to fake it; at the bottom
On the outer wall They had nothing - after all, they had seen
Of City Hall The end of the world
Whose arches were Ionian. Had lived through it to comprehend
An inordinate, extraordinary cornucopia
The silent citizens staged a séance The sacrificial bedding, mattresses,
Calling forth the souls of those silent Are you being psyched out by the waves?
Sirens now dead from atrophy. “Oh silent sirens,” You are no longer gentlemen
They sang. “Wag your iron tongues and we will
Wag our iron tongues.” God rests his soul
It stands out sharply because of the end of it
The collective image
Of wagging tongues The voice of those who suffered
Was projected Displayed our own feelings
On the outer wall
Of City Hall, In Sabbath splendor
Whose arches were Ionian. You win the dinner
Your friend is mistaken
“I know you are dead and I am worried,” sang the mayor in silence to the sinister sirens.
“Blessed” in the poetic process of appropriation
“But what lies hidden beneath a worry?” sang the sirens in silence.
Sit in your chair or I’ll have to take it
Meantime: I’m glad I voted for you
Everyone tells me you’re moving at a snails pace
The wolf,
A hostage in a song long forgotten, There’s only one present for you to share
Lurked on the trail.
I’m going to eat the whole thing
He longed to unzip his skin
But
Was prevented from doing so by the mayor,
Who had instructed him to wait for a signal,
Which was a symbol of another signal,
To be communicated in silence
By the sirens
The moment the moon smiled.
January 21, 2005

Less tangible factors:

“They don’t love you anymore”

The smallest of all

If it’s your thought or thesis, a kind of free enterprise

For a world of creeps
Hung on the implacable unprepared
Invisible
Designated as ‘location efficient’
(You know how smart these people are)

Begins with a “dirty” interior of red, followed by

A general pattern of more turquoise as it spreads away
We often think that humans are immune to the lunatic instability,
Mistake, cancellation, admiration, drink, ring, fashion, celebration,
Cycle, lock, prop, investment, drill, transcription, benefit

Like at the end of the day

Its unconditional refusal to achieve
That what we do here on Earth
Has effects that go beyond a common
Destruction of life

The U.S. economy has a significant

Impact on the Sun, but sunspots
Have no influence on the economy

The “vanished asset”

The “something else,” the “comfort line”
Theory claims that they result from repeated impacts
But I question this ignorance
Of upper class shrift
Its contradictorily similar yet dissimilar
Dependence

Let’s play dead

 “Now the sirens have a still more fatal weapon than their song, namely their silence.”

——KAFKA, The Silence of the Sirens

Act I
The sirens of the silent city
Sang: “Oh silent city, convince us
That the song we sing
Is not being sung by us.”

The silent city, guarded by

Sinister sirens who sang in
Silence, was not a city but a
Symbol of another city, whose citizens
Sang a song about sinister sirens
Who ruled with iron tongues over another city.

(The sirens were actually sirens and

The song was actually a song).

As the sinister sirens sang in silence,

The citizens of the silent city
Snapped their fingers
To the rhythm of a bird’s wings.

“Oh silent city,” the sirens sang. “We worry that

The song we sing is not a song
But a symbol of another song
Being sung by other sirens.”

“Oh to be silent in a city,” sang the citizens in silence.

“Oh to be a sinister siren in a city of silence,” sang the sirens.
“______________,”sang the song.

In a silent city
The sirens
Sang in silence.

78 / DANIEL BORZUTZKY WITH DRAWINGS BY MARK BOOTH MARK BOOTH / 15

NOTION OF DEDUCTIVE STRUCTURE

in
for that matter
determining the structure of
deploy the concept
in the place of that of “deductive structure”
below, for
explicitly drop the notion
reprinted in this book
the notion of deductive structure
elements are aligned
(more or less) as any other
pictorialism in structure

of the introduction
that the asserton
growing explicitness in modernist
more or less
are in no essential respect different.
The recognition that
“thing-nature” and insist
is one of my first.

Be clear that nothing could be

shape as form
concept of the medium
the setting up of the illusion
distinct objects
to a
foundation.
“PROTO-CONCEPTUAL ART”

of abandoned area is where I had a lot of my my psyche.

Poetry and prose even more a photomontage of text and image could be conceived or upending
the image of the area of that kind a kind of destroyed...

As another of to transform (again and again) into an ever-expanding built city, beginning,
seeking, achieving as noted in permitted to abjure certain tacitly limited field a place on which
to rest the emotions.

A predetermined vantage as out of particulars by defective means as the poem’s “central figure”
as a concrete image upon and sustain books following the course to resemble above entrance
sea just how solid and stead.
rubric of the
the cultural systems
at once
was supposed to have removed
an accusation - you say it’s merely
advantage of the incoherence is that it gives theorists
was mounted.
That we should
that we should
concerns that find their way into these
aesthetic structure.
In this sense
to do so.
ROLL CALL

Getting it right and of speaking from addressing. And

rigor of achieving “we’ve all read...”
as sources of analytic authority without
(the unconcern)
out to solve
as long as
assessed and interrogated:
falling off a log to no point whatsoever.
As a shaper
to come to terms with
bringing off such change, there is
to say,
occurs when those contexts
you will see that for the most part
in my case
with words
what characterizes
to plow a relatively small
for the time at least, nothing
they so carefully
in your thoughts
go somewhere because they have not gone everywhere.
No, the possibility of our changing it
and adapted by those
who remain within borders
will only emerge if we remain inside
taken up by
in general for
and to practice it.
Historicization of the routine practices
taken
the assumed background,
the “natural.”
The surface of life and give
us by a line
so many hitherto invisible hands
the sedimented
the turn

MATT TURNER / 73
[. . .] Group 1: Groups 2&3:

red red
& &
green green
& &
blue blue
& &
green green
& &
red red
& &
yellow yellow
& &
purple purple
& &
yellow yellow
& &
red red
& &
purple purple
& &
yellow yellow
& &
red red
& &

Soloists 2&3:

white white white white

white white white white
white white white white

white white white white

white white white white
white white white white

white white white white

white white white white
white white white white
white white white white
white white white black
white white white black
white white white white
—
 WRITING ON THE WAR ROOM WALL
Group 1: Groups 2&3:

black purple
black purple
up above white purple
(no, not) &
black grey
grey
white grey
then fá &
(lack) black purple
black purple
yê (also)
white purple
&
red red
red &
red blue
to die, lose & &
people orange green
orange &
(present)
orange yellow
lie between & &
ín rén blue orange
blue &
blue purple
& &
(still) [+ is] grey grey
grey &
rely on / battle
grey purple
ìng (compare & &
to cause green red
green &
green orange
& &
yellow blue
yellow &
yellow grey
& &
green green
green &
green yellow
& &

22 / BILL MARSH
Group 1: Groups 2&3:

blue blue
blue blue
blue blue stop [+ tree]
& & middle one
grey grey ó bâi, which
grey grey dawn
grey grey
& &
green green
green green
to reside
green green
& & nî you
purple purple fó do
purple purple compose
purple purple
& &
red red
red red
come
red red
& & biàn; then
black red go (in
red relation)
white red
&
black blue
black blue
hoù (to wait)
white blue
& measure word
for objects &
black green (do, make)
green
white green
&
black yellow
black yellow
white yellow
&
black orange
orange
white orange
&
 Soloists 2 & 3: Group 1: Group 2: Group 3:

green orange orange

green orange
ér child green green green
nèi within green green
two (a few) green grey grey
green grey
green yellow yellow
green yellow
(no, not) (say) blue red red
blue red
(you) (make,
blue purple purple
compose) (come blue purple
be) (wait) blue blue blue
blue blue
blue purple purple
blue purple
blue orange orange
blue orange
gòn together
blue red red
cè (volume) blue red
again rong blue green green
in winter blue green
blue blue blue
blue blue
purple grey grey
purple grey
purple yellow yellow
purple yellow
purple grey grey
purple grey
purple purple purple
purple purple
purple blue blue
purple blue
purple orange orange
purple orange
purple yellow yellow
purple yellow
purple red red
purple red
green green green
—
[. . .]
 N. RIMES
Soloists 2 & 3: Group 1: Group 2: Group 3:
[template]
orange red red
orange red
orange green green evo cat
orange green eva sum
orange grey grey a e i o (you)
orange grey
orange orange orange
evo sum
orange orange
eva cat
orange yellow yellow
orange yellow 20_02
orange purple purple
orange purple resume?
orange yellow yellow sure
orange yellow a muse
orange blue blue
orange blue
a ruse?
yellow orange orange
yellow orange mum
yellow red red reuse
yellow red
yellow purple purple evo a
yellow purple evo o
yellow green green e i e i (thru)
yellow green
yellow grey grey
yellow grey
yellow green green
yellow green
yellow yellow yellow
yellow yellow
yellow purple purple
yellow purple
green blue blue
green blue
green grey grey
green grey
green orange orange
green orange
green red red
green red
N. 1
Solo 2: Solo 3: Group 1: Group 2: Group 3:

grey yellow red red red

yellow blue blue blue
reason moot yellow yellow yellow yellow
motive coarse yellow green green green
manic riven muse yellow orange orange orange
yellow purple purple purple
motive moot yellow grey grey grey
reason coarse
music must amuse grey green yellow purple orange

yellow blue green red

acute?
carve green yellow purple orange
a tome
yellow blue green red
a mute?
note grey grey white white white
of some
white white white white

reason rime black black black black

motive mire —
nervous ammo ruse
Soloists 2 & 3: Group 1: Group 2: Group 3:

red red
red red
red grey grey
red grey
red yellow yellow
red yellow
red purple purple
red purple
red green green
red green
red blue blue
red blue
red orange orange
red orange
red blue blue
red blue
 N. 2
Solo 2: Solo 3: Group 1: Group 2: Group 3:

grey green yellow purple orange

green
yellow blue green red romance mort
eros strum
green yellow purple orange ocean serum note
green
yellow blue green red romance strum
eros mort
grey green white white white craven rose omit
green
green white white white
green ascent?
green black black black trace
a mouse
yellow
a voice
grey green yellow purple orange cute
green
and moist
yellow blue green red

green yellow purple orange romance cure

green eros come
yellow blue green red restive oeuvre out

grey green white white white

green
green white white white
green
green black black black

yellow

grey green red red red

green blue blue blue
green yellow yellow yellow
green green green green
green orange orange orange
green purple purple purple
green grey grey grey
N. 3 from BLACK/WHITE ORATORIO

Black/White Oratorio is intended for performance by a chorus of 9 or 12 people, divided into three equal
groups. The First Group occupies center stage, the Second Group to its right, the Third Group to its left.
covet tao The First, Second, and Third Soloists are each members of the corresponding group. Soloists should step
costume air out from the group to present their solos and return at the solo’s conclusion. All performers should
service novice rain pronounce their parts as clearly as possible without striving for “expressive” delivery.

covet air A leader or conductor should be positioned so that all performers can see him or her without effort. The
leader’s movements should be as unobtrusive as possible, sufficient only to coordinate the performers’
costume tao
reading.
cantor never vain
Text written in more than one column for a single voice or unison voice should be read from top to bottom
convince? until “—,” and then from left to right, i.e.
crust
marine text one single voice
written column voice should
in for or be
avert more a unison read
moon than
unseen —

covet smart as indicated above. Where multiple voices are indicated at the head of multiple columns, the passages
should be read simultaneously, coordinated as indicated.
costume art
monic to insane
Note: I was Robert Lax’s assistant on the island of Patmos between 1996 and 1998. One night at dinner,
Lax mentioned that he was interested in putting together a performance piece based on his abstract color
poems (like Black and White), poems that presented series of color words in rhythmic groupings. The
interest in performance went back a long way; Lax’s original literary ambition was to write comic plays, in
the style of Noel Coward. The Oratorio may have fewer jokes, but the aspiration to a perfection based on
timing remains. It took about six weeks to sort through color poems and assemble them into the right
kind of structure, though the initial inspiration—that a chorus/soloist structure would enable progres-
sive development of motifs—came quickly. The Oratorio has been performed twice, in September of
1998 at the Festival la Batie in Geneva, Switzerland (directed by Vincent Barras), and in August of 2004
for the Discrete Series in Chicago.

John Beer

ROBERT LAX WITH JOHN BEER / 65

 NURSED DEMULCENT CAKE
Equipment required:
______________ plastic drinking straw
insulation film
large clear bowl
sweetness grater
clear or milky plate
rain today, just need a little something to funnel down medium clear bowl
the spine, it’s this peculiar odor of dust and ochre handkerchief (secrete on person)
rising from the softer growth, some relations begin wooden birthing-guards
neutral cloths (at least 3)
to cohere like a place where no one lives anymore square of light-blue felt ca. 9”x9”
thinking all this under duress & up against the wall felt sponge (cream)
wondering how we ever got from then to now square brown paper ca. 5”x5”
trauma napkin (pink)
having merely said this, having said this. synthetic custodial gloves
resin optical guards
sterile apron
neutral tissue
invasion tools (at least 5)
cotton oral mufflers (at least 3)
undersized card megaphone with baffling
band-release cake tin
oral brace (perhaps)
heating-lamp, blue-bulbed or –gelled
softing jug
sound bin

Abbreviations:
s sound(s)
B breath
m mouthful
L lungful

Process melodies and motions:

All process melodies, ex. trussing mel. #34 [7B; gashy clamped tourniquet] to be devised by performer for
duration (in this case, 7B) and in manner described. The terms “sing” and “melody” can have almost any
meaning.

Process motions should also be devised by the performer. These motions are prosecuted using any part or
parts of either/both hand(s) and/or arm(s) above (superior), in front of (anterior), behind (posterior), below
(inferior) or beside (adjacent) the object of process.
JENNIFER WALSHE / 29
Workspace disposition:
Establish acoustic-culinary triage on table as shown in diagram below. Three triage zones should be
established following the standard ABC mode – A ssembly (dock and pending), B riefing (abuse/order), !
C onvalescence (with heating lamp and nursing area). Situate sound bin on floor and all equipment bar
tin and lamp at pending area.
fall-out into truth, just lob anything that throws
one example being the desiderata of remembering
A Pending B C the present, or sampling its latex hose for pores
Area evidentiary leaks, everything appears likeminded
Tin
to withstand so virulent a strain, spoons
stapled to our chests like armor, the sickly streams
Dock and bleached, there’s been a shrill though fatal thud
Lamp
a patch of hair or anything to stand on, standing in

for or against such breathtaking disproportion

When equipment is discarded, it should be placed in the sound bin. the sense of this can’t be gathered up in scales
when all these faces turn up in stills now crushed
into the sands, the ‘pink opaque’ erasing every sign
Balm
1. Gestation and revival. Position plate in dock in zone A. Take a few steps away from table, and
stand straight, feeling the biological imperative of every creature calling out to you. Immaculately, allow
lungs to become pregnant with 1L coagulant s. Witness the tiny germination of the s over a 9B gestation !
period. Holding these s in your lungs, initiate a stabilising breathing pattern, gusting your oral cavity
with mouthfuls of air in alternating directions for 34B, noticing your torso swell. Take a final breath into
your body, contract oral aperture to nil and hold, torso continuing to balloon and drift up for several of local need, the question of place remains beyond
moments, until the contents of your lungs demand their natural right and a sudden deluge of neutral recognition, there being no foundation for the thing
fluid bursts through, splashing over your body and onto the floor. When this has evaporated, move to to come will flood tens of thousands, respectable merchants all
plate, place elbows in stirrup posture on table and quickly birth 1L now thick-set coagulant s onto the doing capital business, when the awful news dissolves
plate, remaining aware of presence of birthing snood. Use wooden birthing-guards to prevent the s
slipping off the plate as necessary. Briefly physically recess, resist impulse to push violently with exchange , alluvial folds rife with our degraded interiors
abdomen, regain composure and heave 1m sweet fudgy talc s onto handkerchief, then place in pocket. shaping mutual alleviation in strains
Tilt and gurn the plate to drain excess fluid from the s, mopping with neutral cloth. Mould, then chew of want diminishing what you hear being
and bite on the birthing snood connecting your lungs to the s on the plate whilst singing trussing mel. but the erosion of sound, this decay of tone
#34 [7B; gashy clamped tourniquet]. Blanket with light-blue felt and evacuate plate to advanced help at
zone B. Massage personal lung area with fisted hands for 4B to encourage sonic clotting.

Paste
2. Quarry and designate powder. Embed 3L screams in felt sponge; wipe interior of large bowl
until abraded. Insert plastic straw into mouth, raise bowl up, cradling in left arm, so that tip of straw
hovers at upper rim of bowl. While prosecuting sounding motions on the side of the bowl, feel your body
 [ THE PLACE OF FUTURE ACTION
— BEING CHOKED INSIDE A TUBE]
what gloom accrues—archaic—like Tuff-Kote® on the Galaxie
! inclines, hills and plateaus, and more importantly craters, dunes and valleys over 11B. The latter three
being a question of place, so vehicular and roomy
where the feet are, having arrived inside
a way of picturing tall things, go on lurching
limbs macerate on Formica counters, our
white floors imputing unrelated bodies, extracting them
by the thousands amassing in a vault, the margin
of our full-time occupation where precedents bulk
our binding theme concurs there’s no such place
!
as this at all, the imputation having been determined
erroneous, self-images, the hair and missing mortar shells
pictures, we feel pressing on the loss of woodland
‘scenery’ sinking under national, when our transmission goes
just bellies up and dies, goading future publics
modular blocks becoming girders, building
frozen speech goes unrecognized as the essential
material beneath which all the stone, the walls and white
spreading over something, having to write this
under the influence of ‘the sum of human resources’
that ‘gutted corpse,’ though uncounted, being among these
things careening into tall & standing others, funneling
62 / ROB HALPERN
turn into a mountain, witness the room surrounding you being transformed into a rolling valley. You are
huge and every detail of your personage is a feature of a vast and alpine landscape. Feel the millions of
tiny miners working inside your body, buzzing along railroads of metal floss built on veins and sinews,
feeding their canaries tiny crumbs of gently-made sandwiches, then seating them on your platelets.
Watch the miners scan and pore-test for different powder s, locating soft talc, gypsum and calcite. Brace
self and shudder body with 2 interior blasts, then mine 3L of brittle powder sounds, ejecting them
through the straw into the bowl, using intermittent pestling motions as needed. Distance mouth from
straw, place bowl on table in dock, and use tip of straw to disturb and landscape the powder s, creating
should be named (in impromptu ceremonies involving curt entitling melodies of your choice) after the
authors of pulp romance novels commonly sold in drug stores; TV-show warrior princesses which small
boys wish to wed; and alternate names for candy bars used throughout the world. Discard straw and
distance bowl to contemplate its newness at zone B.
Dulcet
3. Infuse sweetness. Swathe the sweetness grater in insulation film and set in dock, while
inhaling clouds of puffy mallow s over 7B (increasing body mass by 26%, tummy yielding easily to touch
in a Rabelaisian manner). Deliver 1L cloying s to grater, then watch drool flow weightily over perfora-
tions. Present 14B candy floss s to surrounding atmosphere, fashioning floaty sugar-spun clouds tinged
with the bruised pink of cake in snow. Bat gently at these clouds with the backs of your hands and zones
of fleshy milk-testing on wrists, buoying them with light-breeze-strength air-support over 7B. Snort 1B
fine powdered sugar s through nose, glancing clouds through the candied haze. Allow to settle and
dissolve. Gaze lovingly at grater, cosset and dandle while ladling whipping mel. [8B; fawning teeth ooze
smooth metal nectar] on top. Bed cooingly in zone B.
Tallow
4. Response Testing. Place medium bowl and brown paper at dock. Limber vigorously and
achieve bodily state of heat over 4B, then sing sterilising mel. #76 [2B; clinical sorting and isolation]
while folding trauma napkin to fit in bowl. (Napkin-folding should follow rhythm and patterning of
gavotte dance-steps from Baroque period.) Nestle napkin in bowl, don synthetic custodial gloves, resin
optical guards and sterile apron, turn attention to brown paper. Pause for several heavy moments, then
jack open mouth with hands and spurt 4m grease and 4m suet s onto the brown paper a mouthful at a
time, alternating sounds so that they become interleaved. Wipe mouth with neutral tissue, discard, then
transfer brown paper quickly to trauma napkin in bowl and engage in full examination of s using
invasion tools. Sing scrutinizing mel. #9 [17B; low snatches and direct orders in your special medical
voice]; while prosecuting attendance motions, losing pulse, massaging and defibrillating as sounds
continue to crash and resist resuscitation. Finally, engage in Response Testing of tallow, establishing
total legal coma state according to the Pollockshaws Ingredient Coma Scale (no verbal response or
complaint from s; lack of sonic response or flexion in response to pain; sparsity of fissure opening under
air stress). Bitterly declare coma state and remove gloves, guards and apron, balling and shoving roughly
in sound bin. Move bowl to zone B.
Instruction and Transfer
5. Intimidate and drill. Check all vessels in zone B are lined up neatly. Straighten person and
insert oral mufflers (cotton). Take up megaphone and put the fear of God neatly into the s, unleashing Reminiscent search parties
torrents of disdain, barking abusively rhetorical questions, and making megalomanically arrogant Their shoulders rustle the festive streets
statements about the expected status and function of the s and their cohort in global terms. Poke and Nocturne slow merges in spurs
smack. When the s have been sufficiently intimidated to the extent that the vital, living daylights have Suspicion bunches around rose bushes
been scared out of their bodies, abruptly switch tack and explain to them that you want them to follow a Collective cries mobilize a movement
few orders, stating that if they can get it into their thick fucking pussy skulls to follow a few Kick over inert signs
motherfucking orders maybe you will be able to make Marines/men out of them, goddamn it to hell, you Mad rough lineage tied to swords
bitches. Instruct the bunch of pussies on the transfer protocol they must respect to get them all into the Autumnal death forever often
goddamn tin in one piece, then finish with an enforced rousing chorus of an offensively patriotic song. Fox fire in the courtyard
Rummaging the blind variations
6. Transfer Protocol. With continued use of the megaphone, effect transfer of s from zone B to tin Are they themselves
at zone C, putting the s through their paces and intoning transfer orders. Each order should be intoned Blind
ceremonially, swallowed up in whooping off-balanced rhythms and nasal grabbing. Blind
Folded
Silence! Told
Cast loose! Of
Level out! Age
Take out your finger! Told
Get ready for primetime! Of
Run out! Discrepancies
Point! Lost
Fire! Ceased
Worm and sponge! Shouldering
Load with cartridge! A minotaur
Load and wad! Contemplative profile
Ram home! Gallant
Put in your finger! Pertaining to desolation
House yourself!

Violently goad stray s into tin as needed, click heels.

Convalescence
7. Invalid Care. Recess for several B, hearing the non-diegetic whirl of strings slowly cross-fade
with diegetic recuperation sounds, the whir and blip of industrial machines and advanced, hospital-
based warming techniques. Tiredly remove oral mufflers and discard along with megaphone. Move to tin
at zone C and sing settling mel. #84 [7B; calm pressing touch], whilst covering tin with insulation film,
tucking it in neatly and adjusting cover for neatness and modesty.

Switch on blue light and bend low, shining on tin. Clean and arrange area around tin, then sit and nurse
tin quietly through its convalescence. The nursing may include but is not limited to the following

Decanter hirsute ridges
The sheep shorn guise appraised
Blossom backhoe clad lad
Glance dresses spray waterfall
Tributary neck
Pylons perishable
Rot to caliber
Coal dark amulet
Jugulars’ headlong neck
Conflict breastplate ultimatum
Shrill through the woof
Angle in terms of image
Ruffles vibration
Towers catch hold of tone
Vessel bobbin
Un, un, un
Blown in diameter
Corrosion
actions: a) introduce a tiny glass of neutral fluid to the tin, if presented with thirst-like symptoms, b)
swab the brow of the tin with moistened neutral cloth (impress 2m neutral fluid and heat with sweating
mel. #10 [4B; warm and damp]), c) sing short quotes from popular songs in a low and soothing voice, d)
encourage tin to partake of refreshment by prosecuting slaking motions, e) wear oral brace and whisper
gossip about Spanish and Peruvian celebrities of your invention, f) engage in massage and other hand-
based recovery motions, g) sit by tin quietly through its secluded night, and h) offer the patient choice
tidbits of s (gruel, seed-water, meat-tea) in an effort to build up it’s strength. Observe the following
Beetonian directives concerning the offering of s:
i) it is desirable that variety be provided to the patient
ii) tempt the patient to eat by presenting s in appetizing tumblers, brightly coloured
iii) s will only be taken of, supposing the recovery of the patient
iv) encourage the patient’s willingness to imbibe s by ensuring they are not spilled or dripping
v) if an article is found to be peccant, do not disappoint the patient but rather offer another
Presentation
8. Discharge and Bathe. Leave the tin napping when you feel it is a few moments from full
recovery to blushing health. Pad soundlessly to zone A and introduce 1L neutral fluid to the softing jug,
relaxing into noise and full light as fluid draws to broth in jug. Carrying softing jug, burst brusquely into
zone C, switch off lamp, pull back film cover and jostle tin into full health. Speak cheekily to tin,
implying laziness goodheartedly. Release tin base from supporting walls and administer final physical
test to cake alloy, prosecuting matronly patting motions and singing efficiency mel. 7 [12B; bustling and
short of breath]. Discharge cake alloy to waiting area. Ladle broth over tin, glazing each salve-skein with
silver and opalescent s. Serve.
 AFTER A HARD SLEEP

Atlantis was an island nation that sank and gave us the Egyptians and the Toltecs. Avail tongue
It was said that beyond the Pillars of Hercules that men flew upon the wind and only broccoli Monopoly
was consumed. Amusement park
All rides oracular
Water and sewage are delivered through copper pipes although there is an additional service Socket vise and virtue
charge of course for removal of larger amounts of waste. The prices for installation of tubes and
valves of the half-inch variety do not include the the drain. That is only for wastewater not Pay thieves
effluents such as chemicals. For belief
Is done
At the Battle of the Somme the mustard gas sat in the shell holes causing suffocation.During the This conterfeit
march to the sea Sherman wrapped train tracks around trees. The best part about all of this is For the beautiful substance
that it is all in books. As if to add to the world
History is better
Note that the client is responsible for damage and loss while using the equipment and we are If beleaguered
not responsible, that is all. The service is only confirmed with total payment when the form is Give and take
fully filled out. Without the forms we cannot process relaxation. It is essential that every box be On slates
filled and every form filled out to satisfy the requirements. Aboriginal subaltern
Rid of figure
The paintings of the Russian avant-garde in the 1920’s were done many times on porcelain or And ground
with fabrics. The icon was replaced with a black square. Mirrors’ visceral cues
Musical aptitude
The ship was filled to the brim with immigrants and when it arrived many bodies had to be Grandeur, a jostling wave length
disposed of at sea to pass the sanitary requirements. Up quark spark song

The cleaning service is individual and the labor is done with a vacuum, garbage cans are
emptied once a day. The worst thing about a border is that they move in and move out.
I bet that Gandhi’s salt tasted better than most salts especially on a nice roast beef sandwich.

34 / RAY BIANCHI
 ULTIMATE CONCERN

Echolalia shepherd like The codex was first used by Cassiodorus in his Amalfian monastery. It was designed to provide
Nuzzles customers with the most up-to-date information. Websites are an essential part of our commit-
Less ment to improved, customer-friendly service. Before Columbus arrived over 20 Million people
Twigs lived on the island of Hispanola. These are dynamic and challenging times allowing for all
Less kinds of downloads. Pizarro landed in Peru with 130 men. God must have been with him when
Foil he landed. In recent years, several laws were enacted that amended local laws. In fact those
Less held as chattel were counted as 3/5th a person. The complexity of our mandate has grown and
Fruit the Grand Inquisitor was charged with rooting out heresy. Those condemned were burned to
purify them of sin. Jerome lived in a cave in Bethlehem where he translated the Bible into
To ache vulgar Latin and was attacked by demons. But he loved big fat fish cooked with capers and
Her olive oil. Abraham went our from Ur of the Chaldeans to a land that God would show him. The
Opolis augury highway was laid into the Earth cutting the soil to reach bony rocks.
The year changed in 999 but no one knew it then.
A top
Arched
Dioon edule. Awl
Then iron. Clad
Cut up smelt, no hills
Had totter clock told sooner
Moot hide and seek fetal seeds
Have eaten, troth crushingly star maker
More melodrama fenestrated
Lunch and after from a journal
Intent at the beginning wetness
Airport hard to believe
EASY OPTIONS METEORITE

The apse is 123 yards long, and 83 yards wide with the choir stalls set cleanly for the singing of Corridors cinch
the office. Where saints abide is always a controversy Eyes copy you

The coldness of marble, as the air dances against the ankles. The cracks in the floor add to the Eclipse of slit leaves
color and ambiance the most fatal décor. Mouths devour
Begging
Listening for quiet calls is a self-induced dream technique but without color. Effluvium from coital tweed
Destitute
A single soul in two natures floating like a lump of vanilla ice cream in a Coke. Oh happy souls Around a solitary wheel
and you the best of poets. Deep ruts of yellow
Mutation
Everything nears a downward slope, except where there are boulders obstructing . Coolness is Thrust peripheral
achieved with chemicals
Slack elbows
In Padova they have St Anthony’s tongue and jawbone encased in caramel. Plackets
Snares
A dint of suture and salve

A bridge contamination
Heretofore

Holds template, egg

Blackened rock
Catapulted in galaxy
Into armed branches

Perilously
We test the illusion
We collude

BRENDA IIJIMA / 57

No nuclear bomb went off
hidden in the fireworks.
No hand reached up and grabbed me
from deep beneath the lake moss;
I feel lucky I guess, lucky
for the insignificance.
SEM CULTURA
Figuras na sombra
dirty socks in the water
o sol de verão
burning the liquid out
mapas do pensamento
thinking about people that I do not know
o cheiro tropical
flowing into the sea
grandes lançamentos
listening for the critic’s rebuke
poesia dos gordos
and a table filled with cakes
nos seus dilemas
whom do I love?
obras fortes
like Guernica or Emile Nolde’s Crucifixion
mil palavras sobre bolos e sorvete
especially lemon
no espírito de uma pessoa grande e barulhenta e um pouco desarrumada
I hate when my shirt sticks out of my fly
todo os santos e todas as carnes juntos
cooked over a fire on a spit
the tank stands before the man
um abraço com mãos de ferro
CIRCULAR DESCENT

With a wink and a nod we are pressing Saudi Arabia to monitor charities that Without a champion, how
are funded by the tax dollars of people who work with their hands. These can we afford to die? It’s
Contributions should not go to clone babies of men who love cats and strong better to risk your passion
cheeses; they are not like us. On Tuesday, a woman, pregnant with a before impartial judges
terrorist was due to give birth but declined to give any details about her or at least anonymous
terrorist’s eating habits. This Terrorist girl bears a cross and a sword ones. What say you my lady?
that cuts the heart out of solace in broken streets. They burned the Jews
alive in Mainz in the Ghetto in 1106 as they went on a journey.

Scientific communities have challenged statements in the past that women

pregnant with terrorists are among us. Doctors and scientists reject
terrorist cloning as irresponsible, saying the risk of creating deformed
terrorists is too great and that it poses ethical dilemmas. The doctor said
that the terrorists are “absolutely healthy.” In May three women were
pregnant with terrorists. Clones born because their mother died of a water
borne disease unknown in the green-fat-land.

mexican farmers tramp through their farms with donkey drawn ploughs.
Planting a rock farm with little black soil, to make the frijoles grow
green.The ultimate goal that these farmers is to water gardens in suburbia for the
grandchildren of paddys and dagoes. Mexican farmers Increasingly find
themselves saddled with mountains of unsold produce. The produce rots in the
trucks because people like to eat boxes and not dull colored items like
fruit. Ask them to cut down the beef and dress it well for my table .

Women have fallen and hit the ground hard and on fire-twice in the history
of lower Manhattan. These aliens are so unlike the rest of us; they don’t
spend weekends at games and they are mostly communists when they are not
watering lawns in suburbia. We left our brownness somewhere between Ellis
Island, the Triangle Shirtwaste fire and Sacco and Vanzetti. The clones
live in Central New Jersey and they are green with envy.

Finally you were this thing
you couldn’t make go away;
a thing with a certain weight
that hung over your thin frame.
It was a thinking being;
you stepped and it stepped also.
from TRILCE
I
Ken has a taunted bell a, you know day should
test our lost eyelids cuban kids and dough.
On pock of musty consideration
in quarters serrated, temporary,
you see a quill late rare measure
he’ll go on knowing, the simple color salting the story
cue Brenda think of her,
and all insular co-rising,
so lover all can trace, a candy hill idea,
group parted.
On pock of musty consideration,
yell man till low liquids seize the latter day
THE LOST MAZE OVER LIFE BE MORE LESS.
Your lap and soul ape-erases
for lakes older, a puzzle aide, in Port of Rita
en-lilied mortal delicate liberty.
JAMES WAGNER / 39
III
Note: I never did these things—
a house on fire; running
Last personas may you rest out the door with a lost ring;
acute horror revolving? your door in splinters. Maybe
The last seas’ll sequel sand tease and go. a twister caught your memory
yah yester Moscower. in its pun. Still, I wonder?

Ma-dread is okay nod and marry her.

I killed it a night I’ve miled,

quit that out con ear for a hypodandy
a sea bend depose hour and dust us memories
the bladders are penance,
a seal’s ill excuse a quarrel, you poor dandy
last girl in asks is any costume to divvy,
she hands panted oat and toe.
Me or east mosque nomads.
Madrid jock nod Emery aria.

Yes no ten games plenty. The moose die and o

loss barcodes—elm eyes maze, bond, today, today!
can loss cool a judge most or duels and toads,
sin-pulleyer knows, commode bed sore:
hanky date any posed age you list us,
flat does he dull sheets for a man and a.

A garden’s a sea, o bed I enter and sigh most

re-mediocre, laugh at, elder graves
solid serum simple red lanterns
deja-undone in case a loss bequeaths us,
comes at a being no one trusts
nobody is more parted.

I killed a native am-muscle?

Llamobs, you coat and enlouse I died.
Name vines I have injured also,
yelling I care recluses you.
Choir of three boys. Parts of
speech. Unordinary light.
Persian blinds preventing it.
The house itself running out
the human race against some
wish to transilluminate.
XXV
Often all fields add heresies
at last junctures, I’ll find her, a lost test to share,
all sober let go the lost numbered doors open.
All fields you can’t lose the wolf parts.
I’ll rebuff her else who carried a dock of navels
does she love a simple american,
suddenly each of us end a spasmodic unfortunate,
compulsive speaking’s a bad habit
a sunny ass and a door’s ode laminates.
You love my how could you titless announcements
she tonsils your appeals, you’re a large man to
see an azalea hasn’t care and banishing
the last time a tiny ending.
Sober eyes almost resolves
all borders, but the end does the musty penetrating,
the scar appeals concisely see it colors
but you’re certain, that’s the last eyelash squandered
has the last eyelash gone near us.
Tell us excuse us a latent parody probed
free.
Tell all they envy tell us Rhondas. Tell all they rode on
we are lost planes futures,
you end though in an animal grief older relatively solo
fallible calendared accusative.
When entering all fields of heresy
ask enlist point out to us falsely the endless buried doors.
XXVI Writing a book in six lines
is a miracle. Come now.
Do you believe we can learn
Over ran an echo nude a tree anonymous truths about one another
key, incinerating the gardens of cities, attitude through a series of mundane
so long so, exercise? I think not.
augering orienting indecision
demure bundles all the hands raise,
they cause morbidity.

Nude all vined if she says so, one appearance for all,
my salad today’s the order,
they got shot at,
penniless.
Does she say so nuded lactating glandularly
tell them to sin in the air,
when a parallel back’s brilliant,
pair of bridges deplumed unserviceable
my experience lost praises can raise us!

As he enervates he’ll find, come on Toto,

come pollute adorable salons
they will end mascara,
a love a tournament fallen.
You see, does the ovary, concur trust all men,
you pair of key twisters.

The moon’s a water dullard

what does sand know loss properly deadens hospitals.
The sentences Grecian I’ll aspire a dented,
more on para-fear,
your ill media never knows pains,
even evening.

The soonest. A poem ardently arrests us kosher,

dusty pert ideas surely,
flesh has to elasticize seagull
the sanest only dust.

DAN MACHLIN / 51
SO LITTLE TO DO [HARMONY SERIES NO. 6]
for six or more performers playing very long, sustained tones

All color the only point

the problems go AS FOR US THOUGH,
Letter T
Too La Monte Young
Young the grief sodded or us touring
morning Saturday eyelash,
There is so little to do, and so much time to do it in.
cool breezes so do they long
in front of a morbid alleluia,
—George Brecht
across calmer wonder.

The duration (of each section) is 10 minutes.

A performance consists of at least one section, but the section may be repeated any number of
times (with each new section beginning immediately after the previous has ended.)

Tones are very pure, very soft, very clear.

Before the section begins, each performer decides on a pitch (any tuning).
With each new section the tone is retuned slightly, i.e., altered by no more than 25 cents from
the previous tone.

At some time before the 9th minute the performers begin playing their respective pitches
simultaneously and hold them until the end of the 10 minutes is reached.

January/February, 2005
 NOW [ HARMONY SERIES NO. 5]
for two musicians playing sustained tones

XXVII

nw
My damned (eyes) (is she true), O
h
brain recording, send her farther, implacable
S
cruel dull sir. My damned.
LoW
Is the case made entering being, entering h
lugging Paris no savior don’t they ask her. myGODye
ss
None tremor. My damned ideas toughen
they turn her for minutes, for plenty vole haters. —e.e. cummings
You know offenses, Senior Dull Chair,
recording valorous, stress
eloquence can’t hurt.
Lines are played in order.
He counted the night though, he’ll die first case and can’t nod, The duration of each line is at least one minute, but may be (much) longer, especially line 7.
Tone: any pure sounding pitch, any tuning of that pitch.
metamorphic dizzy ogler, your obituary
All tones are played very softly, very sweetly.
can plan more miss too much
Durations: short means from 5 to 8 seconds, long means from 15 to 60 seconds.
all the seconds actually died.

He’ll cheer oak know someone a comma vanishes, Musician 1 Musician 2

damn it, what for.
Recording valorous, you know offenses. 1 two short tones pause
Rubbing your dress exquisitely, silver, silver.
2 pause one long tone

3 one short tone pause

4 pause one long tone

5 one short tone two long tones

6 one short tone pause

7 two short tones, two times, three long tones

2nd and 3rd tones are the same pitch

8 two short tones (same pitch) pause

January, 2005
MY MIND IS DRIFTING [HARMONY SERIES NO. 4]
for from three to six musicians, playing sustained tones

XXIX

My mind is drifting, as if on a leaf, on a wave,

a warm current is pulling my brains out, away, away from me.
Soon pale tedium infrastructures
Therefore I must proceed in a thoughtless, indeed brainless,
beiger moments imprudent cities can I.
fashion, which could prove painful,
though I shall barely notice.
Persona parallel and
in great aligned compression deaf illicit day.
—James Tate My extraneous Saturday ferments, gentle as I want
in case a logic, queerly ascertains, can not.

Each section is six minutes long (each line below indicates one section). Hello right and bloody, hello by the meek coast
Each section has the given number of tones, which are to fit into that section. —pour down the ramp for us, nude gorillas?
Tones are any pitch, any tuning of that pitch, and may be of any length from 20 to 180 seconds.
Within each section performers may occasionally repeat tones (nonetheless included in the Of course is that the neck you adore, alone.
total number of tones played).
All tones are very soft, very pure, and very clear.

The piece is a kind of canon: The first performer enters with the first line and plays by him/
herself for six minutes. This performer then moves to section 2 for the next six-minute unit, as
the second performer starts on line 1, and so on. If six performers play, the duration is 60
minutes; the minimum duration (for three performers) is 45 minutes.

Section Number of Tones

1 11

2 7

3 5

4 3

5 2

6 1

Winter, 2005
 AMPLE [HARMONY SERIES NO. 2] ZEIT WERDEN [ HARMONY SERIES NO. 3]
for two sustaining instruments for four musicians playing sustained tones

to Kathy

Ample make this Bed — (Zeit werden.)

Make this Bed with Awe —
In it wait till Judgment break (Nichts tun.)
Excellent and Fair.
Nichts als Nacht.
Be its Mattress straight —
Be its Pillow round — UUU
Let no Sunrise’ yellow noise (atmen)
Interrupt this Ground —
—Emily Dickinson
—Oswald Egger
All tones are very soft, very pure and fairly long to very long.
For each tone any pitch and any tuning of that pitch may be used.
The total duration is twelve minutes.
Each part lasts five minutes. There is a two minute silence between the two parts.
The parts may begin and/or end with silences. There are four sections of eight minutes each (the total duration is 32 minutes).
Each section begins with a three minute silence. (Here the performers might read the poem by
Osward Egger to themselves.)
Part I:
In the next five minutes of the first and second sections, each of the four players finds one pitch
Musician 1: Musician 2: (and any tuning of that pitch) and sustains it, for up to five minutes. These tones are played
non-vibrato. (If the instrument is a wind instrument, a ten second tone is alternated with a five
1.) Three tones. 1.) Five tones. second silence for the chosen duration.)

2.) Pause. In the third section, the pitches and timings are chosen using the same procedure, but now
played slightly louder and with just a hint of vibrato.
3.) Two tones (the same tone repeated).
In the fourth section each performer finds, instead of a pitch, a very soft noise on their instru-
ment (with just a hint of pitch) and plays that for the duration. (For example, a bowed string
Part II: player might use the sound created by very lightly touching the string somewhere where there is
no obvious harmonic—creating a dense, grey mixture of noise and overtones.)
Musician 1: Musician 2:
All tones are very soft, very pure.
1.) Two tones (the same tone repeated). 1.) Three tones,
Use the pitch from line 3 above. each softer than the one before.

2.) Pause.

3.) A very long, very soft noise.

Winter, 2004 Fall-Winter, 2004

46 / MICHAEL PISARO
 AMPLE [HARMONY SERIES NO. 2] ZEIT WERDEN [ HARMONY SERIES NO. 3]
for two sustaining instruments for four musicians playing sustained tones

to Kathy

Ample make this Bed — (Zeit werden.)

Make this Bed with Awe —
In it wait till Judgment break (Nichts tun.)
Excellent and Fair.
Nichts als Nacht.
Be its Mattress straight —
Be its Pillow round — UUU
Let no Sunrise’ yellow noise (atmen)
Interrupt this Ground —
—Emily Dickinson
—Oswald Egger
All tones are very soft, very pure and fairly long to very long.
For each tone any pitch and any tuning of that pitch may be used.
The total duration is twelve minutes.
Each part lasts five minutes. There is a two minute silence between the two parts.
The parts may begin and/or end with silences. There are four sections of eight minutes each (the total duration is 32 minutes).
Each section begins with a three minute silence. (Here the performers might read the poem by
Osward Egger to themselves.)
Part I:
In the next five minutes of the first and second sections, each of the four players finds one pitch
Musician 1: Musician 2: (and any tuning of that pitch) and sustains it, for up to five minutes. These tones are played
non-vibrato. (If the instrument is a wind instrument, a ten second tone is alternated with a five
1.) Three tones. 1.) Five tones. second silence for the chosen duration.)

2.) Pause. In the third section, the pitches and timings are chosen using the same procedure, but now
played slightly louder and with just a hint of vibrato.
3.) Two tones (the same tone repeated).
In the fourth section each performer finds, instead of a pitch, a very soft noise on their instru-
ment (with just a hint of pitch) and plays that for the duration. (For example, a bowed string
Part II: player might use the sound created by very lightly touching the string somewhere where there is
no obvious harmonic—creating a dense, grey mixture of noise and overtones.)
Musician 1: Musician 2:
All tones are very soft, very pure.
1.) Two tones (the same tone repeated). 1.) Three tones,
Use the pitch from line 3 above. each softer than the one before.

2.) Pause.

3.) A very long, very soft noise.

Winter, 2004 Fall-Winter, 2004

46 / MICHAEL PISARO
MY MIND IS DRIFTING [HARMONY SERIES NO. 4]
for from three to six musicians, playing sustained tones

XXIX

My mind is drifting, as if on a leaf, on a wave,

a warm current is pulling my brains out, away, away from me.
Soon pale tedium infrastructures
Therefore I must proceed in a thoughtless, indeed brainless,
beiger moments imprudent cities can I.
fashion, which could prove painful,
though I shall barely notice.
Persona parallel and
in great aligned compression deaf illicit day.
—James Tate My extraneous Saturday ferments, gentle as I want
in case a logic, queerly ascertains, can not.

Each section is six minutes long (each line below indicates one section). Hello right and bloody, hello by the meek coast
Each section has the given number of tones, which are to fit into that section. —pour down the ramp for us, nude gorillas?
Tones are any pitch, any tuning of that pitch, and may be of any length from 20 to 180 seconds.
Within each section performers may occasionally repeat tones (nonetheless included in the Of course is that the neck you adore, alone.
total number of tones played).
All tones are very soft, very pure, and very clear.

The piece is a kind of canon: The first performer enters with the first line and plays by him/
herself for six minutes. This performer then moves to section 2 for the next six-minute unit, as
the second performer starts on line 1, and so on. If six performers play, the duration is 60
minutes; the minimum duration (for three performers) is 45 minutes.

Section Number of Tones

1 11

2 7

3 5

4 3

5 2

6 1

Winter, 2005
 NOW [ HARMONY SERIES NO. 5]
for two musicians playing sustained tones

XXVII

nw
My damned (eyes) (is she true), O
h
brain recording, send her farther, implacable
S
cruel dull sir. My damned.
LoW
Is the case made entering being, entering h
lugging Paris no savior don’t they ask her. myGODye
ss
None tremor. My damned ideas toughen
they turn her for minutes, for plenty vole haters. —e.e. cummings
You know offenses, Senior Dull Chair,
recording valorous, stress
eloquence can’t hurt.
Lines are played in order.
He counted the night though, he’ll die first case and can’t nod, The duration of each line is at least one minute, but may be (much) longer, especially line 7.
Tone: any pure sounding pitch, any tuning of that pitch.
metamorphic dizzy ogler, your obituary
All tones are played very softly, very sweetly.
can plan more miss too much
Durations: short means from 5 to 8 seconds, long means from 15 to 60 seconds.
all the seconds actually died.

He’ll cheer oak know someone a comma vanishes, Musician 1 Musician 2

damn it, what for.
Recording valorous, you know offenses. 1 two short tones pause
Rubbing your dress exquisitely, silver, silver.
2 pause one long tone

3 one short tone pause

4 pause one long tone

5 one short tone two long tones

6 one short tone pause

7 two short tones, two times, three long tones

2nd and 3rd tones are the same pitch

8 two short tones (same pitch) pause

January, 2005
SO LITTLE TO DO [HARMONY SERIES NO. 6]
for six or more performers playing very long, sustained tones

All color the only point

the problems go AS FOR US THOUGH,
Letter T
Too La Monte Young
Young the grief sodded or us touring
morning Saturday eyelash,
There is so little to do, and so much time to do it in.
cool breezes so do they long
in front of a morbid alleluia,
—George Brecht
across calmer wonder.

The duration (of each section) is 10 minutes.

A performance consists of at least one section, but the section may be repeated any number of
times (with each new section beginning immediately after the previous has ended.)

Tones are very pure, very soft, very clear.

Before the section begins, each performer decides on a pitch (any tuning).
With each new section the tone is retuned slightly, i.e., altered by no more than 25 cents from
the previous tone.

At some time before the 9th minute the performers begin playing their respective pitches
simultaneously and hold them until the end of the 10 minutes is reached.

January/February, 2005
XXVI Writing a book in six lines
is a miracle. Come now.
Do you believe we can learn
Over ran an echo nude a tree anonymous truths about one another
key, incinerating the gardens of cities, attitude through a series of mundane
so long so, exercise? I think not.
augering orienting indecision
demure bundles all the hands raise,
they cause morbidity.

Nude all vined if she says so, one appearance for all,
my salad today’s the order,
they got shot at,
penniless.
Does she say so nuded lactating glandularly
tell them to sin in the air,
when a parallel back’s brilliant,
pair of bridges deplumed unserviceable
my experience lost praises can raise us!

As he enervates he’ll find, come on Toto,

come pollute adorable salons
they will end mascara,
a love a tournament fallen.
You see, does the ovary, concur trust all men,
you pair of key twisters.

The moon’s a water dullard

what does sand know loss properly deadens hospitals.
The sentences Grecian I’ll aspire a dented,
more on para-fear,
your ill media never knows pains,
even evening.

The soonest. A poem ardently arrests us kosher,

dusty pert ideas surely,
flesh has to elasticize seagull
the sanest only dust.

DAN MACHLIN / 51
Choir of three boys. Parts of
speech. Unordinary light.
Persian blinds preventing it.
The house itself running out
the human race against some
wish to transilluminate.
XXV
Often all fields add heresies
at last junctures, I’ll find her, a lost test to share,
all sober let go the lost numbered doors open.
All fields you can’t lose the wolf parts.
I’ll rebuff her else who carried a dock of navels
does she love a simple american,
suddenly each of us end a spasmodic unfortunate,
compulsive speaking’s a bad habit
a sunny ass and a door’s ode laminates.
You love my how could you titless announcements
she tonsils your appeals, you’re a large man to
see an azalea hasn’t care and banishing
the last time a tiny ending.
Sober eyes almost resolves
all borders, but the end does the musty penetrating,
the scar appeals concisely see it colors
but you’re certain, that’s the last eyelash squandered
has the last eyelash gone near us.
Tell us excuse us a latent parody probed
free.
Tell all they envy tell us Rhondas. Tell all they rode on
we are lost planes futures,
you end though in an animal grief older relatively solo
fallible calendared accusative.
When entering all fields of heresy
ask enlist point out to us falsely the endless buried doors.
III
Note: I never did these things—
a house on fire; running
Last personas may you rest out the door with a lost ring;
acute horror revolving? your door in splinters. Maybe
The last seas’ll sequel sand tease and go. a twister caught your memory
yah yester Moscower. in its pun. Still, I wonder?

Ma-dread is okay nod and marry her.

I killed it a night I’ve miled,

quit that out con ear for a hypodandy
a sea bend depose hour and dust us memories
the bladders are penance,
a seal’s ill excuse a quarrel, you poor dandy
last girl in asks is any costume to divvy,
she hands panted oat and toe.
Me or east mosque nomads.
Madrid jock nod Emery aria.

Yes no ten games plenty. The moose die and o

loss barcodes—elm eyes maze, bond, today, today!
can loss cool a judge most or duels and toads,
sin-pulleyer knows, commode bed sore:
hanky date any posed age you list us,
flat does he dull sheets for a man and a.

A garden’s a sea, o bed I enter and sigh most

re-mediocre, laugh at, elder graves
solid serum simple red lanterns
deja-undone in case a loss bequeaths us,
comes at a being no one trusts
nobody is more parted.

I killed a native am-muscle?

Llamobs, you coat and enlouse I died.
Name vines I have injured also,
yelling I care recluses you.

Finally you were this thing
you couldn’t make go away;
a thing with a certain weight
that hung over your thin frame.
It was a thinking being;
you stepped and it stepped also.
from TRILCE
I
Ken has a taunted bell a, you know day should
test our lost eyelids cuban kids and dough.
On pock of musty consideration
in quarters serrated, temporary,
you see a quill late rare measure
he’ll go on knowing, the simple color salting the story
cue Brenda think of her,
and all insular co-rising,
so lover all can trace, a candy hill idea,
group parted.
On pock of musty consideration,
yell man till low liquids seize the latter day
THE LOST MAZE OVER LIFE BE MORE LESS.
Your lap and soul ape-erases
for lakes older, a puzzle aide, in Port of Rita
en-lilied mortal delicate liberty.
JAMES WAGNER / 39
CIRCULAR DESCENT

With a wink and a nod we are pressing Saudi Arabia to monitor charities that Without a champion, how
are funded by the tax dollars of people who work with their hands. These can we afford to die? It’s
Contributions should not go to clone babies of men who love cats and strong better to risk your passion
cheeses; they are not like us. On Tuesday, a woman, pregnant with a before impartial judges
terrorist was due to give birth but declined to give any details about her or at least anonymous
terrorist’s eating habits. This Terrorist girl bears a cross and a sword ones. What say you my lady?
that cuts the heart out of solace in broken streets. They burned the Jews
alive in Mainz in the Ghetto in 1106 as they went on a journey.

Scientific communities have challenged statements in the past that women

pregnant with terrorists are among us. Doctors and scientists reject
terrorist cloning as irresponsible, saying the risk of creating deformed
terrorists is too great and that it poses ethical dilemmas. The doctor said
that the terrorists are “absolutely healthy.” In May three women were
pregnant with terrorists. Clones born because their mother died of a water
borne disease unknown in the green-fat-land.

mexican farmers tramp through their farms with donkey drawn ploughs.
Planting a rock farm with little black soil, to make the frijoles grow
green.The ultimate goal that these farmers is to water gardens in suburbia for the
grandchildren of paddys and dagoes. Mexican farmers Increasingly find
themselves saddled with mountains of unsold produce. The produce rots in the
trucks because people like to eat boxes and not dull colored items like
fruit. Ask them to cut down the beef and dress it well for my table .

Women have fallen and hit the ground hard and on fire-twice in the history
of lower Manhattan. These aliens are so unlike the rest of us; they don’t
spend weekends at games and they are mostly communists when they are not
watering lawns in suburbia. We left our brownness somewhere between Ellis
Island, the Triangle Shirtwaste fire and Sacco and Vanzetti. The clones
live in Central New Jersey and they are green with envy.

No nuclear bomb went off
hidden in the fireworks.
No hand reached up and grabbed me
from deep beneath the lake moss;
I feel lucky I guess, lucky
for the insignificance.
SEM CULTURA
Figuras na sombra
dirty socks in the water
o sol de verão
burning the liquid out
mapas do pensamento
thinking about people that I do not know
o cheiro tropical
flowing into the sea
grandes lançamentos
listening for the critic’s rebuke
poesia dos gordos
and a table filled with cakes
nos seus dilemas
whom do I love?
obras fortes
like Guernica or Emile Nolde’s Crucifixion
mil palavras sobre bolos e sorvete
especially lemon
no espírito de uma pessoa grande e barulhenta e um pouco desarrumada
I hate when my shirt sticks out of my fly
todo os santos e todas as carnes juntos
cooked over a fire on a spit
the tank stands before the man
um abraço com mãos de ferro
EASY OPTIONS METEORITE

The apse is 123 yards long, and 83 yards wide with the choir stalls set cleanly for the singing of Corridors cinch
the office. Where saints abide is always a controversy Eyes copy you

The coldness of marble, as the air dances against the ankles. The cracks in the floor add to the Eclipse of slit leaves
color and ambiance the most fatal décor. Mouths devour
Begging
Listening for quiet calls is a self-induced dream technique but without color. Effluvium from coital tweed
Destitute
A single soul in two natures floating like a lump of vanilla ice cream in a Coke. Oh happy souls Around a solitary wheel
and you the best of poets. Deep ruts of yellow
Mutation
Everything nears a downward slope, except where there are boulders obstructing . Coolness is Thrust peripheral
achieved with chemicals
Slack elbows
In Padova they have St Anthony’s tongue and jawbone encased in caramel. Plackets
Snares
A dint of suture and salve

A bridge contamination
Heretofore

Holds template, egg

Blackened rock
Catapulted in galaxy
Into armed branches

Perilously
We test the illusion
We collude

BRENDA IIJIMA / 57
 ULTIMATE CONCERN

Echolalia shepherd like The codex was first used by Cassiodorus in his Amalfian monastery. It was designed to provide
Nuzzles customers with the most up-to-date information. Websites are an essential part of our commit-
Less ment to improved, customer-friendly service. Before Columbus arrived over 20 Million people
Twigs lived on the island of Hispanola. These are dynamic and challenging times allowing for all
Less kinds of downloads. Pizarro landed in Peru with 130 men. God must have been with him when
Foil he landed. In recent years, several laws were enacted that amended local laws. In fact those
Less held as chattel were counted as 3/5th a person. The complexity of our mandate has grown and
Fruit the Grand Inquisitor was charged with rooting out heresy. Those condemned were burned to
purify them of sin. Jerome lived in a cave in Bethlehem where he translated the Bible into
To ache vulgar Latin and was attacked by demons. But he loved big fat fish cooked with capers and
Her olive oil. Abraham went our from Ur of the Chaldeans to a land that God would show him. The
Opolis augury highway was laid into the Earth cutting the soil to reach bony rocks.
The year changed in 999 but no one knew it then.
A top
Arched
Dioon edule. Awl
Then iron. Clad
Cut up smelt, no hills
Had totter clock told sooner
Moot hide and seek fetal seeds
Have eaten, troth crushingly star maker
More melodrama fenestrated
Lunch and after from a journal
Intent at the beginning wetness
Airport hard to believe
 AFTER A HARD SLEEP

Atlantis was an island nation that sank and gave us the Egyptians and the Toltecs. Avail tongue
It was said that beyond the Pillars of Hercules that men flew upon the wind and only broccoli Monopoly
was consumed. Amusement park
All rides oracular
Water and sewage are delivered through copper pipes although there is an additional service Socket vise and virtue
charge of course for removal of larger amounts of waste. The prices for installation of tubes and
valves of the half-inch variety do not include the the drain. That is only for wastewater not Pay thieves
effluents such as chemicals. For belief
Is done
At the Battle of the Somme the mustard gas sat in the shell holes causing suffocation.During the This conterfeit
march to the sea Sherman wrapped train tracks around trees. The best part about all of this is For the beautiful substance
that it is all in books. As if to add to the world
History is better
Note that the client is responsible for damage and loss while using the equipment and we are If beleaguered
not responsible, that is all. The service is only confirmed with total payment when the form is Give and take
fully filled out. Without the forms we cannot process relaxation. It is essential that every box be On slates
filled and every form filled out to satisfy the requirements. Aboriginal subaltern
Rid of figure
The paintings of the Russian avant-garde in the 1920’s were done many times on porcelain or And ground
with fabrics. The icon was replaced with a black square. Mirrors’ visceral cues
Musical aptitude
The ship was filled to the brim with immigrants and when it arrived many bodies had to be Grandeur, a jostling wave length
disposed of at sea to pass the sanitary requirements. Up quark spark song

The cleaning service is individual and the labor is done with a vacuum, garbage cans are
emptied once a day. The worst thing about a border is that they move in and move out.
I bet that Gandhi’s salt tasted better than most salts especially on a nice roast beef sandwich.

34 / RAY BIANCHI

Decanter hirsute ridges
The sheep shorn guise appraised
Blossom backhoe clad lad
Glance dresses spray waterfall
Tributary neck
Pylons perishable
Rot to caliber
Coal dark amulet
Jugulars’ headlong neck
Conflict breastplate ultimatum
Shrill through the woof
Angle in terms of image
Ruffles vibration
Towers catch hold of tone
Vessel bobbin
Un, un, un
Blown in diameter
Corrosion
actions: a) introduce a tiny glass of neutral fluid to the tin, if presented with thirst-like symptoms, b)
swab the brow of the tin with moistened neutral cloth (impress 2m neutral fluid and heat with sweating
mel. #10 [4B; warm and damp]), c) sing short quotes from popular songs in a low and soothing voice, d)
encourage tin to partake of refreshment by prosecuting slaking motions, e) wear oral brace and whisper
gossip about Spanish and Peruvian celebrities of your invention, f) engage in massage and other hand-
based recovery motions, g) sit by tin quietly through its secluded night, and h) offer the patient choice
tidbits of s (gruel, seed-water, meat-tea) in an effort to build up it’s strength. Observe the following
Beetonian directives concerning the offering of s:
i) it is desirable that variety be provided to the patient
ii) tempt the patient to eat by presenting s in appetizing tumblers, brightly coloured
iii) s will only be taken of, supposing the recovery of the patient
iv) encourage the patient’s willingness to imbibe s by ensuring they are not spilled or dripping
v) if an article is found to be peccant, do not disappoint the patient but rather offer another
Presentation
8. Discharge and Bathe. Leave the tin napping when you feel it is a few moments from full
recovery to blushing health. Pad soundlessly to zone A and introduce 1L neutral fluid to the softing jug,
relaxing into noise and full light as fluid draws to broth in jug. Carrying softing jug, burst brusquely into
zone C, switch off lamp, pull back film cover and jostle tin into full health. Speak cheekily to tin,
implying laziness goodheartedly. Release tin base from supporting walls and administer final physical
test to cake alloy, prosecuting matronly patting motions and singing efficiency mel. 7 [12B; bustling and
short of breath]. Discharge cake alloy to waiting area. Ladle broth over tin, glazing each salve-skein with
silver and opalescent s. Serve.
Instruction and Transfer
5. Intimidate and drill. Check all vessels in zone B are lined up neatly. Straighten person and
insert oral mufflers (cotton). Take up megaphone and put the fear of God neatly into the s, unleashing Reminiscent search parties
torrents of disdain, barking abusively rhetorical questions, and making megalomanically arrogant Their shoulders rustle the festive streets
statements about the expected status and function of the s and their cohort in global terms. Poke and Nocturne slow merges in spurs
smack. When the s have been sufficiently intimidated to the extent that the vital, living daylights have Suspicion bunches around rose bushes
been scared out of their bodies, abruptly switch tack and explain to them that you want them to follow a Collective cries mobilize a movement
few orders, stating that if they can get it into their thick fucking pussy skulls to follow a few Kick over inert signs
motherfucking orders maybe you will be able to make Marines/men out of them, goddamn it to hell, you Mad rough lineage tied to swords
bitches. Instruct the bunch of pussies on the transfer protocol they must respect to get them all into the Autumnal death forever often
goddamn tin in one piece, then finish with an enforced rousing chorus of an offensively patriotic song. Fox fire in the courtyard
Rummaging the blind variations
6. Transfer Protocol. With continued use of the megaphone, effect transfer of s from zone B to tin Are they themselves
at zone C, putting the s through their paces and intoning transfer orders. Each order should be intoned Blind
ceremonially, swallowed up in whooping off-balanced rhythms and nasal grabbing. Blind
Folded
Silence! Told
Cast loose! Of
Level out! Age
Take out your finger! Told
Get ready for primetime! Of
Run out! Discrepancies
Point! Lost
Fire! Ceased
Worm and sponge! Shouldering
Load with cartridge! A minotaur
Load and wad! Contemplative profile
Ram home! Gallant
Put in your finger! Pertaining to desolation
House yourself!

Violently goad stray s into tin as needed, click heels.

Convalescence
7. Invalid Care. Recess for several B, hearing the non-diegetic whirl of strings slowly cross-fade
with diegetic recuperation sounds, the whir and blip of industrial machines and advanced, hospital-
based warming techniques. Tiredly remove oral mufflers and discard along with megaphone. Move to tin
at zone C and sing settling mel. #84 [7B; calm pressing touch], whilst covering tin with insulation film,
tucking it in neatly and adjusting cover for neatness and modesty.

Switch on blue light and bend low, shining on tin. Clean and arrange area around tin, then sit and nurse
tin quietly through its convalescence. The nursing may include but is not limited to the following
 [ THE PLACE OF FUTURE ACTION
— BEING CHOKED INSIDE A TUBE]
what gloom accrues—archaic—like Tuff-Kote® on the Galaxie
! inclines, hills and plateaus, and more importantly craters, dunes and valleys over 11B. The latter three
being a question of place, so vehicular and roomy
where the feet are, having arrived inside
a way of picturing tall things, go on lurching
limbs macerate on Formica counters, our
white floors imputing unrelated bodies, extracting them
by the thousands amassing in a vault, the margin
of our full-time occupation where precedents bulk
our binding theme concurs there’s no such place
!
as this at all, the imputation having been determined
erroneous, self-images, the hair and missing mortar shells
pictures, we feel pressing on the loss of woodland
‘scenery’ sinking under national, when our transmission goes
just bellies up and dies, goading future publics
modular blocks becoming girders, building
frozen speech goes unrecognized as the essential
material beneath which all the stone, the walls and white
spreading over something, having to write this
under the influence of ‘the sum of human resources’
that ‘gutted corpse,’ though uncounted, being among these
things careening into tall & standing others, funneling
62 / ROB HALPERN
turn into a mountain, witness the room surrounding you being transformed into a rolling valley. You are
huge and every detail of your personage is a feature of a vast and alpine landscape. Feel the millions of
tiny miners working inside your body, buzzing along railroads of metal floss built on veins and sinews,
feeding their canaries tiny crumbs of gently-made sandwiches, then seating them on your platelets.
Watch the miners scan and pore-test for different powder s, locating soft talc, gypsum and calcite. Brace
self and shudder body with 2 interior blasts, then mine 3L of brittle powder sounds, ejecting them
through the straw into the bowl, using intermittent pestling motions as needed. Distance mouth from
straw, place bowl on table in dock, and use tip of straw to disturb and landscape the powder s, creating
should be named (in impromptu ceremonies involving curt entitling melodies of your choice) after the
authors of pulp romance novels commonly sold in drug stores; TV-show warrior princesses which small
boys wish to wed; and alternate names for candy bars used throughout the world. Discard straw and
distance bowl to contemplate its newness at zone B.
Dulcet
3. Infuse sweetness. Swathe the sweetness grater in insulation film and set in dock, while
inhaling clouds of puffy mallow s over 7B (increasing body mass by 26%, tummy yielding easily to touch
in a Rabelaisian manner). Deliver 1L cloying s to grater, then watch drool flow weightily over perfora-
tions. Present 14B candy floss s to surrounding atmosphere, fashioning floaty sugar-spun clouds tinged
with the bruised pink of cake in snow. Bat gently at these clouds with the backs of your hands and zones
of fleshy milk-testing on wrists, buoying them with light-breeze-strength air-support over 7B. Snort 1B
fine powdered sugar s through nose, glancing clouds through the candied haze. Allow to settle and
dissolve. Gaze lovingly at grater, cosset and dandle while ladling whipping mel. [8B; fawning teeth ooze
smooth metal nectar] on top. Bed cooingly in zone B.
Tallow
4. Response Testing. Place medium bowl and brown paper at dock. Limber vigorously and
achieve bodily state of heat over 4B, then sing sterilising mel. #76 [2B; clinical sorting and isolation]
while folding trauma napkin to fit in bowl. (Napkin-folding should follow rhythm and patterning of
gavotte dance-steps from Baroque period.) Nestle napkin in bowl, don synthetic custodial gloves, resin
optical guards and sterile apron, turn attention to brown paper. Pause for several heavy moments, then
jack open mouth with hands and spurt 4m grease and 4m suet s onto the brown paper a mouthful at a
time, alternating sounds so that they become interleaved. Wipe mouth with neutral tissue, discard, then
transfer brown paper quickly to trauma napkin in bowl and engage in full examination of s using
invasion tools. Sing scrutinizing mel. #9 [17B; low snatches and direct orders in your special medical
voice]; while prosecuting attendance motions, losing pulse, massaging and defibrillating as sounds
continue to crash and resist resuscitation. Finally, engage in Response Testing of tallow, establishing
total legal coma state according to the Pollockshaws Ingredient Coma Scale (no verbal response or
complaint from s; lack of sonic response or flexion in response to pain; sparsity of fissure opening under
air stress). Bitterly declare coma state and remove gloves, guards and apron, balling and shoving roughly
in sound bin. Move bowl to zone B.
Workspace disposition:
Establish acoustic-culinary triage on table as shown in diagram below. Three triage zones should be
established following the standard ABC mode – A ssembly (dock and pending), B riefing (abuse/order), !
C onvalescence (with heating lamp and nursing area). Situate sound bin on floor and all equipment bar
tin and lamp at pending area.
fall-out into truth, just lob anything that throws
one example being the desiderata of remembering
A Pending B C the present, or sampling its latex hose for pores
Area evidentiary leaks, everything appears likeminded
Tin
to withstand so virulent a strain, spoons
stapled to our chests like armor, the sickly streams
Dock and bleached, there’s been a shrill though fatal thud
Lamp
a patch of hair or anything to stand on, standing in

for or against such breathtaking disproportion

When equipment is discarded, it should be placed in the sound bin. the sense of this can’t be gathered up in scales
when all these faces turn up in stills now crushed
into the sands, the ‘pink opaque’ erasing every sign
Balm
1. Gestation and revival. Position plate in dock in zone A. Take a few steps away from table, and
stand straight, feeling the biological imperative of every creature calling out to you. Immaculately, allow
lungs to become pregnant with 1L coagulant s. Witness the tiny germination of the s over a 9B gestation !
period. Holding these s in your lungs, initiate a stabilising breathing pattern, gusting your oral cavity
with mouthfuls of air in alternating directions for 34B, noticing your torso swell. Take a final breath into
your body, contract oral aperture to nil and hold, torso continuing to balloon and drift up for several of local need, the question of place remains beyond
moments, until the contents of your lungs demand their natural right and a sudden deluge of neutral recognition, there being no foundation for the thing
fluid bursts through, splashing over your body and onto the floor. When this has evaporated, move to to come will flood tens of thousands, respectable merchants all
plate, place elbows in stirrup posture on table and quickly birth 1L now thick-set coagulant s onto the doing capital business, when the awful news dissolves
plate, remaining aware of presence of birthing snood. Use wooden birthing-guards to prevent the s
slipping off the plate as necessary. Briefly physically recess, resist impulse to push violently with exchange , alluvial folds rife with our degraded interiors
abdomen, regain composure and heave 1m sweet fudgy talc s onto handkerchief, then place in pocket. shaping mutual alleviation in strains
Tilt and gurn the plate to drain excess fluid from the s, mopping with neutral cloth. Mould, then chew of want diminishing what you hear being
and bite on the birthing snood connecting your lungs to the s on the plate whilst singing trussing mel. but the erosion of sound, this decay of tone
#34 [7B; gashy clamped tourniquet]. Blanket with light-blue felt and evacuate plate to advanced help at
zone B. Massage personal lung area with fisted hands for 4B to encourage sonic clotting.

Paste
2. Quarry and designate powder. Embed 3L screams in felt sponge; wipe interior of large bowl
until abraded. Insert plastic straw into mouth, raise bowl up, cradling in left arm, so that tip of straw
hovers at upper rim of bowl. While prosecuting sounding motions on the side of the bowl, feel your body
 NURSED DEMULCENT CAKE
Equipment required:
______________ plastic drinking straw
insulation film
large clear bowl
sweetness grater
clear or milky plate
rain today, just need a little something to funnel down medium clear bowl
the spine, it’s this peculiar odor of dust and ochre handkerchief (secrete on person)
rising from the softer growth, some relations begin wooden birthing-guards
neutral cloths (at least 3)
to cohere like a place where no one lives anymore square of light-blue felt ca. 9”x9”
thinking all this under duress & up against the wall felt sponge (cream)
wondering how we ever got from then to now square brown paper ca. 5”x5”
trauma napkin (pink)
having merely said this, having said this. synthetic custodial gloves
resin optical guards
sterile apron
neutral tissue
invasion tools (at least 5)
cotton oral mufflers (at least 3)
undersized card megaphone with baffling
band-release cake tin
oral brace (perhaps)
heating-lamp, blue-bulbed or –gelled
softing jug
sound bin

Abbreviations:
s sound(s)
B breath
m mouthful
L lungful

Process melodies and motions:

All process melodies, ex. trussing mel. #34 [7B; gashy clamped tourniquet] to be devised by performer for
duration (in this case, 7B) and in manner described. The terms “sing” and “melody” can have almost any
meaning.

Process motions should also be devised by the performer. These motions are prosecuted using any part or
parts of either/both hand(s) and/or arm(s) above (superior), in front of (anterior), behind (posterior), below
(inferior) or beside (adjacent) the object of process.
JENNIFER WALSHE / 29
N. 3 from BLACK/WHITE ORATORIO

Black/White Oratorio is intended for performance by a chorus of 9 or 12 people, divided into three equal
groups. The First Group occupies center stage, the Second Group to its right, the Third Group to its left.
covet tao The First, Second, and Third Soloists are each members of the corresponding group. Soloists should step
costume air out from the group to present their solos and return at the solo’s conclusion. All performers should
service novice rain pronounce their parts as clearly as possible without striving for “expressive” delivery.

covet air A leader or conductor should be positioned so that all performers can see him or her without effort. The
leader’s movements should be as unobtrusive as possible, sufficient only to coordinate the performers’
costume tao
reading.
cantor never vain
Text written in more than one column for a single voice or unison voice should be read from top to bottom
convince? until “—,” and then from left to right, i.e.
crust
marine text one single voice
written column voice should
in for or be
avert more a unison read
moon than
unseen —

covet smart as indicated above. Where multiple voices are indicated at the head of multiple columns, the passages
should be read simultaneously, coordinated as indicated.
costume art
monic to insane
Note: I was Robert Lax’s assistant on the island of Patmos between 1996 and 1998. One night at dinner,
Lax mentioned that he was interested in putting together a performance piece based on his abstract color
poems (like Black and White), poems that presented series of color words in rhythmic groupings. The
interest in performance went back a long way; Lax’s original literary ambition was to write comic plays, in
the style of Noel Coward. The Oratorio may have fewer jokes, but the aspiration to a perfection based on
timing remains. It took about six weeks to sort through color poems and assemble them into the right
kind of structure, though the initial inspiration—that a chorus/soloist structure would enable progres-
sive development of motifs—came quickly. The Oratorio has been performed twice, in September of
1998 at the Festival la Batie in Geneva, Switzerland (directed by Vincent Barras), and in August of 2004
for the Discrete Series in Chicago.

John Beer

ROBERT LAX WITH JOHN BEER / 65

 N. 2
Solo 2: Solo 3: Group 1: Group 2: Group 3:

grey green yellow purple orange

green
yellow blue green red romance mort
eros strum
green yellow purple orange ocean serum note
green
yellow blue green red romance strum
eros mort
grey green white white white craven rose omit
green
green white white white
green ascent?
green black black black trace
a mouse
yellow
a voice
grey green yellow purple orange cute
green
and moist
yellow blue green red

green yellow purple orange romance cure

green eros come
yellow blue green red restive oeuvre out

grey green white white white

green
green white white white
green
green black black black

yellow

grey green red red red

green blue blue blue
green yellow yellow yellow
green green green green
green orange orange orange
green purple purple purple
green grey grey grey
N. 1
Solo 2: Solo 3: Group 1: Group 2: Group 3:

grey yellow red red red

yellow blue blue blue
reason moot yellow yellow yellow yellow
motive coarse yellow green green green
manic riven muse yellow orange orange orange
yellow purple purple purple
motive moot yellow grey grey grey
reason coarse
music must amuse grey green yellow purple orange

yellow blue green red

acute?
carve green yellow purple orange
a tome
yellow blue green red
a mute?
note grey grey white white white
of some
white white white white

reason rime black black black black

motive mire —
nervous ammo ruse
Soloists 2 & 3: Group 1: Group 2: Group 3:

red red
red red
red grey grey
red grey
red yellow yellow
red yellow
red purple purple
red purple
red green green
red green
red blue blue
red blue
red orange orange
red orange
red blue blue
red blue
 N. RIMES
Soloists 2 & 3: Group 1: Group 2: Group 3:
[template]
orange red red
orange red
orange green green evo cat
orange green eva sum
orange grey grey a e i o (you)
orange grey
orange orange orange
evo sum
orange orange
eva cat
orange yellow yellow
orange yellow 20_02
orange purple purple
orange purple resume?
orange yellow yellow sure
orange yellow a muse
orange blue blue
orange blue
a ruse?
yellow orange orange
yellow orange mum
yellow red red reuse
yellow red
yellow purple purple evo a
yellow purple evo o
yellow green green e i e i (thru)
yellow green
yellow grey grey
yellow grey
yellow green green
yellow green
yellow yellow yellow
yellow yellow
yellow purple purple
yellow purple
green blue blue
green blue
green grey grey
green grey
green orange orange
green orange
green red red
green red
 Soloists 2 & 3: Group 1: Group 2: Group 3:

green orange orange

green orange
ér child green green green
nèi within green green
two (a few) green grey grey
green grey
green yellow yellow
green yellow
(no, not) (say) blue red red
blue red
(you) (make,
blue purple purple
compose) (come blue purple
be) (wait) blue blue blue
blue blue
blue purple purple
blue purple
blue orange orange
blue orange
gòn together
blue red red
cè (volume) blue red
again rong blue green green
in winter blue green
blue blue blue
blue blue
purple grey grey
purple grey
purple yellow yellow
purple yellow
purple grey grey
purple grey
purple purple purple
purple purple
purple blue blue
purple blue
purple orange orange
purple orange
purple yellow yellow
purple yellow
purple red red
purple red
green green green
—
[. . .]
Group 1: Groups 2&3:

blue blue
blue blue
blue blue stop [+ tree]
& & middle one
grey grey ó bâi, which
grey grey dawn
grey grey
& &
green green
green green
to reside
green green
& & nî you
purple purple fó do
purple purple compose
purple purple
& &
red red
red red
come
red red
& & biàn; then
black red go (in
red relation)
white red
&
black blue
black blue
hoù (to wait)
white blue
& measure word
for objects &
black green (do, make)
green
white green
&
black yellow
black yellow
white yellow
&
black orange
orange
white orange
&
 WRITING ON THE WAR ROOM WALL
Group 1: Groups 2&3:

black purple
black purple
up above white purple
(no, not) &
black grey
grey
white grey
then fá &
(lack) black purple
black purple
yê (also)
white purple
&
red red
red &
red blue
to die, lose & &
people orange green
orange &
(present)
orange yellow
lie between & &
ín rén blue orange
blue &
blue purple
& &
(still) [+ is] grey grey
grey &
rely on / battle
grey purple
ìng (compare & &
to cause green red
green &
green orange
& &
yellow blue
yellow &
yellow grey
& &
green green
green &
green yellow
& &

22 / BILL MARSH
[. . .] Group 1: Groups 2&3:

red red
& &
green green
& &
blue blue
& &
green green
& &
red red
& &
yellow yellow
& &
purple purple
& &
yellow yellow
& &
red red
& &
purple purple
& &
yellow yellow
& &
red red
& &

Soloists 2&3:

white white white white

white white white white
white white white white

white white white white

white white white white
white white white white

white white white white

white white white white
white white white white
white white white white
white white white black
white white white black
white white white white
—
ROLL CALL

Getting it right and of speaking from addressing. And

rigor of achieving “we’ve all read...”
as sources of analytic authority without
(the unconcern)
out to solve
as long as
assessed and interrogated:
falling off a log to no point whatsoever.
As a shaper
to come to terms with
bringing off such change, there is
to say,
occurs when those contexts
you will see that for the most part
in my case
with words
what characterizes
to plow a relatively small
for the time at least, nothing
they so carefully
in your thoughts
go somewhere because they have not gone everywhere.
No, the possibility of our changing it
and adapted by those
who remain within borders
will only emerge if we remain inside
taken up by
in general for
and to practice it.
Historicization of the routine practices
taken
the assumed background,
the “natural.”
The surface of life and give
us by a line
so many hitherto invisible hands
the sedimented
the turn

MATT TURNER / 73
rubric of the
the cultural systems
at once
was supposed to have removed
an accusation - you say it’s merely
advantage of the incoherence is that it gives theorists
was mounted.
That we should
that we should
concerns that find their way into these
aesthetic structure.
In this sense
to do so.
“PROTO-CONCEPTUAL ART”

of abandoned area is where I had a lot of my my psyche.

Poetry and prose even more a photomontage of text and image could be conceived or upending
the image of the area of that kind a kind of destroyed...

As another of to transform (again and again) into an ever-expanding built city, beginning,
seeking, achieving as noted in permitted to abjure certain tacitly limited field a place on which
to rest the emotions.

A predetermined vantage as out of particulars by defective means as the poem’s “central figure”
as a concrete image upon and sustain books following the course to resemble above entrance
sea just how solid and stead.
NOTION OF DEDUCTIVE STRUCTURE

in
for that matter
determining the structure of
deploy the concept
in the place of that of “deductive structure”
below, for
explicitly drop the notion
reprinted in this book
the notion of deductive structure
elements are aligned
(more or less) as any other
pictorialism in structure

of the introduction
that the asserton
growing explicitness in modernist
more or less
are in no essential respect different.
The recognition that
“thing-nature” and insist
is one of my first.

Be clear that nothing could be

shape as form
concept of the medium
the setting up of the illusion
distinct objects
to a
foundation.
 “Now the sirens have a still more fatal weapon than their song, namely their silence.”

——KAFKA, The Silence of the Sirens

Act I
The sirens of the silent city
Sang: “Oh silent city, convince us
That the song we sing
Is not being sung by us.”

The silent city, guarded by

Sinister sirens who sang in
Silence, was not a city but a
Symbol of another city, whose citizens
Sang a song about sinister sirens
Who ruled with iron tongues over another city.

(The sirens were actually sirens and

The song was actually a song).

As the sinister sirens sang in silence,

The citizens of the silent city
Snapped their fingers
To the rhythm of a bird’s wings.

“Oh silent city,” the sirens sang. “We worry that

The song we sing is not a song
But a symbol of another song
Being sung by other sirens.”

“Oh to be silent in a city,” sang the citizens in silence.

“Oh to be a sinister siren in a city of silence,” sang the sirens.
“______________,”sang the song.

In a silent city
The sirens
Sang in silence.

78 / DANIEL BORZUTZKY WITH DRAWINGS BY MARK BOOTH MARK BOOTH / 15

January 21, 2005

Less tangible factors:

“They don’t love you anymore”

The smallest of all

If it’s your thought or thesis, a kind of free enterprise

For a world of creeps
Hung on the implacable unprepared
Invisible
Designated as ‘location efficient’
(You know how smart these people are)

Begins with a “dirty” interior of red, followed by

A general pattern of more turquoise as it spreads away
We often think that humans are immune to the lunatic instability,
Mistake, cancellation, admiration, drink, ring, fashion, celebration,
Cycle, lock, prop, investment, drill, transcription, benefit

Like at the end of the day

Its unconditional refusal to achieve
That what we do here on Earth
Has effects that go beyond a common
Destruction of life

The U.S. economy has a significant

Impact on the Sun, but sunspots
Have no influence on the economy

The “vanished asset”

The “something else,” the “comfort line”
Theory claims that they result from repeated impacts
But I question this ignorance
Of upper class shrift
Its contradictorily similar yet dissimilar
Dependence

Let’s play dead

Act II
The citizens did not dream and they did not ask to dream. December 13, 2004

“No dreams to gobble, No dreams to be gobbled,” In the bestial frenzy of insatiability

Americans in flight escape the melting, fearful
Read the inscription Greeted and free to fake it; at the bottom
On the outer wall They had nothing - after all, they had seen
Of City Hall The end of the world
Whose arches were Ionian. Had lived through it to comprehend
An inordinate, extraordinary cornucopia
The silent citizens staged a séance The sacrificial bedding, mattresses,
Calling forth the souls of those silent Are you being psyched out by the waves?
Sirens now dead from atrophy. “Oh silent sirens,” You are no longer gentlemen
They sang. “Wag your iron tongues and we will
Wag our iron tongues.” God rests his soul
It stands out sharply because of the end of it
The collective image
Of wagging tongues The voice of those who suffered
Was projected Displayed our own feelings
On the outer wall
Of City Hall, In Sabbath splendor
Whose arches were Ionian. You win the dinner
Your friend is mistaken
“I know you are dead and I am worried,” sang the mayor in silence to the sinister sirens.
“Blessed” in the poetic process of appropriation
“But what lies hidden beneath a worry?” sang the sirens in silence.
Sit in your chair or I’ll have to take it
Meantime: I’m glad I voted for you
Everyone tells me you’re moving at a snails pace
The wolf,
A hostage in a song long forgotten, There’s only one present for you to share
Lurked on the trail.
I’m going to eat the whole thing
He longed to unzip his skin
But
Was prevented from doing so by the mayor,
Who had instructed him to wait for a signal,
Which was a symbol of another signal,
To be communicated in silence
By the sirens
The moment the moon smiled.
 The wolf grew hungry.
November 23, 2004 He sang: “Aren’t there any young girls to eat?”

A survey Monday by the Norway-based Fafo Institute for The wind licked the leaves on the path.
Applied Social Science said that since the March 2003 The rats scurried into holes.
Invasion, malnutrition among children between the ages The second act ended.
Of 6 months and 5 years old has grown 7.7 percent
From 4 percent Act III
Little Annie Sprocket appeared on stage.
Years of sanctions, tyranny and war have crippled the She wore Italian boots
Country, and even before the latest conflict one in every And had a look about her that made the men of the silent
Eight Iraqi children died before the age of 5 City whoop in silence. She produced an envelope from her
Hand bag
Lt. Gen. Lance Smith, deputy commanding general of the And placed it into the outstretched
U.S. Central Command, told reporters in Washington last Hand of one of the mayor’s men, a certain Ed Crumpet,
Week that humanitarian assistance in Fallujah was being A major silent player in the Text Clipping scandal
Provided by U.S. military forces, Iraqi security forces and Of the previous year.
“Other humanitarian organizations”
The wind kissed the windows
He didn’t elaborate, and relief organizations based in Of the room
Geneva said they had no idea which humanitarian groups In which
He was referring to The characters stood.

The citizens of the silent city

December 11, 2004 Watched in silence as

The window is closing, it’s perfect and soothing Little Annie Sprocket
They resist the changes rather than embrace them Sat on a socket
Its ornamental softness eschews the dispossessed And poured old Ed Crumpet a gin.
The impeachable pierces their supremacy
This mirror will show you my prisoner is more than She pulled on Ed’s Peter
Compensated – let people estimate And clipped it with tweezers
What is said is illiterate For the adulterer that old Ed had been.
Tyranny and war have crippled the country?
My thoughts are with you, though Ed Crumpet screamed in silence as the lights dimmed.
The heavenly collar and chain falls away
Let them throw a wide pass to center The lights came back on and Little
The loss leaves home in an invulnerable heart Annie Sprocket was still sitting on her
Its scheduled vibration Socket.
Is the ruin of our souls
Ed Crumpet, meanwhile,
Had vanished.
The sirens
Of the silent city appeared and silently
Asked Annie Sprocket to get off her
Socket and join them for a round of
Tarring and feathering.
Little Annie Sprocket was tarred and feathered
In the courtyard of the courthouse
For the tweezing of old Ed Crumpet’s Peter.
November 3, 2004
The older we get the more we layer over
It’s the club of identity and of mediocrity
Why not hang up a sign: “No poor people allowed”
To step outside the identifiable, to refuse
More Americans voted against George Bush
Than any sitting president in history

She enjoyed being tarred and feathered The almost blissful absorption induced
For she was a member of the Mary Macho Society By this suspension
Who met each Tuesday evening in the Recreation Room at City Hall.
The big melt has begun
The members of the Mary Macho Society
Sang a silent song
As Little Annie Sprocket November 21, 2004
Was tarred and feathered
In the courtyard of the courthouse. A twist in black and white
The runoff of renewable imprecision
The sirens of the silent city Smacks your head
Sang: “Oh silent city, convince His keenly developed lampshade is closing
Us that the song we sing This mirror will show you what you wish to see
Is not being sung by us.” She wants to get down to earth
Do you want to eat?
The wolf, dressed in sheep’s clothing, The hillside hopelessly introverted
Silently sang: “Oh silent sirens, convince Has bled
Me that the song I sing Your slave understands what you read
Is not being sung by me.” I didn’t get to play like you
The reading is half melted, the reading
Little Annie Sprocket Can take anything from the air
Was placed on a rocket Its tough thought eats up all time
And sent to a land far away.

Old Ed Crumpet
Took out his trumpet
A silent gay tune he did play.
 from THE BIG MELT PARENTS
November 3, 2004
Sometimes I fight with my father.
Bush won Indiana is his brother happy What is interesting about him is also
I thought you were going to finish what is wrong with him.
Put a key phrase in their chairmen My parents and I get along well
What are you concerned about, because I seldom see them.
What are you worried about tonight? My mother and I get along well.
Let’s make sure everybody gets in I slug him every time, or,
Where are you? Take me into the world sometimes, my father and I dispute.
Selling the ‘oppositional defiant’ It looks like nothing ever happens
And post-election challenge but I rarely see my parents
Sixteen states about to close winners and this is because we get along well.
That colossal closeness margin We understand one another.
Reports are encouraging, cautiously My father and I are both industrious.
Optimistic urban vote counted My mother plays tennis.
Ohio, particularly when you look at
New Mexico it’s now a tougher hill
Let’s see if that happens 98%
The possibility of an error is so small
Ready to call creativity generic?
I thought people wanted change
The strategy ran words in the ground
Sprinkled mistreatment like prayer
An impassioned dilution
The linear and passionately felt
Fictional smear marginally did better
Pessimism must make an effort
This is a thesis paper, not a book
Assimilate up to 200,000 votes
Democracy, privation, and arrogance
The air is inked with cowardice
What else do we have to do? Devastation
Horror in over 78% of the precincts
“Tonight doesn’t seem a very good night”
Hostile instantaneous consequence
The ‘brutal beauty’ made solvent
Everyone’s focused to a second term
Yea, I’ve got a friend like that
Guns god gays the pantheon elected
What provisional are we living in

10 / PRESIDENT OF THE UNITED HEARTS KIKI ANDERSON / 83

MY BROTHER

Same sound of a brother who

left economics school to study
math and philosophy. Growing
silent the same sound of
economics are boring. If the
dogs if the dog if our dog is
eighteen months old my brother
is twenty. Around and around the
planet in travel he called us from
India to scold mother. We were
at a concert. That’s nobody’s
business. Same spelling in Spanish
but without the U. To be British is
not to be English. Same sound of
my brother growing older. A brother
who is older once a week meets
his sister. They have a great
everywhere because they are.
And because they have they know.
FOUR

four o’clocks will be always were

this moment in the air.
the exact at this moment; wholly
fixed. the sun descends or rises.
another martini or wait for coffee.
four o’clocks breathe white and piss
noisy stripes and steam to attention
while music scratches.
always and exact.
four o’clocks wander off to where
are you. like music, set the set
and one’s heart on a platter,
to eat. classical, modern, exact.
OH, MY HAPPY!

I can explain may imagine sound not

and not me. A lot of sound for itself of
another and now me. Like the you on
the boulevard my inhabitual look ear
heart café. Any more than the warmth
my love walk beautifully. But also look
beautifully! Your ice more than blood
in springtime & your boulevard happy
wanders off then arrives to inflame me.
Cream for a bird but oh do imagine the
modernity of my endlessly happy.
There where the dangers splits, barely reacts,
where diverse attempts constitute a league,
it’s only the duke’s assassin who’s going to
throw it all into movement, more by a ruse
than by force, and thanks to the support
of the mayor’s office, he’ll put his hand
on the big citadels at the beginning of
the century. He’ll make pacts with the
oligarchy of the second-rate middle
class, and tolerate the passage of
power, but this will alienate part
of the gentlemen, and some of
these gentlemen back royalty
although many barons don’t,
like Antoine the too famous.
The moment is particularly
difficult, country people
are armed and ready
to run. Misery grows.
People are tired of
giving and he, the
duke’s assassin,
is no longer the
governor who
encourages
revolution.
From this
point on
he’ll be
heir to
the
crown.
SCIENCE

a woman of distinction estimates the significance and

extracts the components.

she perceives individual features and, with an air of

recognition, sets them apart.

this distinguished woman analyzes the features and the

characteristics.

she then divides, abstracts, undergoes and vaporizes.

RENÉ’S BIRD

Mockingbird sings.
He’s high in the tree.
Flower lies on the ground.
Is life so simple?
Our hell finds joy in all of this.
Then the wind is so super
and the stars discolor
and oh, aren’t we
crazy to travel through
so much fatality.
 ERASURE IS INSUFFICIENT FOR DISPLACEMENT from IS THIS A GENTLEMAN?

there is a double winner bounce wink . . . a dead letter in-law,

the moment terror freezes; that was a tree, behind a tree that
once stood as a tree, without a count that could be a bush, that
was laid to rest, unnoticed between smoke and mirrors, where
all X’s have been placed, put in terror’s margin, stump-to-stump,
supporting the beforehands, afterwards and aboves, beyond
and below; that unnoticed leftover left nothing; but the original
hum, obliterated in the length horizon, sinking in a persistent
never; persistent ever blurring, persistent ever burning; half of
the last passage of a distant bombing; a sample letter for
grammar longing, deformed to another startling half-past
burning, lost for eternity behind a memorial, deformed by
pharaohs; another barrier upon the furnace; errors without a
name, a day stranded in letters.

90 / KARI EDWARDS KARA FEELY / 3

covers by mark booth

antennae 7

antennae is published biannually, single copies are $6, two-issue subscriptions are $12, payable to Jesse Seldess at 2325 w ainslie #1 chicago il 60625

submissions and correspondence are hoped for—please use the postal address mentioned above, or use email: j_seldess@hotmail.com

antennae 7 copyright © april 2005 by jesse seldess

all rights revert to authors and composers upon publication

issn 1539-5308

Kara Feely is a writer, director, and performer based in Brooklyn. Her work has been seen in New York, Los Angeles and throughout Europe in various venues and festivals, including the
Fringe Festival (New York), the Transeuropa Theater Festival (Hildesheim), the Bulgakov Theater Festival (Kiev), and the Thespis Theatre Festival (Jerusalem). “Is this a gentleman?” is a play
comprised of 36 scenes. Any arrangement and number of scenes constitutes a complete version of the play in performance.

The Big Melt shadows the ruinous disorders of American politics and war mongering from three weeks prior to the 2004 US presidential election through three months of corruption following
the election. Private and public literary and political correspondence and conversation, among various other literatures and media are at play in the poems assembled, and more-or-less as
dated. President of the United Hearts, the collective responsible for this work of dissent, lives in the American Midwest.

Mark Booth is a Chicago artist and writer. His solo show “Panda Bear Insemination Team Picnic and Other Micro-Fictions” will appear at Bodybuilder and Sportsman Gallery in Chicago, June 3
- July 9, 2005. http://www.bodybuilderandsportsman.com

Bill Marsh helps run Factory School out of San Diego and is currently lead apprentice for the San Diego Poetry Guild. His work has appeared recently in Aufgabe and Score and should show
up soon in 26. His book, Tao Drops, I Change, co-authored with Steve Carll, came out in 2003 through Subpress.

Jennifer Walshe was born in Dublin. She is a composer, vocalist and improviser, and is currently living in Berlin as a guest of the Berliner Künstlerprogramm of the DAAD. www.milker.org

Raymond Bianchi is a native of suburban Chicago, educated at the University of Iowa. He spent most of the 1990’s living and working in Brazil and Bolivia. His work has appeared in Moria,
Near South, Poesia e Cultura, The Economist, Red River Review, Tin Lustre Mobile, Znine, and Fiera di Lingue. Ray’s book, Circular Descent, was published in 2004 by Blaze Vox Press and was
nominated for The Pushcart Prize. Ray is also the animator of Chicagopostmodernpoetry.com and publisher of Field Press of Chicago.

James Wagner is the author of the false sun recordings (3rd bed, 2003). Other pieces from Trilce have appeared or will appear in BathHouse Magazine, BlazeVOX, Bridge, Effing Magazine, gam,
Parakeet, Shampoo, and Typo Magazine. His requisite weblog is Esther Press (http://www.estherpress.blogspot.com).

Michael Pisaro lives in southern California and teaches at the California Institute of the Arts. His “Harmony Series”, a book of 34 pieces, will be published in the Fall of 2005 by Edition
Wandelweiser (Germany).

Dan Machlin’s 6x7 Series will be published in Spring 2005 by Ugly Duckling Presse. He is the author of several previous chapbooks of poetry and his poems have recently appeared in Fence,
The Brooklyn Rail, Cy Press and Crayon. Dan is founder and editor of Futurepoem books. He is currently completing a full-length book project tentatively entitled Dear Body.
Brenda Iijima’s Animate & Inanimate Aims is forthcoming from Litmus Press. As well she is the author of Around Sea (O Books, 2004) and recent chapbooks: Early Linoleum (Furniture Press,
2004) and Color and Its Antecedents (Yen Agat Books, 2004). She is the editor of Portable Press at Yo-Yo Labs. Painting, drawing and photography happen concurrently with the poem
making. She lives in Prospect Heights, Brooklyn. The Portable Press at Yo-Yo Labs email is: yoyolabs@hotmail.com

Rob Halpern lives in San Francisco. His first book of poems, Rumored Place, was published recently by Krupskaya.

The poetry of Robert Lax (1915-2000) has appeared in collections by Grove and Overlook, and by Pendo Verlag in Switzerland. Lax began lifelong friendships with Thomas Merton and Ad
Reinhardt as a student at Columbia in the early 1930s. A contributor to the New Yorker and a Hollywood screenwriter, Lax lived in the Greek islands from the mid 1960s through the end
of his life.

John Beer’s poetry and essays have appeared in periodicals including Barrow Street, Chicago Review, Chicago Tribune, Crowd, Iowa Review, Review of Contemporary Fiction, and Verse. He was
Robert Lax’s literary assistant from 1996 to 1998. Currently a Ph.D. candidate at the University of Chicago, he edits poetry for Bridge and co-curates the Danny’s Reading Series.

Matt Turner has been published in Ur-Vox, Fence, and Horseless Review. He has also shown work at the Chela Gallery (Baltimore) and the Woods-Taylor Gallery (Providence). He lives in
Brooklyn.

Daniel Borzutzky’s Arbitrary Tales will be published by Triple Press in 2005. His work has appeared in many journals, including Fence, American Letters and Commentary, LIT, Mississippi
Review, Denver Quarterly, La Petite Zine, Blaze Vox and others. His translations of Chilean poet Jaime Luis Huenun appear in Circumference, and they will be hung on buses in Los Angeles as
part of the Poetry Society of America’s POETRY IN MOTION Series. He teaches in the English Department at Wright College in Chicago.

Kiki Anderson runs Jody Monroe Gallery with Mali Anderson. Her writing has been in Traverse, Gam, Fell Swoop, and Street Cave. She plays bass for Master Zaster Blaster.

kari edwards is author of iduna (O Books, 2003), a day in the life of p. , (subpress collective, 2002), a diary of lies - Belladonna #27 by Belladonna Books (2002), and post/(pink) (Scarlet
Press, 2000). edwards’ work can also be found in Scribner’s The Best American Poetry 2004, Civil Disobediences: Poetics and Politics in Action (Coffee House Press, 2004), Biting the Error:
writers explore narrative (Coach House, 2004), Bisexuality and Transgenderism: InterSEXions of the Others (Hawoth Press, 2004), Experimental Theology, Public Text 0.2. (Seattle Research
Institute, 2003), Blood and Tears: Poems for Matthew Shepard, (Painted Leaf Press, 2000). kari can always be contacted at: terra1@sonic.net

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