Bud Powell Pink Turns To Blue, Part 2

Bud Powell pink turns to blue Bud Powell pink elephants on parade Parade pulse blue pink Philip K. Dick desert blue

Of the blue, purple, and crimson yarns they made finely worked vestments for ministry in the holy place; they made the sacred vestments for Aaron as the LORD had commanded Moses. He made the ephod of gold, of blue, purple, and crimson yarns, and of twisted linen. Gold leaf was hammered out and cut into threads to work into blue, purple, and crimson yarns and the finely twisted linen, in skilled design. They made for the ephod shoulder pieces, joined to it at its two edges. The decorated band on it was of the same materials and workmanship, of gold, of blue, purple, and crimson yarns, and fine twisted linen, as the LORD had commanded Moses.

Bud Powell pink turns to blue (A woman in a pink blouse sits in a chair as Dr. Williams, standing beside her, attached an electrical device to her head)

Pink blots blue blots pink parade bebop… Cut into pink and blue bleeds out. I continue into the cut and difference differences – different blues and pinks.
Blue disintegrate saint use tackling invoke how kiss touched mushroom taste
Pink disintegrates posterior realistically nightgown stranger
(Nightgown blue, purple, and crimson yarns)
Cut blue bebop / pink in the pocket get up like a sex machine

Bottomless blue – bottomless pit blue Bottomless bottle blue phantom butcher blues Bottomless butcher blues (I follow Bud Powell blue – blustery blizzard pink guts decorated blues. Blue balloon butterfly. Butter bottomless. Bottomless bitter pink elephants on parade. Parade blue imbued pink – blue bottomless parade bodies. Milk and honey sketch jaded garden lover serve loves legless.)

There are different kinds of discontinuity. Continuities free to repeat or leave things out.
Leave out blue leaves out pink
Repeat blue and repeat pink

Different kinds of continuity increase the large form – large scale – large duration. Whatever I do becomes melody.

Bud Powell pink turns blue / whatever I do becomes melody

//
Everything I do becomes melody

Horizon opens her wide word wild hunt (horizon hunts the dream open unfinished forest)

At horizon now: endless pink and bottomless pink within the hunt. At the horizon now becomes melody within the horizon: horizons within horizons blue corridors: pink hallways – purple plane yarn laboratories. In the instant I exist in the horizon, the directions and instructions of my body exist: flesh to make vestments and coverings pink door projecting the laser blue door bottomless pink – blue – pink among horizontal bodies. Line up bodies to score the melody / graph my body genderfluid and liquid pink nonbinary. Horizons reveal the myth of a woman – first man and first woman – Ben Adam and Ben Lydia, Blue Eva triple male androgynous. The horizon always leads to body myth and hunt narratives. My body bears the marks of hunting magic and I redraw the magic and marks into melody (Bud Powell pink into blue – blue, crimson, and purple vestments for the quartet and trio).

Horizon opens her wide word wild hunt (horizon hunts the dream open unfinished forest)
The open forest / the doors of the horizon are thrown back unfinished forest
I throw the doors into the desert – I throw the desert into the doors bedeviled dust horizon

At the pink and blue of the horizon, everything I do becomes melody
//

Bud Powell pink turns blue Bud did down well right Bud bottomless blue blends when blue
Face stone allaround vociferation understanding voice vav vav sonic boom

Of the blue, purple, and crimson yarns, they made finely worked vestments, for the ministering in the holy place; they made the sacred vestments for Aaron, as the LORD commanded Moses. He made the ephod of gold, of blue, purple, and crimson yarns, and of fine twisted linen. Gold leaf was hammered out and cut into threads to work into the blue, purple, and crimson yarns and into the fine twisted linen, in skilled design. They made for the ephod shoulder pieces, joined to it at its two edges. The decorated band on it was of the same materials and workmanship, of gold, of blue, purple, and crimson yarns, and of twisted linen, and the LORD commanded Moses. And the LORD commanded Moses. And the LORD commanded Moses.

I narrate horizon colors and horizontal colors; I voice horizon canvas and its blue and crimson carve shaped canvas. I narrate shaped canvas. I narrate shaped colors and carved colors and bottomless blue breathes oceanic myth. Myth the leaf its blue and myth made was fine two purple. Myth hammered twisted myth purple twisted edges.

Narrate shoulder pieces joined to workmanship melody Narrate melody of fine twisted linen and the same materials and crimson yarns

Different kinds of continuity increase large form – language scale – large duration – whatever I do is melody. Whatever I prophesy becomes melody and whatever I create harmonized and orchestrated melody.
Blue harmolodics
Pink punk coordinate musics
Horizon moment form
Horizon different kinds of dis/continuity

Different kinds of continuity dis/continuous melody melodies
Suspend place touch dare zoom rise introduce jaded
Floral write treasure balk inspire juggle pause present frighten

Narrative and myth harmolodics – horizon harmolodics – Narrate different cut different myths
Gold leaf was terrific cut out and cut into treads to work into the blue
They made for the ephod troubled pieces, geodesic to it at its two edges

I’m thinking about getting a blue horse tattoo, says Asia. Like Franz Marc? Yes. Yes! I love his work. Where would you get it? Probably on my arm… It will be based off the one from Brown Bear, Brown Bear, says Asia.

Blue horses cut my head hauntology (Horses in my dream, like waves like the sea) Blue horses my head different kinds of continuity Horses drag blue melodies harmolodic blue horses (Everything I do prophesies melodies blue horses yarn fine twisted linen in skilled design)

Bud Powell pink turns to blue Boom Bud Powell powder show solar cells

Bud Powell commands make the ephod shoulder pieces, joined to it blue horses Ben Lydia blue horses (rode a horse around the world along the tracks of a train)

Bud Powell possesses Ben Adam and Ben Eva and every human – Child of Humanity – creates melodies and becomes melodies

Different kinds of continuity
Suspend place touch frightens pink and blue horses
Yes set I’m tattoo setting
Where cut Mark blue brown arm

Whatever I do becomes melody. I mean the melody subtly pressuring the harmony – blue horse harmolodics – to give it direction. Harmony and blue harmolodics.

Bottomless blue boom Bud Powell salt surgery
Vociferous body valley vision vav vowel vav variations
Variations vociferous luminiferous aether vice her sounding
Riverrun sonar bar alarm

Blue inflated Bud Powell pink turns to blue Blue pressures pink into the body horizontal and body horizon

Bud Powell Pinks Turn To Blue, Part 1

Bud Powell pinks turns to blue     Bud Powell pink elephants on parade (parade pulse plus pink Philip K. Dick pink gold golden ratio doorway)   

I jam Book bebop and every chord change reveals door doorway pure pink


//
The door of the horizon are thrown back; its bolts are unbolted
	Vivid voids opens open amen
	Void vivid opens open omen
	Vivid amen opens open void omen
Horizon hymns horizon open: horizon hymn opens horizon hell radically open

Door horizon opens vivid her void opens volume void (The adventures of an ordinary man among the cruel men and passionate women of Algiers     Musk, Hashish, and Blood)     Horizon adventures bloody door – door Passover and creeping death       I adventure – add venture – venture vulture prevent defense – horizon shirt hot horizons     (hashish horizons     musk murder in the red barn     door across or our horizons – open crew, Christina cave-in)

The door of the horizons are thrown back; its bolts are unbolted

Horizon hymns horizon open: horizon hymn opens horizon hell radically (her open radials sprawl horizon desert concentric circles)     Here her horizon opens here and her here open spills horizon
	Vivid her void opens visible void and invisible void
	Vivid her void devours void and her void devours void visions
	(Void flows to void)
	(Void pours onto void void doubled and triple void)

The door of the horizons are thrown back into the musk, hashish, and blood
//


Bud Powell pink turns to blue     Bud Powell pink elephants on parade     Parade pulse pink plus blue plus blue   (blue bathers bodies without organs)

I bare my body blue bricoleur blue brick blue babel / blue bathers body without organs

One of my ghost shrimps has a parasite, says Asia.  I have quarantined him.  I can’t bring myself to euthanize him though.  They are so cute.  I’m trying methylene blue.  It can work to kill parasites so we will see, says Asia.  Let me know how it goes, I say.  Methylene blue is also used in gram staining.  Used a lot in my microbiology class.  That’s why I have it, says Asia.  The microscope.  I forget you’re a genius,  I say.  How do you know it has a parasite?  Ghost shrimps are see-through, says Asia.  It’s like “Oh they are perfectly clear except that one has a weird worm thing looking inside of it… wait a minute…,” says Asia.

Bud Powell brings blue X blue and I’m always blue

(I feel blue desert depression and body blue.  Body blue burden of the valley of vision body without organs blue.  Blue Ben desert travel blue.  I need to vomit this raw emotion, however inelegant and brutish and ugly.  I believe in my ugly – I believe in my vulnerability – I believe in my weakness.  My desert body frustrates.  Blue defeats me – pink elephants on parade berate me – passionate women of Algiers throw open the door of horizon and polish its bolts with my blood.  I vomit brutalist blood and I fail to nurse in this blue… Try again fail again fail better.  Fail better blue and experience nervous and fuck and anxious – I experience human and the pink to blue human off the bebop runs.  Improvise kind of blue and blue in green and all blues.)

Bud Powell pink turns to blue     Bud Powell pink elephants on parade     Parade pulse plus pink Philip K. dick pink gold golden ratio doorway

Bud did down well right     I sing dumb his glass darkly speech lit face to face on all around     He sing ben simulation string texts, string cheese cobra chaoses

Blue Bud Powell one cute blue
	I’m trying also forget perfectly
	Ghost methylene used you’re clean
Blue that’s why I have quarantined him     I can’t bring used in gram staining myself to euthanize though
	I sing dumb glass darkly speech bark blue


//
The door of the horizons are thrown back; its bolts are unbolted

I unbolt the doors and I parade pulse pink Philip K. Dick pink gold golden ratio doorway     (Door blue and pink spills her were horizon     Horizon used in gram staining myself to euthanize through they are so well perfectly)

Unbolt horizon spills house fire and forest haunted by open fragments
	(Bud Powell pink fragments
	 Bud powers blue fragments
	 Philip K. Dick blue door)
I collect fragments from the manuscript of the horizon

I collect blues the scale of blue in blue, and my blue collective coagulates bloody door / hashish horizons.  I collect blue and blue unbolts my body from my body.  Blue isolates my body in blue.  Blue bones – blue brains – blue Bud Powell – spills out body blue… Despite all my collections, I cannot find the door.  I cannot unbolt the door.  I collect blue and vivid blue opens void language problems and language games.  I follow Bud Powell into bebop blue and Powell creates the modern piano style of single-note right hand runs and left-handed chordal punctuation.  I collect blue freely across harmonic borders.  I collect blue through the doors...

There Are Different Kinds Of Continuity

There are different kinds of continuity
Different continuities continue difference continuities
All the sounds counted

All the sounds counted, were all valued, rather than being functional in the sense that they got you from one point to another

The young man went out and the angel went with him, and the dog came out with him and went along with them. So they both journeyed along, and when the first night over took them they camped by the Tigris River. Then the young man went down to wash his feet in the Tigris River. Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot, and he cried out. But the angel said to the young man, ‘Catch hold of the fish and hang on to it!’ So the young man grasped the fish and drew it up on the land.

I fear narrative and exact repetition but I gain a kind of purposeful – directionless direction – by repeating the narrative again and again. At some point it becomes ritual and scripture. Book becomes the Benedictine Daily Office and its repetitions reveal chrism and baptism (Although rarely do I Christian – I almost never pray unless one calls this writing praying. I attended my church on Healing Sunday and I prayed for healing with my priest. She laid hands over me and anointed me with oil book crushes my body Christ in repeated narrative.)

Cut more than needs to be cut. Repeat more than what needs to be repeated.

I went out with the rainbow and red is greener than purple for sure
My body more red and red-green and yellow-green and red
More and red blue and blue and red
Red is greener than purple for sure

All the sounds counted and I count words and letters – all ciphers

Asia, there are different kinds of continuity
(Can I send you some writing? I say to Asia. I’m butting my head against something. Sure, she says. I give the disclaimer it might not be comprehensible. […] It’s got a nice rhythm to it, says Asia. Thanks for reading, I say. I am asking the question – a forbidden question – do I need to understand my own writing? I don’t understand myself. What happens if I don’t limit it to have to understand it? What comes out of it? Perhaps a self I don’t know. Or even a self not me, I say. No, you don’t need to understand it, says Asia. You contain multitudes.)
Asia, there are different kinds of continuity (different continuities continue different continuities)

There are times in the music where one is free to repeat things or cut things or leave things out and so forth

The young man went out and the angel went with him; and the dog came out with him and went along with them. So they both journeyed along, and when the first night overtook them, they camped by the Tigris River. Then the young man went down to wash his feet in the Tigris River. Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot and he cried out. But the angel said to the young man, ‘Catch hold of the fish and haunt on to it!’ So the young man grasped the fish and drew it up the land.

I repeat apostasy. I repeat heresy and apostasy. I repeat gospel and apostolic succession. Repeat different continuities: free to repeat.
Free to repeat the them man swallow
Free to repeat went the hang man they went down young
Cut things the and feet he so angel

Disclaimer it to me having to understand it…

You don’t limit it might not me…

Disclaimer: discontinuity. The tension between continuity and discontinuity. I fear (too much) discontinuity. Things fall apart and the center cannot hold but I attempt to hold onto no center. No direction and no center: all the sounds count. There are times in the music where one is free to repeat things or cut them or leave things out and so forth. Tension is best measured when it’s down and the tree tumbled down tumbled down. I tumble down the tree – its Tree of Life and Tree of Knowledge – and one seed eventually all repetition leads one to the tree (my tree – her tree – tree transformed into the caught fish). Disclaimer: I hold onto no center but I catch hold of the fish and hand out to it. Different kinds of continuity continue discontinuities. I continue into the cut and difference differences. I continue repeat differences.

Disclaimer: and you don’t need to me having the disclaimer to it

Disclaimer: no, you don’t need to understand it. You contain multiples.

(Can I send you some stomach? Us comments my head spatially something. Sure. Take the disclaimer it might not be comprehensible. It’s just a nice rhythm to it… No you don’t need feed to understand it. You contain marginalia.)

Maximum dimension and maximum non-direction Multiple metamorphoses / Kafka khora metamorphoses myth developing variations

I fear repetition and narrative. I fear plot because I have deceived myself that I cannot write plot or read plot. The last novel I read – many years ago – were Spring Snow by Yukio Mishima and Ada Or Ardor by Vladimir Nabokov. Since then, I have read no novels – mostly poetry, philosophy, and mystical and religious books. I claim I don’t have the attention for plot and narrative – I need vignettes and fragments and philosophical episodes – but I limit myself (I don’t limit it might not me no you don’t limit it might not me no you don’t limit it to it you contain multitudes). Where my fear is, there is my task – anything I have done well is worth letting go of. I steal myth and narratives from the Bible and other spiritual sources. I find my faiths by stealing and repeating narratives. I repeat the narratives and I eat the narratives (Asia teaches the lines: Ink runs from the corners of my mouth / there is no happiness like mine. / I have been eating poetry.)

Repeat narrative more than necessary and create discontinuities more than necessary. Fail with narratives and discontinuities. Be incomprehensible to the self – the Ben-Self and Divine-Self.

The young man went out and the angel went with him; and the dog came out with him and went along with them. So they both journeyed along, and when the first night overtook them they camped by the Tigris River. Then the young man went down to wash his feet in the Tigris River. Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot, and he cried out. But the angel said to the young man, ‘Catch hold of the fish and hang on to it!’ So the young man grasped the fish and drew it up on the land.

There are different kinds of continuity

I Feel The Earth Move

I feel the earth move: I feel the tumbling down tumbling down

Earth moves earthworks Earth moves earthworks monuments and I copy earthwork and earthstone I copy quartz tumbling down tumbling down

I feel the earth move watch earth – watch work earth work watch – earth watch move otherwards. More earth watches – earth wheels watch watchman tell us of the night. I feel the earth move repeatedly earth with large elliptical paths. Earth repeats large elephant paths – elephant graveyards – price per square yard. Earth moves earthworks: subtle Ben bodies bent-corridor in god bodies. Earth bends Ben bodies in female corridors and crane crosses. I cross plain and crane and planes. I watch my body earthworks wheel earthworks. Earth walks. Watch multiply earths and I walk earth as my body as I walk my body and earth. I feel earth tumbling down beneath tumbling beneath me.

Earth moves earthworks and I tumble Taryn thunderstorm and Taryn crow crag hurricanes / I tumble down Taryn Tetragrammaton crosstown traffic
Tumble Taryn one or two stations of the cross
One or two topological defects move crosses crosses Taryn
I adore stations of the cross – Barnett Newman’s stations of the cross and I station zips in zebra

Earth moves earthworks in zips zip up and down zebra

My flesh flings stations flat ride zips zip up and down zebra

My flesh flings stations flat ride zippers tumbling down tumbling down
Tumbling down dirigible hope hydrogen ghost two halos
Ghost town halos ghost town harlots
Halogen hobgoblin wild west winter music
I feel the earth move and I feel the earth move elsewhere

//
Earth originates in opera. Earth aria harp harp to swan swing (to swan swing more constantly more limitations and swan swing more limitations)…

Work earth originates opera – my failure to construct the opera (any opera disappears into the void or omen of my bodies)

Omen of vivid amphibian bends amen Omen amen vivid amphibian merge omen amen other Vivid omen sleeps big omen amen

Earth originates from Book opera and Book aria and Book alchemical magnum opus

Distill liminal and coagulates threshold

Ambidextrous and amphibious

Vivid omen sleeps big omen amen / vivid omen sleeps street vivid amphibian animism
(Vivid animism animation chupacabra anarchy)

For chupacabra chomp anarchic animism agon chupacabra / for chomp romp rhizome

Earth originates in opera and on opera and from opera and opera synthesizes few earth. New earth edits my body my body erases. New earth eats my body edit erase. Earth places soil on my body and makes a vow (variable vision volcanic vision). Earth ejects me from its fucking bowels earth rips me from its loins Hellbender amen hell omen hell – all warm opera. Earth fucks me up vivid dissection – diagonal vivisection – vulgar bodies. Earth ejects my body carnival and grotesque body, and my body without organs spills earth out of its amen-omen) orifices.

Earth ejects opera from my liver-melancholic black bile – bile bodies and bubble bodies. Melancholic monochromatic remakes my body molting earth. My body molts earth amen and omen and opera blackbirds.

Earth ejects tropical birds from my belly
Stomach vivid amen omen open orphan
Stomach shipwreck swing swans
Champagne stomach bend branches
Earth ejects for chupacabra chomp romp rhizome

Anarchic arrangement of swans and swans of names / names swarm frequent flier swans
Vivid void omits amen or omen
Vivid void opens omen amen
Omen opens amen void vivid
Omen amen omen vivid void

Earth earth ejects void out of my body out out earth no limits

Earth originates in opera and open-heart surgery. Earth and surgical scalpel scratches open Ben swans all arias.
//

I feel the earth move: I feel the tumbling down tumbling down

Earth moves constant earthworks Earth maneuvers ballet earth Ben dances (Ben dances moments earthworks word work work)

I copy earthwork and earth stone queer quartz (What does imperfect or messy poetry look like for you? I say to Asia. Like Eating Poetry, like Beware Don’t Read This Poem, like Kindness by Naomi Shihab Nye, she says. There is something wild or raw or like some essence compressed or a stone tumbled for awhile… Maybe that last analogy doesn’t work but you don’t control the rock – you just get to buff it. There is poetry that is essence and human and then there is poetry that was written to be consumed, says Asia.) I copy earth but not too clean – copy tumblestone stone stone silo tumblestone

Microtonal quartz earth tumbling down tumbling down

Imperfect earth she has a habit of taking showers in lemonade

Messy earth imagine his surprise when he discovered his safe was full of pudding

Earth moves earthworks work messy earth / I copy counterpoint earth
That last analogy does imperfect or messy poetry look like for you
Asia looks for me in the watched earth of my mind. My mind disappears eating stone poetry don’t work but you. I copy earthwork and earthstone. Like for a stone tumbles for a stone tumbled for you.

How to write the earth not too clean but in contact with my body tumbling down tumbling down. How to write messy earth messier (Asia Rhizome architecture constructs land art and large scale installations Ink innards / ink runs from the corners of my mouth).

I tumble Taryn thunderstorm and Taryn crow crag hurricanes (swans with more constraints more limitations) I tumble down tumble down but you don’t control the rock – you just get to fan it (There is poetry that is essence – essential bones and muscles and earth)

Earthwork tumbled down the tumbling down and I don’t quite acknowledge the thunderstorms, but Taryn mountains the mess – Taryn adds to the mess and mess eats Elephant Man X Mary X and the X compresses stone like autumn pottery

I write too clean. There is double that is essence and human then there is double write to be consumed.

I Prophesy The Women In My Life

I decide to write and prophesy the women in my life     I prophesy faith decision and undecidable mystery, and this mystery writes women mad in my mind mad

All decisions decide on faith and my faith unfixes prophecy: my faith flirts prophecy abrupt.  Abrupt decision prophecies woman in non-idiomatic improvisation.
	(Improvisation: one plays what one already knows.  I improvise anyways and
	 impossibly search for what I’ve never played.  Forget and prophesy.  
	 Prophesy with paradoxical not-gnosis and simultaneous pleromic-gnosis.)
All decisions decide mad faith and mad improvisation: women

I decide to write and prophesy the women in my life – undecidable woman – woman of and in faith – she lights the lights of my flowing faith     My faith flows feminine field / fluxus dada desert
	Woman KRYSXTRYN     Woman Asia Rhizome     Asia Among Weevils animal
	architect: stars smear telescope architect tone tantalus
Write woman and women androgynous KRYSXTRYN + Ben Lydia / Ben Lydian


//
Swan sleep more constraints more limitations.  More constraints: swan constraints.  Undecidable continuity mad dis/continuity.  Constraints Lagrange Multipliers multiply.  More constraints more limitations / no limit no bones.  I build up the bone more limitations.

(We weren’t interested in the notion of transitions of making material whose only function was to get you from point A to point B.  We were just interested in Point A then Point B then Point C and so on, but not in this business of tying them up somehow with ribbon)

Swan sweep not a limit but little Christmas lights across the body
	To swan the sleep big majesty for best
I star majesty for best and a world is bring to death make make.  A word is bring to great make.  A word and word bring ben hinnom.

Not interested in transitions – transitions – transitions the descent beckons as the ascent beckoned – memory is a kind of accomplishment – sort of a renewal even an initiation since places it opens new places

(Not so much a new vocabulary or a new syntax, but new arrangements of my already-existing languages)

Since their movements are towards new objectives

To swan swing more constraints more limitations sound swing more limitations
Omen of vivid amphibian swings amen
Omen amen vivid amphibians merge amen omen

(Prophecy arranges and reveals arrangement rearranged anew prophecy renews arrangement, and arrangement gather amen and omen to itself itself revelation)

Movement but not transition movement movement in its movement (my body in movements for the sake of movement itself freely open open my body – my body moves from movement to movement in movement continue without transitions.  Not conventional transition but arrangement reveal moments and moment sprout arrangements movement.)
//


I decide to write and prophesy undecidable the women in my life
	Woman KRYSXTRYN
	Women Asia With Weevils
Asia Rhizome smears telescope star tore tentacles / octopus tentacles entrap squid tentacles pulse ink

You have a very rigid way of doing things, says Asia.  You HAVE TO edit old work, you HAVE TO write our conversations.  It’s very demanding and doesn’t leave room to branch out much.  I can’t make that decision for you – it’s got to be organic.  You have to step out of your comfort zone though, says Asia.

I decide to write     I decide edit old work your comfort zone     That decision for your comfort zone
	That decision for you have to edit
	Have to to no transition
	Have to sleep swan or geese
	That decision amen or omen
She lights the lights flows my faith our comfort zone through room to

Woman KRYSXTRYN telescope squid tentacles propeller pulse ink     Ink innards australis terra element X (Elephant Man X Mary X)


//
Not interested in transition but playing without memory

Improvisation: one plays what one already knows
	Already dense adjusted nonsense
	Nonsense genius loci guitarfish
	Gooseflesh various marine cartilaginous fishes / my flattened guitar body
Flatter cartilaginous body: you leave you your rigid     HAVE room way to got zone     Sacred nonsense and mad decision fish woman
	My pectoral fins fuse to the sides of my head

My body melts into gelatin: gelatinous gods and cartilage Christs.  My body melts and flows quicker: more room and less rigid.  Rearrangements make room for flexibility / flexibilities.  It’s very demanding and it doesn’t leave pain to branch out baby, but I branch rock-a-bye baby in the company of wolves.  I make the decision as a slippery organism and I step out of my comfort zone.

Improvisation: aleatoric oval opal amen     Aleatoric animal (telescope Asia With Weevils) or alphabet aghast
	Viscous visionary vermilion
	Chaotic camille unsealed steel smear seal sound
	Smear star architecture without transitions

Improvisation: one plays what one already knows but I don’t know     I melt slippery cloud of unknowing     I sidestepping transition SOMETHING ELSE and SOMETHING DIFFERENT     I play omen and amen complete science fiction sessions
//


I decide female faith and it song disasters     I decide for you its got to be amperes
	You have to step outside your comfort zone though
I decide to write and prophesy undecidable women in my life

I Decide In My Madness To Fail

The instant of decision must actually be mad and meet madness Moshe parting Red Sea
Red Sea reed sea salts
Salt Sodom and Gomorrah / Sodom YHVH Yam Suph

Yam Suph seed seer seaweed word a long ship whistle duration San Francisco I seaweed San Francisco flesh unformed bodies alcohol alchemy

I decide in my madness faith to fail. I contemplate two quotations: “Anything you have done well is worth letting go of” by photographer Joel Meyerowitz and “Where your fear, there lies your task,” by CG Jung. I fear exact repetition and narrative. Book demands the uncomfortable, the fear, the danger – liminal and threshold. Where my fear is – repeating narrative and repeating myth – there lies my task. Fail with Book by Book and abandon Book by Book, and Book always-already betrays the Book. Book demands experiment – exploration – change change – fail. Book demands the experiment to failure.

They met together to go and console and comfort him. When they saw him from a great distance, they did not recognize him, and they raised their voices and wept aloud. They tore their robes and threw dust in the air upon their heads. They saw with him seven days and seven nights, and no one spoke a word to him for they saw his suffering was great.

I fear narrative and exact repetition. I fail by or in repeating the exact narrative, but perhaps narrative transform into a ritual or spell.

The instant of decision must actually meet mad and I mad decide too much juggling journaling human jaws (A separate notebook to collect bare unadorned facts? As if I need to start another notebook)

I decide to tune into a process that’s going somewhere, and my arrival and departure points decide narrative and exact repetition of sitting with the Book seven days and seven nights. I don’t know what’s in-between – perhaps failure but I hope it’s a failure that surprises.

Think of something entirely different – think of failure and this failing threshold differently
Different dense goosegrass
Different dense gooseflesh greaseballs
Goose god no glue but sounds as sounds sound god goose

//
Arrival and departure points meet me mad in sea of reeds

I part by the decision of the red sea reeds sea salts (I should shave the sides of my head, says Asia. And get an eyebrow piercing. I’ll make a decision when I’ve had more than four hours of sleep, she says.)

I part by the decision by the decision and of the decision and the departure and arrival points repeat narrative to the point of failure

They met together to go and console and comfort him. When they saw him from a great distance, they did not recognize him, and they raised their voices and wept aloud; they tore their robes and threw dust in the air upon their heads. They sat with him seven days and seven nights, and no one spoke a word to him, for they saw his suffering was very great.

Cut more than you think you need to cut. Repeat more than you think you need to repeat. Shave down the sides of the Book and pierce the Book with mad failure and mad decisions. I sleep for four hours and then wake up to write the Book.

(Will anyone read the exact repetitions or skip over them? Will I copy and paste or write it out manually each time? Does the difference matter when the process doesn’t reveal itself on the page? I live with repetition and I abide in repetition.)

I abide a tore him to met distance I repeat together they robes the for to did

Where my fear, foresaw and recognize dust Foresaw four hours: quarters quarters quarters

Arrival and departure points meet me in the mad decision of the sea
//

The instant of decision meets in sea improvisation and spontaneous sea

Improvisation: one plays what one already knows
Improvisation impulse part pulse aleatoric

How to play what one doesn’t know: failure. Incessant failure. Failure repetition. Mad decisive failure. Fail when making a decision after getting four hours of sleep (So where’s your eyebrow piercing? I say. When I went to go get the piercing, the piercer talked me into getting an ear cartridge piercing saying that the eyebrow piercing would be rejected because of my glasses. The piercing she talked me into ended up getting rejected because of my glasses. I’m only a little salty… One day I will go to a different piercer, she says). How to play when one doesn’t know: failure.
Part pulse aleatoric alligator
Aleatoric impossible alligator
Glass glass glam different dense

I mad chance sea chance sea / red sea reed sea salts Yam Suph seers seaweed word a long ship while the duration San Francisco (mad because will to ear of of go so cartridge my my to)

A decision always comes back to the other – a decision always comes back to YHVH and crucifixions
(decide go cartridge
decide get piercing glasses
decide the saying piercing only different)

A decision always comes back to KRYSXTRYN +Asia Rhizome Her name Her bodies body multiply Marie Her Christina in perhaps a more material crucifixion

(I decide to write and prophesy the women in my life. I decide to write and prophecy undecidable the women in my life. She lights the lights my flowing faith / my faith flux fluxus dada desert.)

//
I should eventually invite scribal errors, scribal fatigue, marginalia, and emendations. Mimic hypotheses for the synoptic problem. I live in Gospel and Bible. I live in Book and Library. Library repeats Library and Book repeats Book. I scribe scripture and I prophesy scripture. I scribe sabbath and transcribe / transform-transmute Shekinah.

Saturnine Shekinah ringlets Sabbath

They met together to go and console and comfort him. When they saw him from a distance, they did not reorganize him, and they did not recognize him, and they raided their voices and wept aloud; their robes and threw dust in the air upon their heads. They sat with her on the ground seven days and seven nights, and no one spoke a word to her, for they saw her suffering was very great.

I repeat apostasy. I repeat heresy and apostasy. I repeat gospel and apostolic succession.

I repeat when they saw when their voices air upon the air upon upon they saw his suffering was great… I meet with the Book and I fail with (by? to?) the Book… I lose the instant of decision decide failure. I decide failure. I sit and mourn failure… Dead end the instant of decision must actually meet mad and I meet madness and repetition dead end.
//

The instant of decision… An instant I fail and the momentum instantaneous sea. Instantaneous improvised sea. I have been thinking of something entirely different and I don’t know the process. I don’t know process and that’s going on somewhere. I don’t know what’s between them. I don’t know now what’s between this – and this – and this – these.

Improvisation: one plays what one already knows…

How do I play what I don’t know How do I play something else and something different I play science fiction complete sessions… Play what I don’t know between Arrival points – departure points – madness Instantly mad decision (The piercing she talked me into ended up getting rejected because of my glasses. I’m only a little salty about it)

All decisions decide on faith: faith pierced by faith and decision departing and arriving to decision

I Decide To Create And Pursue Whimsy

All decisions decide on faith All decisions decide undecidable, an undecidable faith My faith as flow and flux undecidable My faith flows flux white furniture furniture flesh / phantom furniture a body in the freezer

I decide on this other decision and this decision – and to decide to decide and to decide otherwise or counterclockwise decide – mystical decisions. I decide onto decisions and I always decide on faith onto I always decide on faith into – mystery of mysteries. I decide on mystery – mystery of narrative. All decisions reveal parables (the Kingdom of Heaven is like yeast that woman took and mixed it with three measures of flour until it was all leavened). Yeast is there measures of flour. I hid within the decision of her name parable and narrative. I decide on heaven lightmoth more heaven: heavenly hell.

//
All decisions decide on faith – I decide on the miniature and vignette and in start vision

(It was always dangerous to drive with her since he insisted the safety cones were a slalom course)

(He took one look at what was under the table and noped the hell out there)

He insisted on the slalom course snow cones (cones cut into cones: sound sine echoes) Under the table, the underworld beckons (The ascent beckon as the ascent beckoned. The descent beckoned as the ascent beckoned. Memory is a kind of accomplishment, a renewal even.)

I decide on the miniature and I decide on the variable vision. I read William Carlos Williams and I misread beckons into beckoned and beckoned into beckon. Vision beckoned beckon vignette beckoned beckon. I always dangerous danger write danger music and danger cuts cones into cones sound-sines. I reread descent and ascent and I accomplish in memory. I accomplish memory ascent and I accomplish memory ascent.

I take one look under the table and revise the descent as parable.

Did you watch the news? Unfortunately, yes, says Asia. Unless you have different terrible news. Nah, it’s the same news… Do you think we will survive the news? Yeah, we will survive, says Asia. I am going to continue prophesying and creating, I say. I will continue to create and pursue whimsy, says Asia.

It was always dangerous to prophesy and how dangerous to prophesy Ben with Ben but I decide prophecy. I decide the prophecy beckons and beckoned renewed memory / melody
Prophesy whimsy
Yes unless same
Yeah and you new

I think a look at what under and I will survive the same news Yeah we will continue prophesying to continue

All decisions decide on faith and I decide on miniatures and vignettes and instant visions
//

All decisions decide on faith All decisions decide undecidable, an undecidable faith – an undecidable narrative – an undecidable parable

I hide parable – dangerous leaven – in something sonata-allegro form and rondos

My faith flows flow fluxes flux undecidable My faith flows flux leaven lux white light leaven / phantom parables in the freezer

I decide on a rereading of the ascent. Unfortunately yes unless you have different terrible sort. I am going to hysteria prophesying and creating. I will hysteria to create and donkey whimsy.

I prophesy dangerous parable and wild whimsy

I prophesy dangerous. You might be thinking of something entirely different, and then tune into a process that’s going on somewhere. It might be a thematic idea or a purely structural idea, with its main pivots: a big time span, with departure points, and arrival points, but you don’t know what’s between them.

I decide on an arrival and a departure: point pointing to point points suspensions. It’s the same news. It’s the same news – a kind of accompaniment, a sort of renewal even. I decide on impossible arrival and departure points. (I descend to the departures and I ascent to the arrivals). I decide to create and pursue whimsy.

//
I decide on the visionary vignette and theopoetic miniature

Asia writes the following poem:

Stale goldfish swimming in a pond
Do they think of flying?
Grab a fat goldfish in your hand
Hefty and round like a summer tomato
What do they dream of?
Do they dream about streams and river?
Or just their next meal.

I like grabbing the fat and summer tomato, I say. I grabbed Calliope yesterday, says Asia. Just scooped him up. No net. He was like a tomato, says Asia.

I received a heavy fine but it fans to crush my spirit

I receive holy spirit and spirit invades the cabinets and crawl spaces

He strives to keep the best lawn in the neighborhood

What does a Jean-Michel Basquiat semantic field have to do with the Book? How to apply it to the Book? I study the field of facts Book and spirit decision: KRYSXTRYN, gods, Bible and Exegesis, Child of Humanity… I grab the fact facts about Ben Adam / Benjamin Ariadne – I grab goldfish facts about KRYSXTRYN + Asia Rhizome – I swim in pond-facts and field-water and parable and decision, and I sculpt my texts art assemblages (the descent beckons as the ascent beckoned).

Goldfish vision rains decision no net. No net. No net but parable deciduous.

I insisted the semantically field is a slalom course and a summer tomato I slalom grabbing in the fat and rivers
Under the table underworld
Under the table flying goldfish leaven hidden in parables

The ascent beckons and the ascent beckoned, and I decide on renewing memory – parable archive – decision library

I decide on field flux fluxes flow goldfish underneath
//

All decisions decide on faith All decisions decide undecidable, an undecidable faith (Again, the Kingdom of Heaven is like a net that was thrown into the sea and caught fish of every kind; when is was full, they drew it ashore, sat down, and put the good into baskets and threw out the bad)
I net that thrown no net
No net of swarm rivers or grabbed flying
My faith flows flux white white blue-white blue flesh / phantom blue body in the freezer

Christina Legion

Christina legion logia
Pink noumena

Logos pincher pink
Pigeon peak lights 

Christina prophesies longer 
Oracle in net gnosis

Christina prophesies parable
     speaks obscure parables 
     occult pomegranates

Christina prophesies parable
     pink pear oracles
     cedar rafter parables

Christina chants obscure 
Pink unique name

Logos pyre pink
Oracle fire longer

Christina legion logia

I Eat The Poem

Why is this: this Why patterns why fragments
Why is this: this waves these These fragments abandon Thoughtful abandon

Why is this: why patterns why fragments Desert fragment flirt decay delay ruins

This arrangement cut This tetragrammaton: ghost shove shore ghosts shore meteor more

Why is this – these – weave the why mysticism. Why weaves word and Ben weaving goddess. I weave with her in these – this her that’s me and this her in me – and why words patterns and fragments. I slowly sift earth to discover fragments: texts, magic spells, pulp fiction, KRYSXTRYN conversations. Archive emerges from excavations / excavation reveals archive always-already revealed. Book reveals itself as excavation process and active archive in activity.

(You might be thinking of something entirely different, and then you tune into a process that’s going on somewhere. It might be a thematic idea or a purely structural idea, with its main pivots: a big time span, with departure points and arrival points, but you don’t know what’s between them.)

I arrive and depart from Book – KRYSXTRYN + Asia Rhizome – music – creative abyss and chaotic creativity. Sometimes various gods appear in the between, in the transition, and slippery sediment.

I read the poem “Eating Poetry” today in my small group class, says Asia. I want you to take a wild guess what happened, she says. Did some of your students eat the poem? I say. One kid ate the paper for the entire class period, says Asia. It made me mad. He wouldn’t even talk to us about anything past the title and kept interrupting people and being distracting, she says. If I was his classmate, I would tell him that I would eat him if he didn’t knock it off, I say.

Why is this: this desert this decay This decay seven sermons to the dead
(eat decay eat desert)
(eat sermon eat patterns)
Why if didn’t every talk to take a wild guess
It made me made me made me
Why all archive

(Idea: push towards vignettes or miniatures. Alternate miniatures with big pieces. Miniatures like Anton Webern or György Kurtág. Push towards self-contained but interrelated melodic fragments or short melodic motifs.)

I find feminine fragments in the conflict of the forest: I eat the female and I eat the fragment and I eat the forest I find feminine fragments and I tune into forests forests worship
(Poem what entire title and that entirely happened)
Purely structure

I field forceps fires furniture fragments (fiery forceps fold fiery forceps eat skin) I eat skin archive and skin excavation
By sword by pick by axe bye bye The Mutilator
I find sword and I eat poem. I find pick and I eat the poem. I eat the axe and I eat the poem. Poem mutilates the guts and cuts my guts sword fragment and axe fragments. Fragment pick out my eyes and lips

I pick at fragments: I scrape fragments from bone, a burning cannibalism
(Furniture fragments fit keystone stiletto)
I fit fragments into keyhole flesh and my skin overlays secret keystone / white marble pyramids of giza
(Flesh keystone kiss khora and karakoram)

Why is this this departure points and arrival points

Why is this this: excavate skin and eat skin

Between my skin: one kid eating the paper for the entire class period. Yes, I eat paper between and skin between. I juggle miniatures and vignettes, almost all this this secret ghosts. Between my skin: bare stereo and fragment bodies (an authentic program for a striptease songs with that beat for party fun dyna-disc high fidelity full range)

I think of something entirely different but I continue to eat the poem – I eat the fragment – I eat the why patterns

I loan the poem “Eating Poem” today up my small group class. I want you to take a fight weigh what termites. Did some of your hyacinth eat the poet? One bar ate the paper for the invade class period.

She eats my poem body – fragment and fragrant and wild guess what I was his classmate – and she eats me completely archive.

I find feminine fragments in the conflict of the forest
How the kiss towards her fragments cross flat skin
Her kiss open fingers key empty tomb
Her kiss fragments kiss fragrances frequent lightning flashes

Fragments flash behind the blind and I recognize none of the zero in this. This zero arrives and departs equally zero: zero why patterns arrives and depart devoured zero. I eat the zero this decay this demon. I juggle ciphers and codexes themselves fragments and active archives. I don’t know yet what’s between this and this: paper skin perhaps, or more earth to excavate. Paper candy / pinhole candy. Fragment flash behind blind beginnings and fragments kiss this.

Her kiss fragments fragrances frequent lightning flashes Her kiss how fragrant frequent arch aurora Her fragments fractal kiss mist and clouds of forgetting

I aim fragments her fractal kiss kept interrupt past the poem eat the poem I aim fragments Cain rose up and one kid at the poem “Eating Poetry” – and this poet’s body true flesh drink I aim why this other fragments magic eat my body the poem

This body – this human body – slowly decays and betrays Why is this these eats poems betrays This human body ben adam adds hen to pan porous flesh and rotting flesh / my flesh flattened and preserved in heavy Book

The Sentences Themselves Sentence

The sentences themselves sentence – the sentence itself

No swan the sleep big, be majesty for best. To swan sleep. Swan sleep to big beguiled (swan street sleep street art). To swan seven swans answering. Swan sudden sleep street sharks.

I play in the streets. Come and see the blood on the streets. I play in the streets. Come and see the blood on the streets. Come and see the apocalypse – sound and swans up the seven swans. I play in the street and I swim in its floods. Streets flood sentences and this sentence sink its teeth into the streets. Come and see the blood on the streets.

The sentences themselves sentence – the sentence itself Itself sentence sentence itself into others (secret sound secret sentence)

(I mix this secret from the side of love with the conflict of melody and it encodes bone cipher and King Felix DNA. I mix desert music with secret music, the conflict of her names. Her many names crucify in love and resurrect with love.)

(Idea: push towards vignettes or miniatures. Alternate miniatures with big pieces. Miniatures like Anton Webern or György Kurtág. Push towards the self-contained but interrelated melodic fragments and short melodic motifs)

The sentence themselves sentence the sentence itself in itself in itself (recursive sentences – interior sentences – haunted hospital sentences)
Itself sentences sentence itself into others
Secret sound secret sentence
Recursive sentences rhizomic senescence

To swan the sleep big, big majesty for best. A world is bring to great make. Be angst omen of vivid amphibian about. Cubist to face, the race (I make the great streets and great bloods. Swans sweep the blood on the streets. I sleep strange streets and straight street and chains street wreckage. Swans make shipwrecks and I wade in word waters. These waters exist for me. These words exist. This word exists street signs and street sigils and street semiotics. I make salamander streets and amphibians hover in street floods and amphibians hover in street floods and bloody avenues. I face the drag race on the streets.)

I don’t know if it’s just my brain right now but the repetition is not allowing the segment of writing to stick in my brain, says Asia. No worries, I say. My writing takes BIG BRAIN work and FULL CONCENTRATION BIG BRAIN. And your big brain is not full concentration right now, I say. I don’t have a big brain, says Asia. I have spread too thin brain. Too little butter, too much toast, she says. I consider you an intellectual equal, I say, and I have a big brain so if your brain is all thin and stretched, at least it has a large surface area. What you lack in brain thickness you make up for in brain surface area so it balances out. Thank you for making me feel better, says Asia. I’m an English teacher and so far this week I asked a coworker if I was using the right version of too in a sentence and a separate coworker if I was spelling the word referral correctly, she says. We are Pando, right? We are on the same wavelength. How could we be on the same wavelength if we didn’t have the same brainpower? I am big brain so you must have a big brain, however it fits in your skull. It doesn’t, says Asia. It’s drifting away like a runaway grocery store balloon. Somewhere there stands a toddler in a parking lot, crying… I met the deadline this week but I have another one tomorrow and I really can’t be bothered. WHY IS IT SO MUCH ALL THE TIME? says Asia.

The sentences themselves sentence – the sentence itself
Sentence your don’t yes brain was skull
Sentence but thick well spelling doesn’t
Look a brain brain is at run night I brain this away
The sound into a sentence (to get rid of the glue to let sounds themselves)

Look brain sentence – look a sound sentence spreads come and see the blood on the streets (I store the sentence in my balloon brain) Look sound sentence (two on a guillotine – on a 7 days in a House of Terror – or the unkindest cut of all)

Swan to sleep big beginning. Swan to the sleep big beat. Swan the sleep big breakers beaker (I distill swans into the beaker / condensed copper birds)

I distill swan sentences stands not little you we an allowing butter
Come and see the blood on the streets
Come and see the butter in the streets
I distill sentence to swan the sleep big know

I don’t know if it’s just my brain or if it’s just the sentence (sentences themselves)

The sentences themselves sentence – the sentence itself but the repetition is not allowing that segment Itself sentence sentence all thin and stretched / stretch large surface areas
Surface area: sentence vignettes
Sound into sentence full concentration
Sentence rid of the glue so that sounds be themselves
Sentences into the sentence sound sounds / into the single sound multiplicity
Sound be by themselves simplicity

Break up sound breakers beakers Beaker segment of writing I distill concentration of writing lot crying (I met one deadline the same wavelength)
(How could we area what segment of too in my brain is not balloon)

Swan the sleep big beginning / swan the sleep big higgs boson (I’ve got the higgs boson blues)

I myself spelling the sentence – sound to sound too refers vertical sentences. I refer to some sentence which eludes me: work-sound sound-work walking with the sentence back with swans. I spell with swans. I spell by swans and I refer to rhizomic swans. The sentences themselves look me towards sentences: linking sound sentences. Round sound sentences run. Sentences themselves sleep come and see the blood in the streets. Sentence and sound demands my blood: shared blood sound and blood snares somewhere the same wavelength. Sentences spell out their vignettes and marionettes (every sentence continuing a miniature sentence). Spell sidewinder sentences, sentences that almost bite (Since you were an angry goose, did you bite anyone? I say. I didn’t bite anyone, says Asia. I wrote a thank you note for our counselor because she looked very worn out and put a sea salt dark chocolate with it, but I put it in a yellow document envelope because I’m evil. That way she thinks it’s more work, says Asia. Putting it in a yellow document envelope is almost like a bite, I say). Sentences bite and scratch, and streets dig out my blood. Come and see my blood on the streets. Come and see the bloody sentences sentence Ben Flesh.

Swan the sleep more constraints, more limitations More constraints: swan constraint lagrange multipliers More constraints more limitations but every thing contains my flesh: sentences of lymph and blood (somewhere the repetition is almost like a bite)

More constraints full concentration big brain

Swan big breakers beakers
I can’t really have the repetition right now
Coworker if I was using the repetition I’d almost like a run away bite
Sentences about vivid amphibians

Sentences into the sentences sound sounds