BIO
Lewis LaCook makes things. He is a programmer/poet. He likes unstable objects. He doesn't eat enough. Send him all your money.
Fwd: A New Issue of sidereality
Clayton A. Couch" <managingeditor@sidereality.com> wrote:From: "Clayton A. Couch"
To:
Subject: A New Issue of sidereality
Date: Fri, 10 Oct 2003 23:44:23 -0400
ANNOUNCING A NEW ISSUE OF SIDEREALITY
FROM THE MANAGING EDITOR'S DESK
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
NEW ISSUE: sidereality 2:4 (http://www.sidereality.com/)
FEATURED POET: Nick Piombino
INTERVIEW WITH: Nick Piombino
POETRY BY: Svea Barrett, Greg Beatty, John Borneman, Bruce
Boston, Peter Boyle, Joseph Brunetti, John Bryan, Jorge
Lucio de Campos, John Carley, John Craun, Richard Denner,
Roberto Echen, kari edwards, Vernon Frazer, Andrew French,
elen gebreab, John G. Hall, Jonathan Hayes, Nancy A. Henry,
Jason Heroux, Michael Hoerman, Eric van Hove, W. B.
Keckler, Stephen Kenny, David C. Kopaska-Merkel, Alec
Kowalczyk, Duane Locke, Andrew Lundwall, Ryan J. Machan,
Joseph McElroy, Seth McMillan, J. D. Nelson, Amanda Oaks,
Eric Pape, Terrie Leigh Relf, Dee Rimbaud, Phil Rockstroh,
Michael Ruby, Anthony Salerno, David Salisbury, L. B.
Sedlacek, Durlabh Singh, Carly Svamvour, Terry Temescu,
Jennifer Uhlich, Tim Wenzell, Gary West, Dylan Willoughby,
Jim Wittenberg, Kirby Wright, Mark Young
ARTICLES BY: Stephen Oliver, Nick Piombino
REVIEWS BY: Catherine Daly, Loren Kleinman, Bill Marsh,
Steven J. Stewart, Eileen R. Tabios
VISUAL ART BY: Donna Kuhn, Nick Piombino, Rochelle Ratner,
Edward del Rosario
2003 PUSHCART PRIZE NOMINATIONS
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
In November, we will be selecting six works published in
sidereality during the 2003 calendar year, for the purpose
of nominating them for the 2003 Pushcart Prize. If you have
a favorite(s) from the four issues of 2003, let the staff
of sidereality know about it. Email
managingeditor@sidereality.com with your suggestion(s).
OCTOBER 2003 NEWS ABOUT THE EDITORS OF SIDEREALITY
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Three new associate editors have joined the staff at
sidereality: Loren Kleinman, Lewis LaCook, and Takuya
Murata. These folks are helping out with poetry submissions,
art submissions, special sections, reviews, interviews, etc.
EDITOR'S NOTE
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
I won't say much about sidereality 2:4, but I continue to
be extremely impressed by the quality of work that we're
receiving. I'll let the new issue speak for itself!
Some additional content, including contributor bios, for
sidereality 2:4 will appear on October 23rd.
Best wishes,
Clayton
-----------------------------------------------------------
Clayton A. Couch
Managing Editor, sidereality
managingeditor@sidereality.com
http://www.sidereality.com/
-----------------------------------------------------------
If you would prefer not to receive any further updates, or
if you feel that you have received this message in error,
please contact sidereality at
managingeditor@sidereality.com.
-----------------------------------------------------------
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
---------------------------------
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
To:
Subject: A New Issue of sidereality
Date: Fri, 10 Oct 2003 23:44:23 -0400
ANNOUNCING A NEW ISSUE OF SIDEREALITY
FROM THE MANAGING EDITOR'S DESK
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
NEW ISSUE: sidereality 2:4 (http://www.sidereality.com/)
FEATURED POET: Nick Piombino
INTERVIEW WITH: Nick Piombino
POETRY BY: Svea Barrett, Greg Beatty, John Borneman, Bruce
Boston, Peter Boyle, Joseph Brunetti, John Bryan, Jorge
Lucio de Campos, John Carley, John Craun, Richard Denner,
Roberto Echen, kari edwards, Vernon Frazer, Andrew French,
elen gebreab, John G. Hall, Jonathan Hayes, Nancy A. Henry,
Jason Heroux, Michael Hoerman, Eric van Hove, W. B.
Keckler, Stephen Kenny, David C. Kopaska-Merkel, Alec
Kowalczyk, Duane Locke, Andrew Lundwall, Ryan J. Machan,
Joseph McElroy, Seth McMillan, J. D. Nelson, Amanda Oaks,
Eric Pape, Terrie Leigh Relf, Dee Rimbaud, Phil Rockstroh,
Michael Ruby, Anthony Salerno, David Salisbury, L. B.
Sedlacek, Durlabh Singh, Carly Svamvour, Terry Temescu,
Jennifer Uhlich, Tim Wenzell, Gary West, Dylan Willoughby,
Jim Wittenberg, Kirby Wright, Mark Young
ARTICLES BY: Stephen Oliver, Nick Piombino
REVIEWS BY: Catherine Daly, Loren Kleinman, Bill Marsh,
Steven J. Stewart, Eileen R. Tabios
VISUAL ART BY: Donna Kuhn, Nick Piombino, Rochelle Ratner,
Edward del Rosario
2003 PUSHCART PRIZE NOMINATIONS
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
In November, we will be selecting six works published in
sidereality during the 2003 calendar year, for the purpose
of nominating them for the 2003 Pushcart Prize. If you have
a favorite(s) from the four issues of 2003, let the staff
of sidereality know about it. Email
managingeditor@sidereality.com with your suggestion(s).
OCTOBER 2003 NEWS ABOUT THE EDITORS OF SIDEREALITY
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Three new associate editors have joined the staff at
sidereality: Loren Kleinman, Lewis LaCook, and Takuya
Murata. These folks are helping out with poetry submissions,
art submissions, special sections, reviews, interviews, etc.
EDITOR'S NOTE
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
I won't say much about sidereality 2:4, but I continue to
be extremely impressed by the quality of work that we're
receiving. I'll let the new issue speak for itself!
Some additional content, including contributor bios, for
sidereality 2:4 will appear on October 23rd.
Best wishes,
Clayton
-----------------------------------------------------------
Clayton A. Couch
Managing Editor, sidereality
managingeditor@sidereality.com
http://www.sidereality.com/
-----------------------------------------------------------
If you would prefer not to receive any further updates, or
if you feel that you have received this message in error,
please contact sidereality at
managingeditor@sidereality.com.
-----------------------------------------------------------
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
---------------------------------
Do you Yahoo!?
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Re: RHIZOME_RARE: software art vs. programmed art
eloquent reply to this question---and sensitive as well--
as a lover of both software and programmed art, i agree with you whole-heartedly---nothing discourages me more than what i often percieve as the shortsightedness of art that talks more about art than the world--though i do appreciated these works--
as alan sondheim said to me once: there are no "shoulds" in art--and i share your assertion that "Talking about the cultural and economic footprint of software indeed
seems to me a very important subject these days. But more important
for me is the fact that a new artistic material is born, and it is
very specific and radically different from its predecessors : indeed,
a program means action. This is an unprecedented fact in art history
and makes it a very exciting material to work with"...for me as well it's more exciting that we have new material and therefore new perspectives to work with--leave the cultural and economic theorizing to those who write essays (and your own thoughts on the matter, lying in bed at night away from the screen---which is to say: yes, these issues are important, but make the art first...)
bliss
l
Antoine Schmitt <as@gratin.org> wrote:
To view this entire thread, click here:
http://rhizome.org/thread.rhiz?thread531&text 519#20519
+ + +
Hello Shirley, Andreas, Pall and all,
Wittgenstein seems to have struck again : isn't it all a matter of
agreeing on the words.
There is no doubt that there is a large group of artistic productions
out there that use "programs" as their main material. A subset of
these have "software" as their main subject.
Wouldn't everybody be pleased by naming the first group "programmed
art" and the second "software art"? This is the position that I have
taken recently in my talks. I use this terminology because "program"
is a more generic word, and "software" tends to mean "commercial
software product", which gives it a "cultural" orientation.
Then, whether the "software art" category of transmediale should
accept "programmed art" in general is a decision of the transmediale
people and jury (this is what we had done when I was member of the
jury in 2002).
Stating that all artworks having programs as their main material
*should* talk about software, as Andreas seems to imply, seems to be
a bit slippery. As Pall says, who are we to say what artworks should
talk about ? Do all "interactive art" artworks talk about
interactivity ? Do all "video art" artworks talk about video ? And
I'd like to quote Philip Galanter (taken from a eu-gene discussion
last year) : "In medieval times painting was about God. With the
Enlightenment painting was about man. In Modern times painting was
about paint. And now in Postmodern times painting is about painting."
I thought that postmodern times where behind us now, and in anycase
shouldn't we wait before stating what programmed art talks about. All
this is just starting.
Talking about the cultural and economic footprint of software indeed
seems to me a very important subject these days. But more important
for me is the fact that a new artistic material is born, and it is
very specific and radically different from its predecessors : indeed,
a program means action. This is an unprecedented fact in art history
and makes it a very exciting material to work with. If artworks using
a certain material should concentrate on the specificites of this
material, as Andreas says and with which I can agree, I believe that
this specificity (program = action) is what programmed artworks
should concentrate on. Note that this is not *different* from the
"cultural" subject, it actually includes it, as "software art" mostly
talks about control, which is a kind of action.
So, "programmed art" ?
--
++ as
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of
the New Museum of Contemporary Art.
Rhizome Rare is supported by grants from the Rockefeller Foundation, the
Andy Warhol Foundation for the Visual Arts, and with public funds from
the New York State Council on the Arts, a state agency.
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Rhizome Rare is filtered by Rhizome SuperUsers, a dedicated group of
volunteer editors. To learn more about becoming a Rhizome SuperUser,
please email editor@rhizome.org.
To unsubscribe from this list, visit http://rhizome.org/subscribe .
Subscribers to Rhizome Rare are subject to the terms set out in the
Member Agreement available online at http://rhizome.org/info/29.php.
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
---------------------------------
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
as a lover of both software and programmed art, i agree with you whole-heartedly---nothing discourages me more than what i often percieve as the shortsightedness of art that talks more about art than the world--though i do appreciated these works--
as alan sondheim said to me once: there are no "shoulds" in art--and i share your assertion that "Talking about the cultural and economic footprint of software indeed
seems to me a very important subject these days. But more important
for me is the fact that a new artistic material is born, and it is
very specific and radically different from its predecessors : indeed,
a program means action. This is an unprecedented fact in art history
and makes it a very exciting material to work with"...for me as well it's more exciting that we have new material and therefore new perspectives to work with--leave the cultural and economic theorizing to those who write essays (and your own thoughts on the matter, lying in bed at night away from the screen---which is to say: yes, these issues are important, but make the art first...)
bliss
l
Antoine Schmitt <as@gratin.org> wrote:
To view this entire thread, click here:
http://rhizome.org/thread.rhiz?thread531&text 519#20519
+ + +
Hello Shirley, Andreas, Pall and all,
Wittgenstein seems to have struck again : isn't it all a matter of
agreeing on the words.
There is no doubt that there is a large group of artistic productions
out there that use "programs" as their main material. A subset of
these have "software" as their main subject.
Wouldn't everybody be pleased by naming the first group "programmed
art" and the second "software art"? This is the position that I have
taken recently in my talks. I use this terminology because "program"
is a more generic word, and "software" tends to mean "commercial
software product", which gives it a "cultural" orientation.
Then, whether the "software art" category of transmediale should
accept "programmed art" in general is a decision of the transmediale
people and jury (this is what we had done when I was member of the
jury in 2002).
Stating that all artworks having programs as their main material
*should* talk about software, as Andreas seems to imply, seems to be
a bit slippery. As Pall says, who are we to say what artworks should
talk about ? Do all "interactive art" artworks talk about
interactivity ? Do all "video art" artworks talk about video ? And
I'd like to quote Philip Galanter (taken from a eu-gene discussion
last year) : "In medieval times painting was about God. With the
Enlightenment painting was about man. In Modern times painting was
about paint. And now in Postmodern times painting is about painting."
I thought that postmodern times where behind us now, and in anycase
shouldn't we wait before stating what programmed art talks about. All
this is just starting.
Talking about the cultural and economic footprint of software indeed
seems to me a very important subject these days. But more important
for me is the fact that a new artistic material is born, and it is
very specific and radically different from its predecessors : indeed,
a program means action. This is an unprecedented fact in art history
and makes it a very exciting material to work with. If artworks using
a certain material should concentrate on the specificites of this
material, as Andreas says and with which I can agree, I believe that
this specificity (program = action) is what programmed artworks
should concentrate on. Note that this is not *different* from the
"cultural" subject, it actually includes it, as "software art" mostly
talks about control, which is a kind of action.
So, "programmed art" ?
--
++ as
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of
the New Museum of Contemporary Art.
Rhizome Rare is supported by grants from the Rockefeller Foundation, the
Andy Warhol Foundation for the Visual Arts, and with public funds from
the New York State Council on the Arts, a state agency.
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Rhizome Rare is filtered by Rhizome SuperUsers, a dedicated group of
volunteer editors. To learn more about becoming a Rhizome SuperUser,
please email editor@rhizome.org.
To unsubscribe from this list, visit http://rhizome.org/subscribe .
Subscribers to Rhizome Rare are subject to the terms set out in the
Member Agreement available online at http://rhizome.org/info/29.php.
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
---------------------------------
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
30.
30.
I stretch dew across the cartops at night. This world
pales in comparison with the next.
My balls burn into my thighs.
Their little eyes are hooks they see me. Watching may
be a part of touching. I didn't want to be so far
away. But when you call I go transparent: I
tentatively abstract from this attraction in your
voice some spinning crazy flowers, and they're made of
candy. Remember?
Max and Lucy wander the neighborhood with wax lips.
They visit the elderly at night. You know how you
don't sleep when you're old.
I stayed awake the duration of my life. Reams of earth
file ill light empathetic topgraphies of canopy moons.
They know a sound you walk on. Bow to the instrument
before you play it.
Strings I think are mostly, air,
nothing concurrent in folds
or pasted-over with serenity, but
you know me when I'm awake: trembles,
stuffs his hands with gardens he
took from you, that one night
washing in behind hundreds, as
he wants you to sing his
sleep across him, part
wet towelettes with a mercury
tongue. Yes, you too
have forked with secrets by now, and
eat the last of your vigor, still
shaking from honest impact, into
daubs of first drafts, pretended
preliminaries of the ceremony, not
caring what falls across to you, except
to sing (here) that sleep (her)
over the dear weight of the fan.
I let accidents happen here.
You pushed me away pushed me away pushed me away. I
went sailing labeled and docile into literature and
all its incessant talk about chords. There were old
men there, about Max and Lucy's age, but none of them
could get it up anymore. I dress like a whore only to
please you.
Blue. Cupping wind. And their serrations. Is an urge
to sense. Their empathy. Like lily tendrils unroll'd
throughout the big city. Turning on. I follow
everything up to and including the letter. Froze
easily. From. A dissolution. Added to. Their recent.
And almost engaging. With suck and mud strokes. Belief
in coherent imaging. Taup.
Spikes of the smallest water
waffle flung nutrition. The spine
as an ivy for Venus not even
with unnatural days. Smoke
sits across from, tousled,
loud; she never sleeps
always, no relief of tension
daubed out with a tongue.
The light has a broad back by
mid-afternoon. I was
naive then, to vapor with ropes
through my pores, to blister and
blossom like drops of salt
in grains of water, announce:
It would be an anguish to go
one day without hearing
your voice Renee. Isn't it
it enough not to be able to
touch you? I whittle nights
sculpting myself into
corners, casting my variables
aside into a core dump
so central to my definitions.
Inside me the functions
pass nothing between themselves,
not even the stealth of trojans.
=====
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
__________________________________
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
http://shopping.yahoo.com
I stretch dew across the cartops at night. This world
pales in comparison with the next.
My balls burn into my thighs.
Their little eyes are hooks they see me. Watching may
be a part of touching. I didn't want to be so far
away. But when you call I go transparent: I
tentatively abstract from this attraction in your
voice some spinning crazy flowers, and they're made of
candy. Remember?
Max and Lucy wander the neighborhood with wax lips.
They visit the elderly at night. You know how you
don't sleep when you're old.
I stayed awake the duration of my life. Reams of earth
file ill light empathetic topgraphies of canopy moons.
They know a sound you walk on. Bow to the instrument
before you play it.
Strings I think are mostly, air,
nothing concurrent in folds
or pasted-over with serenity, but
you know me when I'm awake: trembles,
stuffs his hands with gardens he
took from you, that one night
washing in behind hundreds, as
he wants you to sing his
sleep across him, part
wet towelettes with a mercury
tongue. Yes, you too
have forked with secrets by now, and
eat the last of your vigor, still
shaking from honest impact, into
daubs of first drafts, pretended
preliminaries of the ceremony, not
caring what falls across to you, except
to sing (here) that sleep (her)
over the dear weight of the fan.
I let accidents happen here.
You pushed me away pushed me away pushed me away. I
went sailing labeled and docile into literature and
all its incessant talk about chords. There were old
men there, about Max and Lucy's age, but none of them
could get it up anymore. I dress like a whore only to
please you.
Blue. Cupping wind. And their serrations. Is an urge
to sense. Their empathy. Like lily tendrils unroll'd
throughout the big city. Turning on. I follow
everything up to and including the letter. Froze
easily. From. A dissolution. Added to. Their recent.
And almost engaging. With suck and mud strokes. Belief
in coherent imaging. Taup.
Spikes of the smallest water
waffle flung nutrition. The spine
as an ivy for Venus not even
with unnatural days. Smoke
sits across from, tousled,
loud; she never sleeps
always, no relief of tension
daubed out with a tongue.
The light has a broad back by
mid-afternoon. I was
naive then, to vapor with ropes
through my pores, to blister and
blossom like drops of salt
in grains of water, announce:
It would be an anguish to go
one day without hearing
your voice Renee. Isn't it
it enough not to be able to
touch you? I whittle nights
sculpting myself into
corners, casting my variables
aside into a core dump
so central to my definitions.
Inside me the functions
pass nothing between themselves,
not even the stealth of trojans.
=====
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
__________________________________
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
http://shopping.yahoo.com
bloated pork dope
http://www.google.com/search?hl=en&lr=&ie=ISO-8859-1&client=REAL-tb&q=bloated+pope+dork
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
---------------------------------
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
---------------------------------
Do you Yahoo!?
The New Yahoo! Shopping - with improved product search
the 29th sky
29.
Walking down a wooded road
after midnight, until you hit
frequented streets
is a synthesis of sex. Streetlights
in parking lots alone
alternate amber and
a frigid blue. F. W. Murnau
steps through fireworks
of puddles into
WnterMute's autumnal speech.
This is how to beautify
your syntax: rolls of love
and involving lathes
think as you vellum
in a parch. If I could patch
us up again, what I'd do
is suffer less, try to learn what
won't numb in words, try to flower
mathematically if I can, with
no wit of pleasure in my petals.
There's this awful tension (it's
night, and I have no hope but to
smoke milk and drink cigarettes, cast
from such polite society as a pieta
stippled with raucous syrups, as
simple then, and protruding
in my landing in fists across
the back of Maggie Evans, TAKE
THE KEY AND LOCK HER UP! But
I hope that because you had me
before this, long before my terrible
injuries made me reclusive and
corpulent, long nights of vowels
can pierce your tongue, to pleasure
with solemnity, those portraits I )
within me, that these words are
dead with me, and I float face-
down over your hair, kissing your face
with my dead lips until I learn to
blush again, and everything's
less still, less sacred. Sitting down
a mother's couch as a bed
in the same light in a room
everyone wakes up in, my index
finger fumes with nicotine and
malaise, I am again your clever
sophomore, not a dumb hulk of
brandy beads and satyr, writing
his suicide notes in chalk on the plains
of plantations and concentration camps
and murders that leak computers
into an ever-thinning air. Vestiges
of gentility still
paw these rotten
shores. Horizon
almost low
enough for notes.
I strip, lactating
purpose. I postpone gender. You
adore in vacant colors nasal drip
as a sign your body wants to live
badly enough. You are sugar-poisoned--
blue and red and wet in the morning,
you
don't move. I hope these words
find you well. They've been
so hungry. Armitage, too, though
the first thing I remember is the
sound of the lawnmower coming from
the houses ahead of me. And then
Jean knots this simplicity, this starvation;
starring at your hips, not limp
with strange fertile juice, but
heavy with it walking home
wishing I was walking on a red star.
I fell in love with a girl from Mars,
a raw sonic dithyramb, a meter
both alone and gathered in sameness;
I narrow in dim rooms. Why do I
like it here in the dark so much, I
ask Willie Loomis, I ask Aloysha
Karamazov, why do I keep my head down
and my eyes averted in the presence
of crude projects women, cellphones
poised over barking mouths, fleas
biting my shame for them and for
me so infestested, horny for the blood
of Isabel. The cat slinks across
the carpet to me, watches me with
a plaintive sigh. She, too, slips
across the mesh sequestered and
soft, a puerile lollipop, when all of
Renee apart is tart tongue dictation,
some translation of breath thumb-nail'd
and aimed straight for you, to
lie over her face and shield her
from this dumbness in me.
I've always wanted to be light.
My horrible injury subjects me.
=====
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
__________________________________
Do you Yahoo!?
Yahoo! SiteBuilder - Free, easy-to-use web site design software
http://sitebuilder.yahoo.com
Walking down a wooded road
after midnight, until you hit
frequented streets
is a synthesis of sex. Streetlights
in parking lots alone
alternate amber and
a frigid blue. F. W. Murnau
steps through fireworks
of puddles into
WnterMute's autumnal speech.
This is how to beautify
your syntax: rolls of love
and involving lathes
think as you vellum
in a parch. If I could patch
us up again, what I'd do
is suffer less, try to learn what
won't numb in words, try to flower
mathematically if I can, with
no wit of pleasure in my petals.
There's this awful tension (it's
night, and I have no hope but to
smoke milk and drink cigarettes, cast
from such polite society as a pieta
stippled with raucous syrups, as
simple then, and protruding
in my landing in fists across
the back of Maggie Evans, TAKE
THE KEY AND LOCK HER UP! But
I hope that because you had me
before this, long before my terrible
injuries made me reclusive and
corpulent, long nights of vowels
can pierce your tongue, to pleasure
with solemnity, those portraits I )
within me, that these words are
dead with me, and I float face-
down over your hair, kissing your face
with my dead lips until I learn to
blush again, and everything's
less still, less sacred. Sitting down
a mother's couch as a bed
in the same light in a room
everyone wakes up in, my index
finger fumes with nicotine and
malaise, I am again your clever
sophomore, not a dumb hulk of
brandy beads and satyr, writing
his suicide notes in chalk on the plains
of plantations and concentration camps
and murders that leak computers
into an ever-thinning air. Vestiges
of gentility still
paw these rotten
shores. Horizon
almost low
enough for notes.
I strip, lactating
purpose. I postpone gender. You
adore in vacant colors nasal drip
as a sign your body wants to live
badly enough. You are sugar-poisoned--
blue and red and wet in the morning,
you
don't move. I hope these words
find you well. They've been
so hungry. Armitage, too, though
the first thing I remember is the
sound of the lawnmower coming from
the houses ahead of me. And then
Jean knots this simplicity, this starvation;
starring at your hips, not limp
with strange fertile juice, but
heavy with it walking home
wishing I was walking on a red star.
I fell in love with a girl from Mars,
a raw sonic dithyramb, a meter
both alone and gathered in sameness;
I narrow in dim rooms. Why do I
like it here in the dark so much, I
ask Willie Loomis, I ask Aloysha
Karamazov, why do I keep my head down
and my eyes averted in the presence
of crude projects women, cellphones
poised over barking mouths, fleas
biting my shame for them and for
me so infestested, horny for the blood
of Isabel. The cat slinks across
the carpet to me, watches me with
a plaintive sigh. She, too, slips
across the mesh sequestered and
soft, a puerile lollipop, when all of
Renee apart is tart tongue dictation,
some translation of breath thumb-nail'd
and aimed straight for you, to
lie over her face and shield her
from this dumbness in me.
I've always wanted to be light.
My horrible injury subjects me.
=====
NEW!!!--Dirty Milk--reactive poem for microphone http://www.lewislacook.com/DirtyMilk/
http://www.lewislacook.com/
tubulence artist studio: http://turbulence.org/studios/lacook/index.html
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