Towards Theme

Towards theme     Through to theme traffic television: I tour television thermal tetragrammaton glitch mix rhizome     I tour tone towards theme wild and through theme to desert, Taryn tenors theater turnaround

Towards theme I travel theme thought experiment: I speak to Descartes evil genius or Maxwell’s demon (I play a game of skill with molecules)

Towards theme, her theme interrupts and seizes my brain brine knock knock jokes (Knock knock.  Who’s there?  Luke.  Luke Who?  Luke through the peep hole and find out.)     I travel theme abrupt tourism but the amp says I’m fucked     I travel theme as Taryn and I listen to The Theme (Take 1) by the Miles Davis quintet     I improvise theme false starts and zebra-striped street heroin but the map says I’m fucked     No matter: I fuck the map and continue crash bash bricoleur rhizomes

I accept theme transition transition first epistle to Timothy     I transition theme labyrinth spiral labyrinth (Taryn traps various segments of my body monopole laboratories)     Taryn theme tap turbine textiles textile turmoil     I type theme tinfoil syntax: tip syntax free jazz textures

I texture free jazz textile ran into the flame beat out the train / einstein on the beach train theme     I texture future free jazz trains rain rampage

Towards a repetition of the theme (theme thunder taryn and theme taryn triceratops) steps door hinge blow gun (Knock knock.  Who’s there?  Cow says.  Cow says who?  No, cow says moo!) (Can you tell me specifically what positive differences I had on your life? I ask Taryn.  Funny jokes, stories, no judgment about silly stuff like cows and the hunchback, she says)

Towards a Taryn repetition and repetition of Taryn: doubled stations of the cross car large color field canvases

Taryn tightens theme staccato and she sticks aporia ben hinnom (they all lower me to the soil stick him   they all lower me to the ground stick him)

Taryn testifies theme toccata staccato glossolalia     Taryn speaks theme fiery tongues and erotic tongues / pornographic jazz textures

Theme thunders Taryn El Roi rapt rhizome

Theme thistle whistles El Elyon witch windows     I watch windows veer weird vision long and winding road (road repeats rhizome the melody prayed in a higher register)     I improvise melody earth el saturn records and she presses copious amount of records from Sun Ra and his Solar Myth Arkestra

I throttle theme ark traces and gore genealogies: Ark of Noah names and renames mappa mundi son of man (the map says we’re fucked) and I eat ark insect apartments     I wrap the sap of my body in ark maps and the waters surround non-euclidean hell hounds

Theme thumps human skulls titanium white     Theme legend trips haunted tectonics / Taryn attack trap set impossible earth polyrhythms

Theme thrusts human tissue transformed shadow figures     Theme trades my shadow thin turpentine turnpike divides

I record this theme repeatedly because theme sticks my thought tar muck blown glass black but I try to temper theme aperiodic tile timeless     I tend time with theme and I know something between time here: here theme trades blade timed cannons     Theme threads tendrils / thread medicine syntax     Map fuck syntax and tome theme free jazz communion rapid earth eucharist

Theme troubles me     Theme troubles nobody knows the trouble I’ve seen nobody knows my sorrow



I would like to send you some metacommentary from the book, I say to Asia.


I sometimes feel embarrassed about the conversations I choose to record because my conversations simplify and come off as naive     I can’t hide behind an occultation of piled up symbols, sigils, and metaphors     The conversations feel so different from the rest of my writing and I haven’t successfully integrated it completely with the rest of the Book (does it need to be integrated with the rest of the Book?  Does it even need to be cohesive with the rest of the Book?  Or can be like John Cage’s music and Merce Cunningham’s choreography and exist separately together?  I choose all these and none of these: multiplicities and rhizomic functionalities)     I must allow for embarrassment and foolishness because they too prophesy
...


Something I didn't mention is I fear simplifying or portraying our friendship incorrectly, I say.  Maybe I will write about that in the future.  It’s interesting that you view other than the conversations as “hiding behind piled up symbols and metaphors” says Asia.  Is that why you maximize?  I think our conversations reveal and the rest of the Book conceals in mystery in a way, I say.  I think the rest of the Book indeed is shrouded in heavy metaphor for various reasons, but one reason is it is not embarrassing and openly foolish.  I think the conversations are the opposite of hiding behind piled up symbols and metaphor.  They are naked and open, I say.  Shouldn’t all your writing be open even if it isn’t an excerpt from your personal life? says Asia.  Could you tell me what you mean by open?  As in not concealing you or how you feel.  I feel a complicated relationship with it, I say.  I feel everything I write in the Book is me.  The difficult anarchic patch quilt and the conversations are all me but there’s different levels of accessibility.  I often feel more comfortable expressing myself in the experimental language that pushes towards the anarchic kingdom.  I find it more difficult to express myself plainly and making it poetry… Guillermo Del Toro says this:

"People say, you know, ‘I like your Spanish movies more than I like your English-language movies because they are not as personal,’ and I go ‘Fuck, you're wrong!’ Hellboy is as personal to me as Pan's Labyrinth. They're tonally different, and yes, of course you can like one more than the other—the other one may seem banal or whatever it is that you don't like. But it really is part of the same movie. You make one movie. Hitchcock did one movie, all his life. "

I feel similarly but I do feel like there are differences in the parts and they express different ways of saying the same thing.  The Book is One Book, many different ways.  I'm trying to express all those ways with equal technique and poetry.  I feel I haven't gotten to that point yet with the conversations and metacommentary but I do feel the other stuff is just as personal, just as Ben and Asia.  I just lack the technique to make the conversations and metacommentary as POETRY but I'm working on it.  Makes sense, says Asia.


I write One Book One Theme:  Taryn thousands photograph graphomania     I record One Book One Theme: Taryn turboprop trickster her tightrope to my toothache     Theme transforms trumpet tricksters thousands togethers (Theme thunders Taryn El Roi riff ray rhizome)     Theme transfers thousands train engine orphans: ran into the train beat out the flame     I beat out the flame einstein on the beach train theme (train / trial / field with spaceship)

Rain into the train beat out the flames train trial field with spaceship     Taryn time than train ensemble with solo voice and choir joining at the end     Taryn tool train theme trial table network / taryn train theme field with spaceship

I rain nude run night train theme theme developing variations

I write one Book one theme the explanation of the parable in secret     It appears in the same perspective as the night train but this time transforms into a building   building ben hinnom babel brutalism

Three parts and three themes triage Taryn archangel trinities

Here’s how I play: I write one book one theme     I play the theme and I start from one point and go as far as possible