││ ││







Excerpts from
Prefab Eulogies Vol 3: “How to Read these Poems”


said & chomsky on the poetic impulse

no. love for language. alpa-


bets

(esp. w_e_n.) algebra-


ick. as in: one t_ 26

iteration of a u-g. as in: that &

strike-

through


no. a. violence to its. i said. as in: the “ ” =

possess-

ion of plus. mod if i


er statz, the z end ro_d as in: statistic-

al so


naive he was

eh, was he? eye said we


do ‘ no t l-o-v-e its. as in: x change-

valve. & orient “self” &/v

“other”


al - o the ism o the o

no. love for language

special op (it) er

(n) ation


s la nt. al said, SLANT -

IM AGE, as in: tyranny-

a size th_ 26 th, __r a) sake (not drink), t__

esc.

as in: press esc.


READING INSTRUCTIONS

On April 8th, 2008 from 4pm-6pm, give a choppy, though admirable lecture on Beckett and exile via the chop-chop cybernetic roll call auctioneering of Chris Mann's “For Headphones.” Talk a little about virtual versus real exile, how both Beckett and Wittgenstein shared in common the blurring of the oftstated line between the (excuse me while I vomit) literary notion of exile (broadly defined) and that which you sometimes you think you see on television, up to and including the expulsion (better than execution and rape!) of the civilians, as well as members of the SLA/SLM, of Darfur. Talk a bit about Augustine and Descartes, the stark contrast between their solipsism and the Algerian resistance. Talk a little about how language bends and how “For Headphones” captures a potential breakage someone, who, who the hell – Said, yep – said might be the emergent property of transnational nomadism and refugeeism powergrids being captured, captured like a photo or a splinter of time in a particle machine that captures particles for an infintesimally tiny splinter of the old word, quaint now. Decide that you know very little about any of this. Take your lecture notes and systematically cut every 4th line, replacing that line with (alternating) passages from Perloff on Beckett’s Stories and Texts for Nothing and Associated Press wires about the February attack on the northern village of Sibra. On the night of May 26th, 2008 (approx. 4am), turn over in bed and see the vague outline (lit only by the fucking moon) of your scribbles/translation stemming from aforementioned lecture. Notice that from an angle of about 25 degrees, situated upside down, these scribbles look fantastic. Become overwhelmed by a sudden feeling that all is right with the world. Acknowledge this feeling to be true. Since you are a solipsist. And you fail to recognize the dangers of aestheticizing politics despite all appearances of life experience at cocktail parties and occasional orgies. Later on, try to reproduce in InDesign what you saw that early morning in May. Frown at the limited capabilities of InDesign. That morning get poked by Billy Collins on Facebook. This reminds you of the feeling of being poked by others with whom you share nearly nothing. Nor want to share. Nor understand. By afternoon the sky is drywall and you nap because of it.




footnotes to dead readerly prose

[1] She wanted a curved surface, rock face at sea level. Sentences were hard to come by. Propositions, more so.

[2] To want is figural. Blindness, almost always slow, one has time to adjust. Time is figural, wrote Yasusada, drawing perpetually.

[3] “Perseverance is more prevailing than violence; and many things which cannot be

overcome

when they are together, yield themselves up when taken little by little.” Or is it? She wandered

severely. She wandered in squares. The angles were right.

[4] “I believe that all of us ought to retire relatively young,” he said. There was something attractive

here; it mingled with his beard and the forcefulness, or the conviction, or the waves that blanched

our little island. That was years ago. “Years,” she said and kept saying until the word sounded.

“Ears” and “Here is” and he has not retired.

[5] Edge of a curved surface; the horizon at longitude thirty-six. If I could hold a globe, she said.

[6] Two directions. Garden of fucking paths (his and hers).

[7] In the hotel off Fort Washington and the deep one hundreds. The pace unexpectedly quick. The

walls unexpectedly porous. Launching pad for a new empty set of catalytic confusions; they slowed

it down, took stock via push and pull, tugging, wrestling the lions out.

[8] On time, she said and said. I am always on time. I am like Italian fascism. I am like a perpetual

boss machine. The world must catch up. Catch me, try, she said, and she did.

[9] “As the archeology of thought easily shows, ‘we’ are an invention of recent date. And one perhaps

nearing its end.”

[10] What began as a mulling of simplicity twisted until its roots showed: on Willis, he said, he was

often molested. “To bother,” she said. “Touching his cheek.” This cannot possibly capture.

[11] Poetry is an airport without lines

[12] Airports are little purgatories without poetry

[13] “Belated dusk,” comes to mind. It roars up, shows itself, recedes. Those waters were so bathtuby,

she remarked. I have never been, he remarked. I will bathe.

[14] A shell, a curved surface: the turtle’s soft insides, wanting or “wanting” to dissect a thing alive.

The drapes cannot possibly flutter, those garish dresses overlooking the steps on 187, so hardened

and drowning, she remarked. There are, in fact, exactly 100 steps, he said. And immediately the

architecture went from awful to mysterious, no outward manifestation in her glass-eye glasses as he held her face and said: “see?”

[15] “What we want is the image of passion, not passion itself.”

[16] “A throw of the mice will never abolish chance.” She untied his fist, slowly, as if loving his fist

in abstractio.

[17] She did not want, no, but desired, and she “desired.” “I desire to stay put,” she said, and nobody

was there. The creek was overflowing with striders, delicate, vicious in their search for aftermath of a reading frenzy.

[18] The back of the neck is for kissing. The back of the neck is for stabbing. “There is no in between,” she said. “There is no difference,” he said.

[19] Far from the Plaka, down Menander, he took pleasure in the wreckage of parts shops and the imago of anonymity. Dust and chain followed him. He sought pornography in hardcopy, everything here just a little old, attempting to mime or gesture or dictate old fashioned needs—the convexity of the lens in products ranging from splayed legs, simply, and perhaps the expression of a face in flat gloom. The violent walks here, and the air, and scent of rust mixed with garifalo, it spoke to his speaking of her body: “ears” and “here is” and “finish my sentences” and, he said, “I can no longer speak. This is not a vow of silence. The book is no longer there.” Memory, perhaps, was what this was on such walks in such places: “an alabaster,” he said, “a tooth,” he said. “The tyranny of nostalgia,” she said. Remembering how he put his thumb in her palm and whispered like a little Napoleon: “close it, the fist. Now: begin.”

________________________________________________________________


READING INSTRUCTIONS

Write a story, any story. Specifically, a story where the characters are: nostalgia, chance, determinism, disequilibrium, water striders, particular geographical markers, the references to which only you would find relevant and/or illuminating, and binary codes denoted by “she” and “he”. Footnote story heavily after a Ben Marcus kick. Decide that what was interesting was not the story, but the process of writing the story. On May 14th, 2008, since the process has long since ended, remaining but a stale eulogy of itself on your computer, decide that it would be “neat” (use this term in describing what follows to friends, relatives, strangers, etc) to hold a Murder Ceremony for said story. Invite three individuals with whom you would not mind feigning sexual interest to your first ever Murder Ceremony. Ceremony should consist of the unceremonious deletion of your story, save for the footnotes, which, like the gentle serial killer you are, you keep as a memento, a prize, a fetish. Ceremony shall end with the ceremonial drinking of Miller Light and watching of CSI Miami.






Film Stock: super 8mm
Running Time: 5 min.
Sound: dub




Shakespeare's The Winter's Tale, An Adaptation

 
Black screen burning to white. The humming of a machine, metallic, a distant turbine.   
Humming grows louder.  Cuts to view of stage curtain, camera corner right, and off to side  
stands a man in white shirt, black tie, dress pants, rubbing his hands on his knees.  Ten  
seconds.  Curtain opens, woman, naked, standing contrapposto on a piano dolly, rolled onto  
center stage.  Man immediately begins to grope her passionately, although she is  so still it is 
uncertain whether she even notices his schoolboy advances.  His advances are wild,  
adolescent, yet involve a great deal of odd facial expressions: winking, caricatured lip  
puckering, vaudevillian eyebrow maneuvers.  Ten seconds.  Woman is rolled back behind 
curtain.  Repeat 2x  On 3rd repeat, man in cheap bear suit runs across stage—left to right.  On 4th repeat, man in  
bear suit runs back, right to left, while a child's voice is heard over the humming of the humming of the  
turbine.   Child: A sad tale's best for winter; I have one of sprites and goblins.  

Repeat 2x.  Burn to white screen, then to black.  Humming of the turbine continues for ten seconds.      






READING INSTRUCTIONS

Get a front row seat, read too much Brecht, develop colitis in your late 20s, (at least) feign dolly fetish, convince your friends through sheer repetition that Leontes is a nutjob before AND DURING the famed “statue scene”—Desmonda’s dead, he’s seeing shit due to atrophic psyche, the thing’s a mata-theatrical anti anti-theatrical tract, there’s no hope, the fires will come soon, the plague, then the Long Parliament, those fucking whigs. Wash dishes Sunday.






Excerpts from Prefab Eulogies Vol. 2: “Example of a Chapbook”

{eulogy for conditionals}

after Linh Dinh, Jam Alerts

missing c voweling to play cf side
board air bag you can bet your $$ you
don’t have or export letters sending
post-haste, and if outsource then aleatory
emoticon, and if air left, bag of prepackaged
economic parlance your macros on, desk you
bashful top then pillow me, zoned for backpage pleasure hunt



Remembering Tehran

to Robin Blaser


For Robin Blaser
a premature death lingers live
above us, for there is no life.
A premature obituary is
written, for there is no language.

For Robin Blaser
time is not linear,
nor shall we picture the winding
figure of an 8. For
there is no time.

For Robin Blaser
magnificent illuminated
histories, embroidered
into the singular rehearsal
of an heirloom, this personal tapestry.

For Robin Blaser
time is outside bodies
encapsulated capsules,
boxes formed to fit
a divine comedy or two.

For Robin Blaser
time, load, unloaded
impossible, Eros, like chariot
vines, these words—they are his,
they are beautiful, however, false.




Excerpts from “Ruminations:Dualisms,” from Living Rooms

Some day soon I’ll unwrite a book. Today, as yesterday, we are waiting for the Mothership to disembark from one our distant satellites. I am pleased to announce that our summoning beacon is Dancing On The Ceiling. A probable departure, delayed yet on time, causes me to smile at well-dressed men with Romanesque noses. This is due to textbook arithmetic. No rail car, entering or departing any station, moves at 65mph. Impossibility allows one to shrug and forget about it. I am not bothered by the sign to the right of the sliding doors: Job Training In No Time Flat. Why should I be?






Now that I am dead please take off your shoes. The Hagiographa thanks you very much for your hollow sense of urgency. Our umbrella rack is not for walking sticks let alone candy wrappers or fish. Your father’s mess—the cartilage of lust, the connective tissue once fastened by guilt to Job’s ear, the dry crushed dandelions from a former boyfriend they called The Wiggler—it’s strewn like turned up moss throughout the house. Dispose of it in the appropriate way. Do not cover the furniture with veils from Safeway. Take the Corning wear from your judgmental in-laws. It’s important to be petty after life. Belated congratulations on part-time work. Couldn’t you have been a doctor?




Rx

he must sleep on silk use dry pillow chopped straw sea-weed

ask of lord fevered states of cooling

patient once bulky now


1. worried
2. subject to asthma
3. troubled with trouble
4. bad stomach
5. prone
6. indisposed to physical exercise
7. thin
8. overworked




seems to have been of the air

writes sedulously brought clearlight of common sense to read

master of the routine influenced

treated ills we are (in the sixteenth century)

emancipated from the control / age (mother of washington)

dosed for dyspepsia

the idea struck me as ingenious and fertile

the master of routine cogs clockworks and doses

associated with bleeding and purging and if we considered only

some of his time






Photobucket





I have a lot of coughing to do. So if you don’t mind speak
loudly. Do not feed the animals. But what I can’t tolerate is
the shoddy workmanship. Photos are supposed to prompt
even architects to ask: is there something underneath? I’ll
tell you friend, we peddle in illusions. Speaking of secrets,
is it off limits of me to request that we bring back the cabal?
It’s so retro! Don’t laugh too hard. You might catch cancer.
In the meantime shut up and don’t tell anyone. That’s the
way to evade the five men you see but never recognize—
softly. Traders wanted. Call now! I want to be fucked the
way I fuck. Nosebleeds and ouches. Accosted until done.
The ends do justify the means. It’s just that the ends are
people sometimes. Confused? I am.






There are two invisible hands, not one. I am loathe to tell you that they’re attached to one invisible body. The body has a face with lips that constantly utter, as if to deny all plausible suspicion: these are not my hands. The second reaches into your bedroom at night and presses on your biggest weakness. Which, by the way, is just behind the right lung. Sometimes one hand overlaps the other, helping to press with the strength and heat of a waffle iron. That weakness should be yours. Ours? When you wake for no reason there is a reason. But who are you?



language is fossil poetry!!! : treatment for

1. (the upper and smaller hoops should rest upon the blanket)

2. (free ventilation of the will)

3. (clothing to be desired)

4. the drooping head and moping pace indicate drooping head and moping pace fyi
5. blood flows into the water

6. (The Wet Sheet Pack)

7. stimulated by the habitual use of the pelvic organs

8. (give poem either tea, ginger, or another internal organ)

9. the luxury of a common open-bottomed chair

10. (necessity demands pelvic organs and intestinal regularity)





Photobucket


Excerpts from Scripto Erratum: “Love Sonnets for Television People”


Photobucket





Photobucket




Excerpts from Scripto Erratum: “Scripto Erratum”


1.
I ran sex
miles 2

day doc tore

wire gotta bad con

nection due most like

lie 2 weak nestles

fore farce loud engines

hearing loose

detroit funnel

cake talk

hour cage for min of silencer

& sum other knick knack party sucks give this dog a book



















2.

trick staccato be

sting strange led

heart knew musik

can’t even finish line

a void a pink slipping on reference to ring

er stats

rite not sing write not wrong

mod-ern as folk

song volks wag-on mine us

won never

trust reads brass a ring

but the kettledrums those kettles



















From Scripto Erratum

The Cutting Room

strophe

Here are the receipts from history's
purchase, the new Pangaea. We took
refuge in our breakfasts this morning
coffee & paper, from Adorno's provisional
scripts come slowly alive, our actors
his, his edits ours. Here are the notes
from our fling with acidic, sensuous
consequences & you muttered:


antistrophe

shredding, shredding—when will
we receive a raise?

strophe

My mouth was full so I didn't answer,
nor did I take seriously thoughts of taking
that man's face in my hands, stall
& surfeit my punctuation, whisper to him alone:


we are the editors of the cutting room—
this noise is our creation, silences too


redux cutup

Here are documents in our palms,
frank admissions, nothing scandalous
but broken clocks, sabotaged digitized want,
morning's work just now cracking
the horizon like that boring sun we've
come to expect over such persistent evidence
to the contrary. Here, the cutting room
is a meeting like every other. Concerned
with arranging landscapes, rearranging,
fitting stories to socks, price fixing fittings,
schematizing rations for this new Pangaea, giving
lands a proper picture: hot underneaths,
cost-savings for church & barbeque,
alerts on all items archaeologists will
one day, luckily, call relics:

do we go with pantyhose or missing girl?

theatrical cruelty/abhorrent
to/the/unhappy

you asked, as if I ever disagreed or fussed,
made a face other than bored/frightened. Here
is the place we liquidate. Either/or is always
rhetorical in this meta-universe. Half
joking I offered:

following sunday
missing pantyhose


warning to dead ear
Had we taken me seriously red lights
would go off, voices would recede
further & suddenly into intellectual history, the script
would shift dire & the hounds of hell
would surface at department stores,
ransack the clearance isle, wave coupons,
demand half off. Up would be down,
books would rise like balloons
& our cutting room would fall in on itself:
right-to-work work stitching itself back together
surgically, word by ugly word.





David Wolach is professor of text arts, poetics, and new media at The Evergreen State College, and is visiting professor in Bard College's Workshop In Language & Thinking. Author of two chapbooks and a collection of essays on modern and post-modern German operas and poetics, Wolach has two new titles forthcoming: book burning to ashen strophe (mini-chap/cycle from Dusie Press, No. 8, 2009) and book alter (ed) (Ungovernable Press, 2009), both from the full-length Occultations. Poems and other ephemera have appeared recently or are forthcoming from journals and anthologies, including: BlazeVOX, 5_Trope, Fact-Simile, Ekleksographia: An Imprint of Ahadada Books, BluePrint Review, Bird Dog Magazine, Admit Two, Night Train, The Lower Half (Linh Dinh ed.) and CRIT. His work, often collaborative and using multiple media, has been performed at venues such as Buffalo Poetics, The American Cybernetics Conference, PRESS Literary Conference, and The Stain of Poetry Series (Amy King & Ana Bozicevic). Wolach is editor of Wheelhouse Magazine, a left politics and literary quarterly & chapbook series.
All material is copyright © 2009 - 2014 of the individual artists. All rights reserved.