....' Scholars of Money and War'

"among the scholars of money and war...'

Among them you killed yourself

Napoleon's Symphony
Ginsberg's line 'the scholars...'
line of flight &


Poet's ditty re Duty

is this coheresive? persuasive? readers, writers/ dadas mamas

Poets qua Poets don't have a Duty t a aNything But Poetry ameriCan poets who've been oedipalized and institutionalized

forget this but perhaps its us Canadadas with our medicare MamaCare who are OediPus Babas

I mean if people , spend so much time talking about Poetry, they will for get to do it.

anYhow when it comes to Duty we get shivers

Genet never spoke of Duty

Nor did Tzara / I dont know Im fusedrefusedinsouciant no exactwords paaaaaaaaaaaallllleeeeeeeeeeeeeeeeeeeeeeeessssssssssssssssseeeeeeeeeeeeeeee thats what drove Artaud Arttoe mad and he knew it look what he says aboutthe other poets in comparison to himself
shall I compare thee to a Summer Surrealist
Thou art more bifurcated and rough tought as silicone
Denotated than dolt golder than connote and its folute cease and desist overwhelmingly tottingly sililiver suns

but it is a concetta 'all a conversation ' Shall I say a tergiversation? Yes, indeed and the fictional poet speaks. at Least I here , the fictional poet speaks. If one can call this speaking. Like an American woman poet's voice.

et felix? Felix speaking of duty referred to Kant and Wordsworth's late pome which mentions Duty /that rhymes with Beauty ~
future links to


'an unbroken flow of words and tears'

`different differnet ent as in entity' and it
to the sun like our smile like our ass hanging
`in your hands' it bespeaks like the antiquated
"I was waiting there all night and pregnant
as the pause I saw the bird standing wrought
strong as the turf and " It was like the that her
Erotic spring in the `entity' I was the long song
in between the mother's eyes and the drafted something
slipped away in the shod' of thought' the gentlewoman
of her country caravan and`and why nationalists make the country
a worse place' turning the screw Ulysses Odysseuss Eurydice
again the silent mouth `her reverie and mine' like the similitude
`like the simile I was the epic march of' a preposition missed
made me flung back me I cannot see the memory memorex pad of
my disconnected dendrons `like the whirling cyclades Charybdis
and Scylla it was peaked this way 'this ay' that aye that thing
of iris cornea cone meek shall make pace `long gone song'
her gentlewoman praise my cocks stand mast peace
tired of the `bullfinches' in golden Palgreave pictogram
"old books dead beat old beat dead book' I commenced to write
a booke' was my other's aim
knot not like ringinggg `that hand these picture'
Oh cry and cairn where the loose rocks fell
in the dell of her nose the swirl of her thighs sideways
thunder terrifies thunders terrify me'


StiFf StaFF of IdEArs

Mona had a query


If poetry is not a way of life, and one led outside of the academies of failure and death, what can it be? where are the poets who dare to live outside of that machine?

does it end
maybe it never ends
as for that person who asked why did that ( why didnt I do it with (some) songs and poems I sent it. I did it to try something. If you had read it as an individual post and not a collective digested preconceived text, it might have been clearer.
One has to combine theoretical machines with real ones and make the invention of poetry crucial. what exactly was she doing making money in my teeth. Afterwards we took them to the c a m p s it was very brrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrcold in the Archipelago
I find this text of yerS interesting, however, I'd remark that the desire-machines are a facto that wreaks havoc at the edges of what appears to be a textuality without context. That is indeed the criticism made of deconstruction and its infinite text. But I find what you have written very beautiful anyhow, that its rhythm speaks to me as much if not more than what it says. that the litany like forward movement of the ideas that it unfolds allows a grace of song in spite of its hypothetical nature. I.e all of this business of privilege, well it does not really apply to the average unprivileged writer, or poet. The notion of a privilege in writing always strikes me as something reserved for a certain class i.e. the class of theoreticians and their perpetrators, the professors. That being said, these creatures also have their place in the great declamatory chain of signifiers that constitute the becomings, the immanent flow of language, its real place in bodies and history. John Milton comest to mind and his endless production machine of prose on the one hand, and his epic poetry on the other ___I won't make a distinction between the genres contained within the overall epic poetry of his entire life's work. One has always has the sense that the 'If' that often starts a text of this sort predicates the writer's view point on a nothing that exists... thank you and
as Joyce says Ave Laval my leaves have drifted from me  and yes there is an authority in the texts
Text & Continuous Existence If there is no privileged meaning to meaning for the reader and writer. This is nothing new. Yeats calls it poetry. He is wrong in his mysticism too, though at least he recognized the nature of language in a clearer primitive view. This algorithm is not properly proposed.
If the text in the position as it is presented, (and) having no privileged meaning for any specific reader including the writer of the text, it is the text that is real or not merely proposed, and the organism that is either
and Is you back again. This boy. This boy. ~~~
and his many travels
the reader or the writer that is proposed or not entirely real. The complete vested unfolding reality of the organism must be the text. The first meaning of the organism is the text, and any remaining meaning of the organism after death is the text. The text is the only proof of the proposed reality of the organism that reads and or writes it. It follows most
sensibly that the text is to prove the reality of the organism though it seems to arise from the organism. It follows as well that the cause of the organism's existence is the text. Though the text is in a form mediated by the intrusion of the proposed organism, the organism itself must be the hypothesis of a pre-existing, unmediated by the proposed organism, form of the text. The hypothesis must be - that the organism can exist for provision of, and because of the mediated form of the text that will exist because of the intrusion of the proposed organism. The hypothesis of the mediated form of the text that we commonly call language is - that the organism can exist as long as the text can uphold the meaning of the organism. It follows as well that the pre-existing or unmediated form of the text could only exist because of a proposed differentiation. It certainly must be that the organism is a group proposition of the unmediated form of the text caused by the proposition ___ war and lovemaking and proof of differentiation and potential communication. It follows sensibly that the freely acted physical endeavors of the organism witOut and Death DeniEd In His VeIns of HopE and Ruin ' the simple buttocks of her beauty'
a breath of a line and a dangeR to die
her smile over h the text oriented intellect must/need produce over time a universal text of differentiation for any form of awareness and a continuous existence for tion of differentiation within a group proposed awareness - yet to be defined dynamic. A single primordial awareness cannot have proposed text in any form. The purpose of the proposed existence of the organism must be to prove the proposition of the text. ________________________________________ Let me iNtDoCuce ChaoSMoSIs Collage - Journal The Space of Discourse The ongoing data (dada) of this Collagejournal keeps no particular structure to guide me through the intellectual country we are riding into. Let it be exciting and adventurous, filled with and for the unknown unfolding of truths and truth. Then beauty and its magic talk of verb and noun and the many splendored splintered paragraph of movement in narration, character secret poetry of inter-t[s]ext works forward and backward, echoing and hearing itself in other spaces. Like the allusion are always just only learning about . Of all the essays in the book ________, the one that interests me the most for its form anyway is ________'. This journal collage intends to use the same approach. It is eclectic, allows for a range of quick transitions and treats the essay form in much the same that writers like K____________ and ______________ treat the novel - as an area of play, creation and learning. Make the text-essay your own. Notes, responses, secondary readings, questions that arise when reading the Wasteland, the facsimile; Question or areas to probe - the relations between the Wasteland, the Tempest, and Mansfield Park; how this connects (inter-texts) with contemporary belles-lettres i.e. the "novels" of W.S.Burroughs and Kathy Acker for instance. Another point of departure is - how does the practice of critical reading carry over into our daily life? This is political, of course and politics seems to have gotten lost by the way side in some of the discourse of critical thought. So a question I would pose (and I pose this or think this to Fish especially i.e. the interpretative community): How do we make this relevant to the concerns of our everyday life? No poet or novelist was ever far removed from the political realities and discourses of their time. Milton then in the 1600's, Tzara till the early 60's, Genet until his death, to say nothing of the feminist writers and their politicization of the "field." I am thinking especially of black writers, of both genders: Alice Walkers, Toni Morrison, James Baldwin. I think there will be a lot of quotes around terms I use for one, because so many of their meanings are in doubt, and secondly they have lost their applicability. These "things" (literary theory\criticism) must have relevance; literary theory unlike "literary criticism" seems to stand back and take a look at what is going on outside of the books. Edward Said in Culture and Imperialism discusses this at great length. And he discusses the circumstances of characters in the traditional novel. He urges us to consider how we appreciate the settings of these works in terms of the British Empire of that time; the metropolitan setting versus the colonies. In terms of their relations to the third world colonies which are the source of fictional characters incomes i.e. in Mansfield Park, the father has estates in third world colonies which are the source for the revenues which enable the Bertrams to live the way they do. Consequently they also provide Jane Austin the means to write her book and tell us the story of the characters' lives. Wide Sargasso Sea tells us another version of the story - we tend to think of books as being a type of truth, encased in their concrete binders. They are not. Books have an outside as Deleuze and Guattari state in an essay called Rhizome. The organism (human being) is independent of the text in interactions of physical similarity. These physical activities are a matter of selection by a text oriented intellect independent of text control because of the proposed physical simila by the unmediated form of the text for the purpose of validation of the proposition of differentiation. Free will gives us war and lovemaking and proof of differentiation and potential communication. It follows sensibly that the freely acted physical endeavors of the organism with the text oriented intellect must/need produce over time a universal text of differentiation for any form of awareness and a continuous existence for the organism as the mediator of the text. (Trinidad Cruz with permission) Re: Text & Continuous Existence My ReSpoNSe to IFlanguage is a virus - w. burroughs -- My reply to that rather witty swipe of Burroughs has been, well if language is a Virus I am going to create an epidemic in this hurlyburly of writing.
Re: [PoetryisawayofLife] More RingS in the t Hing s a Nd a DanCe
verlainelefou wrote
Verlaine! isn't it Fun to celebrate to create the dance in
the words of the virtual page! dance of dialectics anD dialEct colOur anDDdddddddd TonE If this boy gets you back again. This boy. This boy.
If this boy get IS It then
that he remembered stanDing in A Bar that JoHn LennOn was Shot and he was drunk as a skunk slid across the floor of his desire SluShed Out Burned Out and Death DeniEd In His VeIns of HopE and Ruin ' the simple buttocks of her beauty'
a breath of a line and a dangeR to die her smile over the mountains of Lebanon
and s you back again. This boy. This boy. ~~~ and his many travels awake day and night for weeks wandering down the palm, the plain of his poems citied like any other lover approached by her on the ear of a conversation in mid street~~~ A few words to make you sooth
like these maker her close her back `nonetheless' I have to run, but see you later. Her back turned at the computer looking into `space' `its space'
from Fictions 2 and and and
  • Fictions2
  • A few words to make you soothe waves like these maker her close her back `nonetheless' I have to run, but see you later. Her back turned at the computer looking into `space' `its space'