Back to Diction (part two)
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From: "Tom Taylor" <TOMT@ch1.ch.pdx.edu>
Organization: PSU Cramer Hall
To: (recipient list suppressed by xian)
Date: Wed, 6 Mar 1996 15:45:15 PST
Subject: DICTION PART 3
**************************
DICTION, PART 3
**************************
Dictives
1. Jumping->word choice. toward or away.
2. Structures either empty or full
3. structures as events--
existing in time and subject to
compression, expansion, connection
4. Events are serial
pattern, sequence->structure
5. Fusion - meta connect
exponsonted, replined,
****************************
porn.out
her/feet arching pressing down lifts your butt
off the ground pushed up by your shoulders
your finger flying on yr clit like magic tic tic
flying fur and spume everywhere, your head
lifted so you can see your pussy while you
stroke it back and forth in and out with
the middle finger in your butt up in the air
while you stare with that particularly intent
look which means your there your there in
the act and of it united with your middle
finger and god or whatever you moan and
bounce up and down and again and again you
come up against your hand saying yess yess
*****************************
eyesore impenetrable i hold your snake
my tongue dives into you springing into
your clit like pile driver hangnails spin
into the spume and sperm counting out whats
not said
******************************
what's not seen
the supreme pants
hears her singing
beloved on the arc
and tongue splits
the two on two
into halves sighing
says do me more
do me now im in you
down and downer singing
here you come to say hello
singing my name oh yeh
you come and some more
******************************
its all in your hands / inxs
beloved i call you down
down on your knees praying
to come in my face light
light breaking out into me
there will come come a day
you're in me coming through
my eyes coming into me full
possessing inter come to
go together off the end seeming
says hello the rest skying out
fucks some come in her face
********************************
i'd lass; a poster in her child
a finger in her grip, the lessons
clean from left to right holding
into the light with streaming.
this is the latent score fingers
in the slot and center a loop
around the light coming from
the angle in her eyes' tears
you'd or form the later find
we all have wings some of us
don no why
scope yr bunch aflame
this'll bite to slime
i've heart yr time, flow
i say the light whats time
make yr money maker
*************************************
seldom center, i hear your light
these were sent 'em (send her).
--extent of means i'm your he
fisted stents nor matter mute'r
she spreads and sings to touch
here her own sign sinking in.
not even a burdened spectrum
persists repeat apart from science
the uh denigration of respect
in this hour
hand lavatory, rental sheep
everybody wanting to get into the act
his own remission was plain, emits
the deal detail whetted spunk
sliding the pole, rewind, score
noin stater / healed bent lining
*********************************
The Least
tore form, he's lin
her face slightly shut
where'd starts intent
slides fingering din
the pressure's skin
and deal, light
out & in
ah
************************************
stormed sperm siding proven hours intents
sliding sporan detente healded hermit's
yank and spin his dick-trine sperruled
flinty tasty bint her backward and in
she culled it pulled where sent the
custard poon t'eyed held and seasoned him
toward penetration of slippery things
arrived the shinto slap, ero
aparted lips reclude thus nub
hid, sports, then expands red
white fluids export and tendril it
***************************************
wank
sport-hided, her tempo soft-yields
the proto -spasm hits up riding high
it's the focal, lube, cloth ing up
ro rom star hupe, plus expands tight
ass bud the sing-cum slip hands
knowin more then i din befor
dildo'd deep within vibrations
at the heart's hidden sign reveals
to scene's descent virgin-un;
divulgences on their own insentenses
youve overhauled, spearheaded
unt
*************************************
stort
beneath hay a hay knock
haven heaven door
aum au su hme hueav
ha ha
heaven's door
knoc nock
knock
kkkk took my baby away
* * * * * * * * * * * * * * * * * * * * * * * * *
meta- (in the midst of, among, between, after, according to.
-phore (pherein, to bear) a combining form meaning bearer, producer
metaphor: a transferring to one word the sense of another, meta, over, and
pherein, to bear. implied comparison in which a word or phrase ordinarily and
primarily used of one thing is applied to another
none of it (terminology) referring to what happens to one in the experiencing,
as in a sensation of opening or closing.
feeling or sensation only clue to functioning of units. emplacement indicates
choice and affects value or strike of a sense or sound, eg, his "donkey crying
mist" c/b "crying donkey mist" though they are not the same. How does it
feel? mr bob.
************************************************
...the generally accepted poetry today has a kind of glass outside to it, slick and
sliding, and sunned down inside there is a joining of word to word in a rather
metallic inhuman summation or semi-secret angle, this is a poetry for
millionaires and fat men of leisure so it does get backing and it does survive
because the secret is in that those who belong really belong and to hell with the
rest, but the poetry is dull, very dull, so dull that the dullness is taken for hidden
meaning - the meaning is hidden, all right, so well hidden that there isn't any
meaning, but if YOU can't find it, you lack soul, sensitivity and so forth, so
you BETTER FIND IT OR YOU DON'T BELONG. and if you don't find it,
KEEP QUIET. (Charles Bukowski, 1969)
* * * * * * * * * * * * * * * * * * * * * * * * *
In fusion, the emplacement of the elements is such that a bursting release of
energy results, occurs, obliterating the parent material entirely. Nothing is left
after this outburst. New energy 'comes into' being and the process is repeated.
the process by which the elements are put together is the thing, the choice,
wherein the dictive, and there are no accidents.
The barest piece: "of sneeze and fines" (John Bennett) is close, but there's a
preposition & conjunction in there for propulsion. In personal codes, word
choice is impelsion, what impels you forward, trying to blast out of syntax into
the clear....
So structures are empty or full, & have centers or not. Structures &
compositions are events and thus subject to event laws, event psychology,
event this-&-that. A single letter is an event waiting for combination, all is potent(ial).
and with recombinant foreward/backward effects, memory decay, the null, etc.
"Diction acts as a filter installed by the quality of one's immersion in
language, which then furthers it in a viral fashion. Rapid adaptation is
possible, but under controlled parameters. Some of these are set by forces
really tangential to the field of speech. The main distinction seems still
to be that between orality/physical body in a particular space, and
writing/abstraction in an idealized space." (Harry Polkinhorn)
Reflux outer, it's that. What comes into play is all that is described, the overture
and the maiden, all in sense and protocol as event has sex and relations with
itself, stylized-- you might say an aesthetic of itself making time and plenty of it,
like a political state, in the encoded personal, all sentences comprise city-states
and the re-deconstructed ion tells no tale in cupidity the intent of the means is
itself a porneo.
Consciousness being an infinite, unbroken silence, the body within its
susurration of the echoing, binary pump entering and entering; the voice in the
void what stammers forward interacting both again. When is it poetry?
At the start, it is a seizure of depressing anxiety which can only be alleviated by
the expulsion of words into written form. words are not then things but articles
of expulsion, parts of the process of righting ones self from such a state.
Successive experiences require alterations of method to achieve balance.
Moments of expansion and contraction in the course of the event of the episode
(the writing of the poem) are strategies of advancement, tactics of success in
the evocations of the unknown which is what the spirit seeks, escape into the
clear.
We want to feel fucked. After the poem.
sleep, return, revive. restore. more. again.
"There's something I like about you baby but I just can't put my finger on it."
Jumping: In husting the new, the instant of word choice contains a set of
possibilities all of which are dealt with in a flash. You can go with the familiar
or jump the opposite way, finding the appositive calm. Basis of choice is then
negative, moving away from familiar; yet embracing the unfamiliar detains
another recline, coaxes out the unexpected, ah, this pursuit of the accidental is
too purposive and must retire into an actual gait or motive which is yet casual
but the same calculated and acquisitive, even predict.
And the duality of the meta-state rips off at the appearance of a third. Triadic
chance offers more overtones to push around, striking out; encountering a
fourth, That Is: if you could string together 4 words which are linguistically
unrelated, eg none the same part of speech, it'd be hard not to imply in some
narrative, that's the problem in keeping the phenomenal apparent. Words
deprived of syntax or partitude become phenomenal events radiating energy,
power. Emplacement becomes a showering of facts unrelated to former
lingual. Fusional release of hydrogen bomb energies dementing the frontal
lobes with pure sensationality, preceding the meaning of the thing, "of sneeze
and fines" works thus.
So it's not a reduction of the surreal off comparisons made intent by narrative
referents. Nay, the word deprived of its focal clings to the flesh willingly,
velcro word-field. Combines another, goes on into composition.
Inclement sucks. If it were only a matter of vocabulary it would be simple,
plugging the same.
*******************************************
Jake Berry
In regards to language poetry, I have read bits and pieces of Silliman,
Bernstein, Hejinian , and others and found them all fascinating. I have
generally found the manifesto/theory from language writers much less so. But
I cannot say that I have been influenced by them since I more or less came to
what I am doing before I ever even heard of them. But I see Dan's (Raphael) point that
the popularity (if one can call it that) of langauge poetry may have freed
some minds to consider our work in a way that might not have otherwise.
Surrealism is a mixed bag, can be tremendously powerful, can be just the
dreck of someone's mind. I do like Breton's manifestos very much, but have
never consciously tried to put it into practice, though there may be a
natural affinity. Maybe Artaud is a good case in point, he associated with
the Surrealists, but only for a short time considered himself one (if ever).
I feel a greater kinship with dada, the idea that what has come before (not
everything, but the general weight of the tradition) has become so much a
part of the control mechanism that it must be disregarded in light of our own
work, and only after we make that beginning can we come back and, piece by
piece separate the wheat from the chaff. My tendency is to afffirm the
greatness of the poetry, but I am still repulsed by the academia, the overly
intellectual analysis in which that great poetry is dissiminated. Duchamp is
very impressive, as is some Tzara, Man Ray, Kurt Schwitters, etc. One gets a
sense that they were outside the whole scene, outside (maybe even beyond) the
aesthetic, any aesthetic, so they were free to create things that were free
to be what they are and not depend for their identity on any external
references (at least very few within the received "western" schools). And I
recall Larry Eigner (now in the first flowering of his sainthood) prefacing
Jack's first book with the question, "A widening of dada?" I think there's
something to that possibility. This attitude of moving outside the tradition
now is beginning to produce an "outside" poetry that is every bit the quality
as anything on the "inside" - much as outside, or free, jazz can be as
important as the more traditional schools. I also feel very connected with
Ivan (Arguelles) to what might be called the "epic strain" - the Gilgamesh bards,
Homer, Virgil, Dante, and of course Pound and Olson. I do feel a different sense
of place, time, polis, locus, not so much specific temporal space, but closer to
spcaetime at the site of the event, that site being potentionally anywhere
and everywhere. And developments in this century in physics, and biology
contribute to the mix. regarding the Beats, Kerouac's infinite line, and how
well he sung it are important, and McClure's ideas and execution of those
ideas, of poems as living beings. Yet none of this is as important as clarity
when the moment comes, not concerned so much with literature as with allowing
the poem to happen regardless of the form it may take. Not a manifestattion
of the subconscious, but something that utilizes all forms of cognizance at
the "site" of its appearence.
***********************************************
Jim Leftwich
"The surreal is finished as a tactic. Try to use it as a means of influencing
the reader, manipulating towards some jolt, zen slap/epiphany, any of that,
and you'll be met with the bitter cynicism and/or indifference that is
usually reserved for commercials. Cartoons, MTV, ads for Scotch and Hondas
are surreal; the poets have to come up with something better than that. And
an all-encompassing irony will not suffice. The movement, by whatever means,
must be away from subjectivity. (Not that there is no self, but that there
are multitudes within each self, and that a radical openness blurs the
boundaries that normally serve to define the area of individual identity.)
Collage assists in this aspect of the project; so does citation. But the
more you add, the more complex the territory becomes, and the peril is that
the cacophony of disparate voices will blur to white noise, and the result
will be a free-for-all, reader response, a return to the subjective.
Impossible as it seems, there has to be an attempt at presenting the truth,
and some notion of ethical action. Starts with the self, no doubt, but means
nothing if it does not move beyond.
* *
The idea is that experience of "the progressive series of seizures", that is,
poetry changes the poet, fundamentally alters the human being. The repeated
acts of making poems are rites of initiatory transformation. The poet
acquires an ability to alter reality with words. The smaller units of the
language, embedded in the poem, are revealed upon examination as instances of
alchemical transubstantiation. The apparatus of perception is altered
fundamentally.
******************************************************************
see also Poetic Diction, Owen Barfield, 1928, Faber & Faber, London (first pub'd)
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to be continued******************************************************
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********************************************
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From: "Tom Taylor"
Organization: PSU Cramer Hall
To:
Date: Wed, 6 Mar 1996 15:45:15 PST
Subject: DICTION PART 3
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Back to Diction (part two)
Back to Spam article in Enterzone episode 7
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