ixLL, seem sayer (s)or
or stilch, omer as yehj, imple to make n clean slo huys fel
beauty is to come rising up, jiu der tyu
over tape gui wink to a maybe stand there
bagging is, to uyer flip; nary a wrok is then wort
bagging is, to leap ghiws, & then man, here ya breathe
intro is to conundrum as total bright flashes
nearly that says, restlaess as an unmold epi-ticket:
grow then ... klax in ru is to t is to flow in hi
[by
Steep, or Deep
Great as across full beats beaten; spendsavor salt makes it
easy at the primed ink ave; pre-post, a spanned by-way.
Rapid that way tinker w beam-blind semi iambs.
Anyway who isn’t, w glass plowed a sight colder?
Rapid haggard heart winking motionable mind, flaked w a
damp rag’d bow-bend; little birds haggling over sugar.
Maybe w quick in an Arkansas flash flurry, but basically
aggravated bullies; pretty fab in craziness due to matter.
Naturing: the selving of that nature.
Leave it to where a grass does a spiral thing, ratting out
emotion at the tear frame paging rack slash knocked
yes, rattle-throat. Well, all times got a clinging.
Happening shifts toward word. Stained glass or soul,
open. In coming down we lost our way and each had a
(plosive) dangerous slide down the long wet grass
(knee deep) of a steep slope. Each stumped dumb logged
iteration, labels to a non-stop..... Slums & begets.
Not only does a word go off kilter so it can spin.
Samely, a wildness ok’s a guess: what, for the hearing.
[by Mark Prejsnar]
^^^^^^^^^^^^^^^^^
Slinking to slave face
the do so of capitulation
non-resilient spray surface
on mental billows. Rats
are too agenda. Who
shot up? Like anyone here
would want their blindness
traced. Pretty colors even.
Closer out, there's a plate
you can look
look, look
look from back in
nits for picking why've [ ]not got
[ ]y f[ ]h [ ]n end[ ]gs?
Lightening Proof
Less then when she was watching, it moved
even across found bits of flame, it ignites reconciliation, or, a
season when lost things find you.
Lashes across incoherence, dream says then as a what
in the middle of capturing how many narratives
eventuate, here, like a sort of model.
cables for passing the images on in sideways definition,
asking even: how many times we shiver.
Leaping out of the way in a city is
an amount famous for blood rent rebate acrimony.
Pensive at the place filled with telescopes.
Indifferent alleys watching a new haul of burnt letters.
Not that this has anything to do with silences.
OK, the leaves and buildings have turned. Start.
[by Mark Prejsnar]
Slink blood abnormal face
the objectivity,do so through
anyone's emotionally resilient
gone. Won.
we₼re the mental audience for ten minutes
ever-an inhbition to over-activity
unglimpseable slops of mother's rats momma lickers
to tiny lesion plastic tubes
too absent
agenda being horomone shot up
blindness. traced back to the to the
The That makes low grooming
sound almond sized structure
billow out. take a closer look at the.
Show starts at 9PM. APG will do a short opening set. Below is the blurb from Eyedrum:digital intrigue across a burning surface:
intrigue is the long-drawn-out screech held in the VCR’s maw
across scheduled sandpaper proxies, & soaring like
a sheet of falsified data—
burning as if eyes were the end-point of such an inattentive day,
surface is all, folks ..... & bright, & stalled
^^^^^^^^^^^^^^
(by
Remote & serene,
layered with notes--
grey-steel book shelves;
An hour earlier
she told him
what it was all about..
a cold, manic;
trip who?
The bones
had been brought
back
by truck
^^^^^^^^^
[by
circa 1996]
Hocus null set slink sways low decision—hiding near
the objectivity flingings higher . Walken set
anyone's shadow.
Pet sledger records at the petting gone.
We are unpoliunpossessed. We’re
forever ferning a side,
unglimpseable but kinda blood and water.
I know what we almost know but I don’t know
how much knowledge in its absence is too little
data. A hidden agenda being
idea without now blindness.
That whoosh makes a
guh mooding sound.
i hate the series of burning
print it out and then the data
have a green deferred odium
cyclical my mind said
if you look across the spider’s
barely silken strand
there are the others who
could have been but walked thru
a mirror with the camera shooting directly
into it
a blue cloud broken, broken apart
have a good reading from
[by Mark Prejsnar]
Horus & the null Set
********************
It slinks away, suicide-hiding near barbed war.
Each howl they can't take away
flings objectivity higher . Never walk
In anyone's shadow. Never count yer
gila monsters before they hatch.
Or play Pete Seeger records at the Pentagon.
We are unpossessed. We're
a fever in a fern,
unglimpseable but kinda cute.
I know what we almost know but I don't know
how much knowledge in its absence is too little
data. A hidden agenda being sort of
like a day without snow blindness.
That vacuum makes a huge whooshing sound.
The performative aspect of poetry is important; it is as important as any other; But it has been treated as unimportant and derivative for a long time; if you look in the arts section of any newspaper, that of a large city, say, or the official or student newspaper at a university, (like the one where I work, ) you will certainly see event listings for many “performing arts” ; in fact, sometimes each of those arts will have its own section: music, dance, theater, etc. ; but not poetry; this is as wrong as can be; poetry is most interesting, and most exciting, when it is part of a performative involvement; the whole slam thing is one of the worst things that could have happened to poetry, because it emphasizes a false performative élan, a reduction of poetry’s resources to the barest minimum, conflating it with stand-up comedy and generalized social acting-out (giving those things a veneer of structural complexity, because the pieces generally do have a bit of overall shape). so the commercial mass media (which has much the same worldview, and view of culture, and which uses many of the same techniques, as slam) can point to the slam phenomenon as a true (“popular”) contemporary incarnation of poetry. But it ain’t that: like all the arts, poetry is at its best when it uses all its possible resources. What we need is for our best poets, who are good at playing with and extending those resources, to be involved more of the time with a performance framework.
There is a second part to what I’m doing: the use of multiple voices. Here my motivation is similar: first off, multiple voice poems heighten the performative energy. Secondly, there really is no intrinsic reason for poetry to speak in a monovocal line. It is no exaggeration to claim that the tyranny of the monovocal is an arbitrary and highly distorting, highly undesirable attribute of poetry in our culture. Let me clarify: I am not saying that all poetry should be polyphonic; just-- that it should be understood what an important, and even “natural”, option polyphony is. Thirdly, since every poem is (in some way) an intervention in a social world, the monophonic (when the poet considers it to be her only option) seems to me to limit the existential/political thrust of the work. We live in a social world, and the best contemporary poets, (they are the ones called (even by themselves, often) “experimental” and such phrases...which i find unhelpful) wish to emphasize, and extend, that social aspect. This is in part because (like me) they embrace values that are left, often radically left. Yet i believe that they limit the social richness of their work, by writing mostly in the monovocal line. Many of them have demonstrated their interest in extending beyond the monadic self-basis of poetry, by engaging in collaborative work. This is one of the most exciting and productive and important features of our contemporary poetry. But i believe that transcending the hyperindividualism of our culture, can also involve using the structural resources of the poem itself: the poem in multiple voices creates a social nexus that more fully engages the unremittingly social aspects of our life-world. This is a structural/prosodic component i’m referring to, and so it obtains even when the “different voices’ all issue from a single individual, as in many of my recent taped poems, where overdubbing is used to create polyphony. (Though it is also true, at the same time, that i am attracted by working with ensembles.. First, because of the greater range they provide, with voices that display different timbres and different expressive particularities. Second, because it is sometimes fun, and enriching on a number of different levels, to work with a group.)
