Christina Collects Corpses

<Your work prophesies humanity, says Christina. How to learn and participate in a humanity in a way that is aesthetic and real

Your work prophesies Human One one Child of Humanity Ben Adam>

I collect Christina keeps king cobras and the cipher King Felix. I collect Christina hiding and she vanishes in hands. She vanishes in my hands camouflaged complex variable (she vanishes sleight of hand developing variations). My hands vanish a skin of pus fueling alternate fires and displaced desert / the map says we’re fucked.

Christina keeps corpses in karst catacombs and she cooks combination lock soup with their eyeballs.

Christina keeps corpses <karst sparse spirit abandon> catacombs as she cooks looks with soap eyeballs (I spy with my little eye impossible serial killer onions)

I collect Christina and she keeps miniature catacombs corpse mouths (I lived in a corpse mouth for a month; I lived in cave mouths for years and I finally transmogrified into a fruit bat).

<Your work prophesies Human One one Child of Humanity Ben Adam> as Human One plays passages X passages

Then some of the scribes and Pharisees said to him, Teacher, we wish to see a sign from you.” But he answered them, “An evil and adulterous generation asks for a sign, but no sign will be given to it except the sign of the prophet Jonah. For Jonah was three days and three nights in the belly of the sea monster, so for three days and three nights the Human One will be in the heart of the earth.”

<Your work prophesies Human One>: Ben Adam three days and three nights in the heart of the earth

Child of Humanity participates in city passages. The passage is a city a world in miniature. The passages telescope pale pink pink projections. Sign pink projects the pale horse of my skull. My skull repeats a pink motif, a pale horse pink apocalypse. I puzzle over a pink apocalypse which burrows passages through my skull. My skull strays straw passages pink passacaglia. I burrow passages panel passages, a particular pink plane which intersects at apocalypse.

<Your work prophesies humanity> sign will be in the belly of the sea monster In the belly of the sea he answered the Human One will be in them

Christina collects corpses and they’re all my corpse; they’re all my doppelganger cadavers. Christina collects winter music and winter language, and she rivers riverrun through her collective catacombs

Collect corpse corpses three days and three nights belly-to-belly suplex

They’re all duplicates city passages
They’re all duplicates pale pink horse of my skull
They’re all passages pitter patter rhythm behind the drone

Do you have a favorite true crime case? I ask Christina. Favorite case is hard, she says. I only know the really famous ones, I say. So I guess Zodiac or DB Cooper or some other low hanging fruit. I just watched a thing on the OJ Simpson case, and it was really eye opening, says C. The prosecution really botched the whole case, I say. They really did, says C. They thought they could phone it in. There is a 7.5 hour miniseries on the case that won a bunch of awards I say. OJ: Made In America. It’s really good, but it’s long, says C. Like my dick! I say. I snorted, says C. I am very funny.

Work sign from and will no just there for asks and I call out to her catacombs I call out her catacombs and I bury dead in waterfall limestone

Work Human One lie in the heart of the earth

Carve Out Christina

<Christina karst sparse spirit abandons if I ever get off the killing floor

Christina couple down the road from the Book bunnies kitchen kite kiss cheap machine

Christina clip can do something you don’t get mad>

I carve out Christian. I carve Christian Christina outer darkness cave wall wonderwall (Because maybe you’re going to be the one who saves me… Christina’s favorite Oasis song: Girl in the Dirty Shirt, off the much maligned Be Here Now). I carve out Christina outer darkness and I cave depths heretics. I cattle Christian heretics into catacombs and I burn bodies into tabor light resurrections. I resurrect my own body through fire variations, and underneath earth, I sleep.

He carved the walls of the house all around with carved engravings of cherubim, palm trees and open flowers in the inner and outer rooms. The floor of the house overload with gold, in the inner and outer rooms.

I carve other Christina. I carve Large Marge other Christina and Christina keeps Large Marge jump scares through cave magic (I mage in caves at the margins).

The magic columns of these palace / show to the amateur on all sides, in the object their porticos display, that industry is the rival of the arts

He carves the walls of the house all around about with carved engravings of cherubim, palm trees, and open flowers, in the inner and outer rooms. The floor of the house he overlaid with gold, in the inner and outer rooms. He carved cherubim, palm trees, and open flowers, overlaying them with gold evenly applied on the carved work.

Magic columns of these outer outer palaces / arcades Magic columns crop cut carves crop circles Mage cave wheat silhouettes

I expose silver silhouettes – trees carved gold and engravings overlayings and palm expose silver silhouettes, my hips to the arcades projects (my hips to the arcades, the great poem of display which chants its stanzas of color)

I carve inner outer <Christian karst sparse spirit abandons if I ever get off this killing floor>

I carve inner open work with carved flowers house cherubim palm around arcades

“If I may be so bold that I just say something
Come and make my day
The clouds around your soul don’t gather there for nothing
But I can chase them all away
Why do you need a reason for to feel happy
Or shining for the rest of the world?
Give me just a smile and would you make it snappy
Get your shit together, girl”
That was Ryan H – and my song, says Christina. Eww. Why eww? Because you have a song with Ryan H – and not me and I’m jealous, I say. Grow up! says C. I want a Kindred song, I say. To Make You Feel My Love! says Christina. Yes, I say. I still think of you when I hear that song. Think of us at Christmas Ball. I hope that’s also the memory you had in mind. Yep! says C. It was a nice night I think. At least that’s how I remember it, she says.

<Christina clip can do something you don’t get mad> floor of rooms the gold upon Christina

Engravings carved cherubim house house in palm outer Christina Other outer Christina jump scares through cave magic (I mage in caves on the margins)

<Christina karst sparse> carve out margins. I carve out margins and Christina marginalia (margins linger with nervous mirror momentum). I carve Christina out momentum (a skin of pus grinds alternate fires and alternate vert ramps).

I carve Christina out heretic hematite (I mage cave Christina heretic spelunking her chaotic cunt)

Carve Christina cherubim with carved the walls chaos
<Unknown chaos kindles Christina microcosm – baptized Ben Adam
Prima Materia anoints Christina chrism – permanent water radiant resurrection>
Cave inner caved Christina cherubim with carved the walls and trees

I carve Christina in free improvisation / free jazz faces facts my bloody valentine campfire. I carve cane Christina free improvisation: fire vert <Christina karst sparse spirit>. Carve cave mage Christina free improvisation: longer fire line and burn lines (line lights burn longer big length).

(I recall a Tom and Jerry cartoon mimicking Cowboys and Indians and black power burns long length to inevitable explosion)

I expose improvising Christina margins and marginalia

I carve Christina Gethsemane out of desert sand dunes and ocean sand dabs. I carve Christina’s corpse as bluefin tuna except she’s even more endangered (her critically endangered status tags critical hits and holy heat). I carve Christina out out brief candle and candle collapses into cave ruin and circular ruins / acid mine runoff.

<Christina corpse down the rods from the Book bunnies kitchen kits kiss cheap machine>. The magic columns applied around Christina gold inner flower outer open overlaying cherubim rooms god gold palm magic. Christina on all sides <couple down the road> arcades walls about trees.

Magic columns down cave mage silver silhouettes Free improvisation exposed / explodes <Christina clip can do sometimes you don’t get mad>

Mage cave swing to the arcades carves all inner open carved Christina

Establish A Point

You establish a point, you try to develop it

<Text-Composition No. 7

Taryn was Tohu Wabohu and darkness was upon the face of Tehom. All her faces of the great tehom looked and gazed and the windows of heaven were opened

Taryn Tehom faces Taryn Tohu Wabohu wade word away bottomless pit. Taryn Tehom troubles Ben Bythos / Taryn troubles waters word-within-worlds first magic chaos.

Taryn Tehom sows play pleroma – play hop on pop pleroma – play perpetual plein air – play flood scorched earth Elohim grieved.

Taryn Tehom deterritorialized zig-zags tohu wabohu Benjamin bathing in abyss.

Taryn territories hurry Benjamin nude blue bather with unreal alligators
Anarchic alligators
Unreal cusp pleroma
Unreal monsters in sea

Trapdoor spider Taryn ambushes Ben Bythos and she arises leviathan thin when seafoam crocodiles (Taryn Tannin and Benjamin Behemoth)

Taryn was words-within-worlds tohu wabohu and dark pleroma was upon the face of the tehom – our tehom face-to-face all her faces of the nude blue tehom looked and gazed leviathan unreal in flood windows (her faces gazes open sea monsters first magic chaos) >

You establish a point, you try to develop it

A point: I start from one point and go as far as possible Point porous point points playful point Playful point proliferates pink out of the corner and pink stations of the cross Point <complete chaos projects pink out of the corner Christina chaos> Pliable point implodes pli selon pli / Book supermassive black hole

You establish a point points play ray I play a cathode-ray tube Taryn pornographer graphomania I play pornographies, someone writing without harlots
High heeled honeys Brawling beauts Curvy corset cuties
<Taryn was Tohu Wabohu> and paranoia sucks you into a
whirlwind of erotic love!

Samus Aran is an ex-soldier of the Galactic Federation who turned into a galactic bounty hunter, usually fitted with a powered exoskeleton that is equipped with weapons such as directed-energy weapons and missiles.

I establish a point and I play a cathode-ray pornography (Blue movie was real. But it wasn’t done as pornography – it was done as an exercise, an experiment. But I really do think movies should arouse you, should get you excited about people, should be prurient. Prurience is part of the machine. It keeps you happy. It keeps you running.)

I experiment with an excited erotic, an erotic excitation and oscillation. I experiment with an erotic rocking chair pendulum (a phallic pendulum pornos topos / topiary electronics).

You establish a point, you try to develop it

Try to develop <Taryn Tehom faces Taryn tohu wabohu> Develop my abyss point at a at abyss develop Develop my face points face play: <Taryn Tehom sows play pleroma>

Develop <play flood sources earth Elohim grieved> Play abyss porneia <territories hurry Benjamin nude blue>

I experiment with a powered exoskeleton. I molt my exoskeleton periodically and under incomplete metamorphosis. I experiment with a transparent exoskeleton / an explicit nude. I molt explicit nude big numbers / experimental human numbers. Taryn Tehom starts at point number point porous abyss particular points (I always wanted to do a movie that was just pure fucking, nothing else…). I film cheap video and cathode-ray tube super metroid metroid directed-energy beams (three electron beams bow an energetically and negatively-charged trinity).

You establish a point, you try to develop it

Develop – what I develop, I do not know – develop mystery. At this point, mystery and garmented mystery in shrouded Cloud of Unknowing. Shekinah veils Mount Sinai superimposed on Mount Horeb. I develop something apophatic: X inside X and <all her faces of the great tehom looked and gazed> X interesting X. I start at a point and go as far as possible: X. I go as far as <Taryn Tannin and Benjamin Behemoth>.

I project a pink electron beam into the picture of a powered exoskeleton / an ostrich skeleton discovered on an exoplanet. I project pink parking lot and I avoid the stone benches were the space in the seat catches dirty old men

She executes missions given to her by the Galactic Federation while hunting the antagonistic Space Pirates and their leader Ridley, along with the parasitic energy-draining organisms called Metroids.

I establish a point and I make space for piracy / make space pornographies. I make space for a piracy that archives and preserves film reels of Nosferatu. Space Pirates striptease dance of the seven veils.

A point: I start from one point and go as far as possible Go <this room time becomes body space still a love supreme Pando>

I start from one point and I develop piracy. I pirate <planet rebuilt her own way than two harpoons sonic boom> Pirate point proliferates Metroid space / I participate in points powered exoskeleton

Point participates <this is where time becomes space Space is the place We travel the spaceways from planet to planet> I try to develop Spaces Pirates parry Tehom

Establish a point disappears in its development

Experiment Impossible Structure

Insects experiment the impossible / insects experience impossible music

With impossible, her campfire insects when time high cave climb

Insects experiment in increments: intense lights and colors – sometimes impossible colors – colors chronos chaos Intense nor how the fire then with green then with gold god entrails

Insects experiment the increment, when the fire / experience when the fire intense resurrection

The cathode-ray amusement device is the earliest known interactive electronic game. The device simulates an artillery shell arcing towards targets on a cathode-ray screen, which is controlled by the player by adjusting knobs to change the trajectory of a CRT beam spot on a display in order to reach plastic targets overlaid on the screen. I control the electron beam as a vampire bat and fruit-eating bat, and I add blood aleph aleph alphabet. I add blood the only girl who I name and I avoid stone benches where space in the seat catches.

I play cathode-ray tube Taryn pornography / pornographic graphomania with intense colors
Exposed: beware the lust traps of the she wolves
You risk your women and your life and never even care, when there’s –
A Party Every Night
I play pornographies someone writing about harlots

Insects experiment in increments when the fire (fire invents intense resurrections invents prima materia chrism – moon macrocosm baptism – radiant morning resurrection Invent cathode-ray insects on fire)

//
Insects experiment impossible structure

(Structures give more possibility of defining the space in a way where it can be revolutionary)

How to structure. How to structure experiment through remix, sampling, and reinvention / transformation. How to structure: this is the question and answer of the Book. How to structure: this the exploration and non-answer of the Book.

I ponder how to structure: I contemplate structure and structures. I meditate structures medium median remix and structure structure psychopomps (I shaman between structure and structures). I contemplate how to innovate and work with novel structures
Experiment impossible insect fire
Cathode-ray tube impossible colors
Insurrection structure resurrection
I shaman between pornographic rays and gold god entrails

I contrast and contest structural technique: large scale form and formations – landscape and geological strata – impossible scale across pages and volumes. The local technique projects is a ray across Big Book Abyss / cool shaman chaos <complete chaos projects pink out of the corner Christina chaos>.

I recall what John Coltrane said: “I start from one point and go as far as possible. But unfortunately, I never lose my way. I say unfortunately because what would interest me greatly is to discover paths that I’m perhaps not aware of. […] I localize which is to say that I think always in a given space. I rarely think of a whole solo, and only very briefly: I always return to the small part of the solo that I was in the process of playing…” How to structure: to think not only of the local solo, the single strata and section, but the whole solo – structure and structures Book geology.

I simultaneously fix and unfix structure and structures, and I provoke beyond Book – I provoke completely chaos projects pink out of the corner the local is universal. I provoke Beyond Book impossible Book (Beyond Book begins bereshit within Book). I provoke and invoke strange structure of Book – beyond word, sentence, and paragraph – towards Morton Feldman Scale and LONG DURATION.

Long duration where one thinks about scale rather than form (experiment transform local form to a big star structure and structures)

I reveal repetition as different form-structure – form figure with meat extend fiery farmland / impossible irrigated desert

I repeat form without form in ritual repetition / hourglass ghost trance music. Insects experiment impossible chaos and in the cathode-ray beam, her campfire insects when time light cave climb. I repeat form without form ritual repetition and ritual summons vampire bat electron beam.

I repeat text as primary territory forks secondary territories – simultaneous territories terra Taryn. I row rhythm and structure slow growl deep cave stalagmites.

Insects experiment impossible structure. Insects discover paths that perhaps I’m not aware of.

Insects experiment the impossible (with impossible, her campfire insects when time like high cave climb) Insects experiment in increments: intense light ritual and impossible colors Pink out of the corner Christina chaos Pink punk lights high cave climb

Repeat ritual now how the fire then the green then with gold god entrails (Snail trails track cathode-ray tubes)

I control the intensity of the three electron beams / one of each additive primary primary color with a video signal as reference. I control the electron beam vampire bat and I add gold god entrails – impossible color blood aleph aleph alphabet. I add blood Book and blood bank ritual. Add the only girl who I name and I name insect ritual and space in seat catches.

I play a cathode-ray tube and Taryn gives structure and structures

Gather As Much As You Need

I gather flowering waters and make them immediately clean I order waters ogre sing he word

Word wilderness whip and body run rushes Word wilderness when what seat sawdust further drift

I gather flowering waters and make them immediately clean I drift soft clay molded into twelve sparrows I drift sift sour twa sisters cauldron Sistine Chapel ceiling I drift pond drown drone dresser drawer undressed and sparrows fly sparks from bureaus

I gather miniature insects (not much in quantity but much in content). Gather as much of it as each of you needs, an omer per person according to the number of persons, all providing for those in their own tents. When they measured it an omer, those who gathered much had nothing over, and those who gathered little had no shortage; they gathered as much as each of them needed. I gather miniature insects – not much in quantity, but much in quality.

Miniature insects park their cards in matchstick boxes: miniature insects inscribe illuminated manuscripts and their gold leaf wings swing jazz gospel

Be realistic – expect the impossible

Impossible insects invade the Book and impossible insects infiltrate my body. I illuminate the insurrection of insects (pain becomes a radical form of insurrection). Impossible insects incinerate the cross campfire (I keep the campfire the empire never ended). Illuminated manuscripts incinerate the campfire across the funeral pyres (the great labor of appearance serves the making of the pure).

I gather flowering waters were fires and liquid metals merge emerge immediately clean ritual. Gather drift pond drone – drone Pando beating just intonation Pando fly sparks impossible insects. Gather according with little waters expand Mary waters water immediately.

//
<I prophesy anarchy, creative community, and unnamed unconditional. The friendships I have with Kindred and Pando and KRYSXTRYN provides a model for creative community and alchemical anarchy.>

Asia Rhizome rows road of roses and I continue to cry shy behind hedge hidden holy. Rose – march rose raw – mixed media rose – rose fluxus flex in fluxus performing rose. Rows roses sing rose bloody bodies fever. Rose always demands expansion expensive and clay earth.

Asia Rhizome gathering gathered daughter each all more much

Rose prophesies anarchy and creature community and unnamed unconditional and gather tents for number per needs

Asia With Weevils rows road roses and I continue to cry sly behind measures over little hedge hidden. I hide in holy symbols. Vision vines a vulnerable void. I value airs Asia aether add assonance and alliteration. Asia with Weevils inscribes I must not mask manifold marry merry to KRYSXTRYN nude. Expose experience. Gathered with little so who nude rose. Gather and expose the erotic experiment. Person gathers had gathered own of persons Benjamin strip down language naked.

(Asia demands exposure – expose my flesh, pure feeling – Ben feeling – feeling antennae or unmediated ant colony presences)

I think your problems with writing and your hatred for yourself is connected, says Asia. You don’t want to show yourself in your writing. You try to sever yourself from it. Or maybe a better way of putting it is sometimes I think that you don’t really want people to understand it because then they might see pieces of you. You put vulnerable things in your writing but in a way that is nonsensical, says Asia.

Asia demands exposure – expose – my skull and brain, and my skull cut open awfully open open tent gathered exposed. Benjamin expressing my feelings out and out. I do not mask or withhold my embarrassment but gather and give my vulnerability. I gather and give vulnerable vision window. Expose experience – my visionary experience and vulnerable experience. I strip language down naked naked strip syntax / descent syntax naked names.

“I’ve been a naughty girl!” “A frank and full account of the wild life I have lived – and the men I have loved” Swingin’ Doors by Diana Dors Naked Lunch exterminate all rational thought

I prophesy anarchy, creative community, and unnamed unconditional Descent syntax naked but unnamed – my hidden names enciphered in Book Lydia and Benjamin Ariadne
//

I gather flowering waters and make them immediately clean Clean I sit kitchen sink realism (secret messages cryptic languages indecipherable codes unnamed rose body)

Urgent nocturne kitchen sink / sob bobbin thread Bartók night music
Cryptic language crickets
Cicada elliptic curve circular saw
I sit soundtrack collages from several noirs now shadow puppetry (dark-meddled moires of the memory book in its pulp fiction edition forms obsidian riddle that cuts time to pieces)

I prophesy anarchy and creative community: communal miniature insects Illuminated insects incinerate the campfire across funeral pyres (the great labor of appearance serves the making of the pyre)

Multiple Sentient Ecosystems

Insects multiply hidden rhythm / buzz roll accents Insects multiply minimal city entrails and guts interrupt Guts interrupt impulse rhythm rhythm rhizome

City entrails occupy situs inversus and city mirrors tabernacle with opposing visceral organs

I construct violent interplay between video chaos and the organic city molt. Both city and video animate bodies – my body which follows Main Street and horizontal scan screens. I construct my body violent and in the myriad multiples of insects (insects forgive me seventy times seven).

This is a tabletop game for the people who don’t care about a bunch of rules, says Asia, and want to bullshit their way through the game, which I appreciate. Randomness is an important element. My character is a colony of insects, she says. That is very Asia-core, I say. Yeah, there is a species that is a colony of spiders or insects inhabiting a corpse, she says. You have to roll a 13 or higher on a perceptive check. My character concept is that the insects are from an extinct ecosystem and it gathered all the bits of its home it could get on its way out. So the corpse it lives in isn’t a human or animal corpse but a collection of trees, plants, and bones from its lose home. It’s not one type of insects either – it is multiple. My character is basically a sentient walking ecosystem, she says.

Insects multiply hidden rhythm / buzz roll accents

Insects construct multiple rhythms: polyrhythm city colonies and screen body horror.

The cathode-ray tube amusement device is the earliest known interactive electronic game. The device simulates an artillery shell arcing towards targets on a cathode-ray screen, which is controlled by the player by adjusting knobs to change the trajectory of the CRT beam spot on the display in order to reach the plastic target overlaps on the screen.

I construct the stations of the cross from obsolete cathode-ray tubes; crosses construct a bikini tube top from magnetically manipulated electron beams. My skull beams a cathode-ray cranium – my skull beams a cathode-ray cranium cathedral, and I cut the cathedral from electric cardboard. I braid bones into cathedral stained glass, a calcium matrix for saint storytelling. I ray riverrun runover road kill. My skull revolves beam boom and beam blast allways electronics and my skull electric eel electrocutes video screen voyeurs / video screen technicolor vultures. I interact skulls in intense colors – pink and red intensities with flash blue radiation.

I construct stations of the cross: stations multiple hidden rhythms. Construct animal colony ecosystem randomness. Random crosses cross obsolete cathode-ray tubes. Tube colonies walk buzz city accents.
Way their corpse care that insects of in bunch insects
Multiple higher its very the insect character
I construct my obsolete body wrapped in bikini tube tops and city entrails (headless body in a topless bar). My skull beams a city mirrored tabernacle with opposing visceral organs. Skull beams entrails insects insects collection this sentient. My skull beams a cathode-ray city as city magnets arc my organs upside-down guts.
I Bite Your Butt plus I Gulp Your Guts
They eat so fast you won’t have time to scream! Critters
I cut the cathedral city entrails and guts interrupt cathode-ray beams

//
City entrails pipe elevator bagatelles / compose a bagatelle with only-begotten son rhythm

I compose bagatelles borders body without organs and Book entirely entrails

“Consider,” wrote Arnold Schoenberg in the preface to Anton Webern’s three-and-a-half minute 6 Bagatellen Op. 9, composed in 1913, “what moderation is required to express oneself so briefly. Every glance can be extended into a poem, every sigh into a novel. But to express a novel in a single gesture, joy in a single withdrawn breath – such concentration can only be present where there is a corresponding absence of self-pity.”

I extend every glance into a poem and every sight into a novel. I indulge and I do not give myself any constraints except to prophesy and copy incessantly.

My skull beams a god glance constructed into a cathode-ray Christ and the cross extends its arms to the ends of the solar system. Cathedral cuts a second from long minutes but seconds sprout wide slime.

Work on composing compact and concentrated pieces – apophatic and hermetic miniatures and monstrosities – modeled Anton Webern and György Kurtág. I don’t know how to write the small piece – only the perpetual prophecy and endless electromagnetic fields playing Book fluctuations. Long duration buzz rolls multiple insects / guts generating always guts expanding city. The visceral city searches from the late Morton Feldman piece. Find the point in the universal spiral – move both directions at once model modular. Copy ritualistic repetition and cathode-ray beam bagatellen.
//

Insects multiply hidden rhythm / body horror buzz rolls
You have been warned! Don’t go Into The House Threshold into terror
They’ve come for brains. You’ll give them… bullets!
Insects multiply entrails that the game for insects – multiple entrails bones from an instinct ecosystem to bullshit their way through the city guts

Randomness a all of all its corpse You the tree Tabletop an have bits plants My role it bones

I construct a colony of insect ecosystems – system stations of the cross randomness. I construct a bunch of its of insects in bikini tube tops. Cathode-ray beams manipulate my skull ecosystem extinct either all their way through their way out. My skull beams people who don’t care about a bunch of rules and skulls gathered all their way through the game for the corpse. I bullshit my way through and I cut through the cathedral electric insects. I braid multiple insect bones / imagery bones evaporate in bagatelles.

My skull storytell insect colony beamed wider sentient ecosystem

My skull as electric eel swings through the grid guts of my city body. Electric skull swims sentient ecosystem extincts ecosystem an extinct ecosystem bagatelles copied into city body.

Brush With The Rhythm With Rhythm

Brush the rhythm with the rhythm and vary the rhythm developing variations

I brush rhythm shadow harmony rhythm and I vary rhythm developing variation shadows. I brush the rhythm broad jazz and I search for a new stress of my sentences – a sprung rhythm, a propulsive rhythm, a rhythm that gallops but also breathes like a large organism – clonal colonies and Pando. I search for a sentence rhythm with a metabolism and a surprising symmetry alchemy chymistry chemistry.

Brush the rhythm with the rhythm and <room conducts sonic boom conic sections We travel Pando from planet to planet Pando grows between and among and through the Empire Never Ended>

For the elements changed places with one another, and on a harp the notes vary the nature of each rhythm, while each note remains the same. This may be clearly inferred from the sight of what took place. For land creatures were transformed into water creatures, and that swim moved over to the land. Fire even in water retained its normal power, and water forgot its fire-quenching nature.

Insects multiply hidden rhythm / buzz roll accents

Insect multiply be rhythm the nature of inferred quenching Multiply water a creatures another swim water

Insect rhythm multiplies transformed animal mazes / mazes rhythm arcades

Pac-Man’s popularity was such that President Ronald Reagan congratulated a player for setting a new record in Pac-Man

Fuck Pac-Man I storytell from scene to scene rather than moment to moment Fuck Pac-Man Christina mazes chases high score sour warheads (I score the sour sketch of nuclear warheads)

Nuclear war it’s a motherfucker don’t you know if they push that button your ass gotta go / we travel Pando from planet to planet

Pac-Man’s popularity transformed animals from the one which moves its element creatures This notes that the places fire a new record score in Pac-Man

I search for a new Fuck Pac-Man rhythm – sprung rhythm a sin symphony Brush vary rhythm this inferred and power place creatures
It’s the nature rhythm of elements
This is where time becomes space directs conductions
Burlesque’s most unusual stripper
Search for sentence rhythm with radioactive metabolism

Study the rhythm of Igor Stravinsky and Charlie Parker

Insects multiply hidden rhythm / buzz roll accents Insects multiply minimal city entrails and guts interrupt Guts interrupt impulse rhythms rhythm rhizome Guts interrupt harp while the rhythm nature quenching

Rhythm transformed inferred rhythms the another fire fire creatures

Rhythm transformed fuck Pac-Man inferred rhythm mazes

//
I brush rhythm broad jazz brush new stress brush new sentence

I am a shadow far from darkened villages. I drank the silence of God out of the stream in the trees.

Shadow shadow doe for the morning
Shadow sideways morning
Shadow wade in the waters sideways
Waver shadow savor its flavor
Weave shadows hare beware
Shadow padlock eye socket
Shadow endless circulating systems

Brush rhythm transformed new stress / this is where time becomes space directs conductions

Brush rhythm nature quenching

Shadow shadow another fire / as in moved doe of morning
Shadow sideways morning brush shadows
Shadows wade same fire swim fire sideways
Waver shadows and weaver shadows
With nature fire inferred padlock eye socket
With into rhythm endless circulatory systems

I circulate shadows in Georgia swamps (Shadows disintegrate far) Fire water and same nature far sparse fish pellet shadows

At first I wander far sun straight overmind but shadow still clings to me. Shadow pursues psalms in sun – run away – run away sun hot cross rhythm in notes. Black dog god shadows stick to my side ache.

Brush rhythm new shadow sentences / Charles Ives Symphony No. 3
//

Brush rhythm with rhythm and vary rhythm fuck Pac-Man mazes Brush rhythm broad jazz new syncopation and odd funk hits
For rhythm in notes on for animals each with the note
He sold his soul for rock n’ roll Phantom Of Paradise

Search new stress sprung propulsive Search guts gallop fuck Pac-Man brush mazes Gallop breath breathe shadows outward and upward Search metabolism shadow stream bolus

Search brush maze sideways Street rose barracuda high score Strip brush burlesque Surprise shadows brush broad jazz

Insects multiply hidden rhythm shadows Brush buzz roll accents Insects multiply hidden metabolisms

Study the sideways shadows of Igor Stravinsky and Charlie Parker

It Was Dark

It was dark

Too rigorous. Prophesy irregular and irrational. Risk the one time over, the written once, the kind of blue. Unconditional love embraces messy, mistakes, ugly. Enjoy ugly prophecy and ugly gods. Surprise with ugly and the divine trash layer – not only at all. Strange and alien divine leaks into the writing and gives porous prophecy (prophecy without category). Book already recognizes.

It was dark
It was dark call you yesterday where it went to you about some

It was dark
It was a dark and stormy night. Night storm-and-warrior deity. Storms. Taryn terrifies storms it was dark.

It was dark. It was dark call you yesterday where it went to about something night train holy spirit. Dead keep calling me. It was as it was dark and it was dark language no longer a language but a call. She calls me with this something where went lit to you language dark. Dark. Was dark. Her dark.

It was dark wedding. Wedding wed dark he on off on off. Of off her dark dwell odd divergent for her. It we see hawk and stiffen but night. It was a farm and during nurture night.

It was dark wedding and she dark and she fell dark dark fell. I fell full phantom dark wedding. Christ and Ben wedding Christina – fell dark fry on so hot cross buns. So if subterranean sizzles down signs and wonders wedding wed dark he cut off offer offal heterodox dark. I depend on dark – dirk draft dark wed.

(Failed wedding? Failure. Not failure de Kooning Woman III but something unstable, untenable. As if you not if – I feel nothing for this at all.)

I write something from outside of me, not inside of me. Not from within me yet dark. Should everything come from within? Art seems it should come from within. I’m not channeling a text from any gods or celestial beings – shouldn’t this text come from within me? I feel nothing for this dark wedding / I feel everything for this dark wedding. I know dark and I know nothing of this dark. This dark doesn’t belong to me but to something unknown.

I write something outside of me but one cannot distinguish between inside and outside. Jesus in the Gospel of Thomas says: “When you make the two into one, and when you make the inner like the outer and the outer like the inner, and the upper like the lower, and when you make the male and female into a single one, so that the male will not be male nor the female be female, when you make your eyes in the place of an eye, a hand in the place of a hand, a foot in the place of a foot, an image in place of an image, then you will enter the Kingdom.” Prophecy and art come from the inner-outer and male-female: androgynous abyss and marriage of heaven and hell. I feel nothing for this dark wedding yet it maps and inscribes on my eyes in place of an eye and my hand in place of a hand and a foot in place of a foot my dark wedding. It is not my dark and it is my dark – it belongs to the unknown to me – X inside-outside me.

Book contains everything: everything connects to everything and everything follows everything. Book outside-inside upper-lower prophesies dark wedding different dark outer darkness.

It was dark. It was dark – my soul dark and my body dark darkful mind. It was dark and I descend to hell. I wed hell her awhile hellgrammites (I zero resurrection hellgrammite grammar). I exist hell ekstasis descent and the upper made into the lower and I am hell. I hell I am hell dark unknown – my soul hell and my body hell and my mind hell. I experience-experiment perpetual hell and hell happens and I perform happening next.

Hell contaminates everything. My hell contaminates all, and my hell all in all

It was dark call you yesterday where it went to you above something It was dark wedding and I wed went and hell change chisel aleatoric and hell invades wedding

Wedding wed dark he camera cull caw crow crow wide door raven Wedding Christina raven Raven run-off or off on her dark dwell odd detergent for her It was see hawk descent hell and stiffen star hell but night It was farm – farm film – flesh clam fanning – future flesh farm wind

It was dark red red red teeth red (Anything you have done well is worth letting go of… What have I done well? What have I written well? It is dark and I belong to the unknown)

Plunge City Bottomless Pit

I play in the narrow part of the rustling stream / the city as a temple turned upside down, plunged into the depths of the water.

I play in the narrow part of the rustling stream and I play marrow part bone albondigas Play narrow partitions part parting piston pole position polar coordinates Narrow nodule skull stick tumor tuber rhizome zygomatic Zygomatic automatic crowbar cheekbone jawbox I play in the narrow part of the rustling stream space
<This is where time becomes space
Space is the place
We travel the spaceways
From planet to planet>
The city as a Temple turned upside down plunged into the depths of the earth

I plunge city bottomless pit / pit plows prayer pages and wide pitch Bottomless pit pikes imprecise pitch and vibrato vision psalm prayer

In the narrow stream of my prayer, everything connects everything and everything follows everything. Everything travels the spaceways from planet to planet spaceways everything. I pray rushing towards bottomless pit inherited space is the place.

I play narrow gnostic ghosts: ghost play pastes castle collage found footage
The only way out is down As Above, So Below
What happens when you sleep? Paranormal Activity Don’t see it alone
Newsreel narrows red wheelbarrow witch borrow sugar

Play often with landscape zodiac. Play often the constellations. The star arrangements sink into inverted bottomless pit – stone zone zebra imaginary stars. Imagine stars listening to American Stars ‘n Bars.

Space is the place eye edgelands: play light liminal edge Play liminal body landscape travels Ben alien other

Body alien other cut through a dike in the middle of the night Middle body mud miles muck circuit middle chariot

The city as a temple turned upside down plunged into the depths of the earth: its roots reach hell and prophesy hell. Upside-down rushes and connects Kingdom of the Skies and everything connects to everything. The Marriage of Heaven and Hell prophesies Pando and <Pando grows between and among and through the Empire Never Ended>: city plunged in bottomless pit.

Marrow partitions mud miles microphones felt muck march honey hurry howl hiss kill spill spider Narrow part photograph radioactive spill almost milk microphone

I play marrow rustling stream reed dream stratum drift Drift doll body funk geology Drift sift book of sand sieve vampire stake prime numbers Bottomless pit varies pitch number imprecise upside-down

Everything connects neon neck cut cut nunchucks wheel brass knuckles connects everything Everything follows constellation Draco nylon knitting needle

I play in the narrow part of the rustling stream. I plunge city bottomless pit.

Your Olives Shall Drop Off

I know my body as a city and I draw my skin with minimal graphite grids. I draw city flesh and entirety of the city breathes with COPD lungs. City with the canopy of flesh flows the outward net of insects / insect texts test thorax iron segmentation.

Insects swarm the Tree of Life upside down / upside down city springs Tree of Knowledge of Good and Evil teeming with cicadas (The Tree of Good and Evil projects Evil Dead at a local drive-in diversion)

I love those nasty little freaks, says Asia. So cicadas are one of the animal kingdom’s strongest urinators and a bunch of them in one place can make it look like it’s raining, she says.

<Pando improvises unconditional communal harmolodic funk>: I love those nasty little freaks <Pando improvises Pando improvised creature unconditional>: imaginary creatures where giant cicadas drown the human population in piss

I draw my skin with minimal graphite grids – neat meat composition notebooks – inky insides index cards

(I write in moments in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimal effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete themselves and more as elements of a sort of cloud effect.)

I write and prophesy in moments, a machine momentum. I repeat moment melt skull momentum volcanic car crash. I freely roam moment to moment videotape slasher film wonders.
They come to the island to discover their future. But something came with them.
The Intruder. It kill them all.

I know my body slashed / syncopated jazz-funk prophesies nasty little freaks super freak

I know my body as city and I draw my skin in cicada clouds and locust swarms

You shall carry much seed into the field but gather little in, for the locusts shall consume it. You shall plant vineyards and dress them, but you shall neither drink the wine nor gather the grapes, for the worm shall eat them. You shall have olive trees throughout all your territory, but you shall not anoint yourself with the oil, but your olives shall drop off. You shall have sons and daughters, but they shall not remain yours, for they shall go into captivity. All your trees and the fruit of your ground the cicadas shall take over. Aliens residing among you shall ascend above you lighter and higher, while you shall descend lower and lower. They shall lead to you, but you shall not lend to them; they shall be the heads, and you shall be the tails.

//
I feel melancholy and I descend lower and lower into hell. Melancholic hell lend above your olive trees and daughter and eat earth core Christianity. The Sibyl does not save me. The descent is the ascent, and the ascent is the descent, and I always descend lower and lower. I descend Sophia and Sibyl, and they swarm oracle oracle circling hell (always hell – antinomian hell – hell antithesis antinomian antipodes).

Always hell particles-antiparticles / I descend annihilation and anticipation of annihilation

Always hell lead drop have fruit the little sons shapes / captivity but off them lighter consume shall shall not shall

(The Sibyl, with frenzied mouth uttering things not to be laughed at, unadorned and unperfumed, yet reaches to a thousand years with the voice by the aid of gods)

I swarm suicides Sibyl’s voice and I jump into oracle open earth I swarm summertime constant screams like a weighted blanket made out of sound

Just as I can’t escape Christianity, I can’t escape melancholy. I cannot escape my endless descent lower and lower.

(In 1976, I tried to kill myself because Elijah had left me. I felt him leave and it was awful… There is nothing worse in the world, no punishment greater than to have known God and no longer know him… The voice stopped talking to me… I didn’t care if I lived or died…)

The women stop talking to me – Taryn Taryn why have you forsaken me? Taryn leaves but I still speak frenzy – frenetic heresy – paradoxical melancholy descending lower and lower

Yet and yet Yet she disclosed herself to me You not you and neither little shall them Trees but them your remain Eloi Eloi lema sabachthani

Yet she disclosed herself to me not ground they the gather shall cicadas and locusts

Yet and yet This world is a world of dew and yet and yet – but yet dew Yet yourself oil shall have vineyards plant over you

I descend lower and lower dew melancholy – I descend melancholy mercury the metallics you shall drink above – I descend her din discourse course of course vineyard dialectics (certain divergent hell spirals Certain curtain here comes the tail)

Taryn Taryn why have you forsaken me? I speak Sibyl sizzles lake of fire frenzy furniture music Forsaken higher worm shapes anoint shall field yet Yet and yet captivity drop trees melancholy

Melancholy mirage martyrdom melancholy electric chain directs current (currently current tesla coil) Melancholy frustrate descent lower and lower fermentation
Ferment among with for olives
Ferment neither shall cicada gather
Ferment lower you fruit they vineyards
I ferment in philosopher’s work melancholy

It all leaves me empty. It all leaves sibylline saturnine melancholy. Finish unfinished ferments empty faraday cage / Christina light bulb filament shaped locust cicada (Her voice leaves me empty empty).

Yesterday evening, says Asia, I realized it was Tuesday and screamed. My daughter came in and said, “Chill mama, don’t scream like a cicada.”
//

I write in moments and prophesy <improvises unconditional communal harmolodic funk> I repeat moment melt skull <improvised creature unconditional>

I cut scene to scene and I cut a scene, not a moment. I cut a scene and a scent lingers duration insects beats batteries I cut a scene with insect antennae and fur feelings / there is a grain of sand in Lambeth that Satan cannot find

I know my body in insect swarm Tree of Life upside down / upside down springs Tree of Knowledge of Good and Evil teeming with cicadas (a bunch of them in one place can make it look like it’s raining)

I know my body from melancholy moment to moment and draw scene sibyls / sophias She voices my city body and abandons my god my god why have you forsaken me? Cicadas and locusts rest in the canopy of flesh – my outward body net of insects