Each line equals its own completion and every next line its consequence

I paint the abstract line and the melodic line, and the line bifurcates and proliferates.  I paint the line as the sprawl.  Sprawl continues lines in space of lines jumping sprawls octave displacements.  Octaves jump line yet continuous, and the counterpoint (point pull-apart point and point part planet points) collects and connects the line.  Line always equals lines.

Each line equals its own completion but don’t bother with transitions     Don’t bother the honeybees (Sometimes I stumble through bramble bumbling clumsy wine glasses / I clang klang rode bushes and thorny math)

Don’t bother with transitions but continue making the complete line / continue making myth     Make myth performance and oral tradition and oral torah

Line transitions purely making and assembly and constructing

Line purely makes myth assemblies and myth constructions and myth counterpoint

Each line equals equals line melody     This is the place     Place this is the place don’t transition but X marks the spot     X improvises unknown and unknowable divine (I wear a polka dot suit and play button accordion)

Each line equals its own completion – each line equals its own construction – each line equals its own cargo

Line loom lure lure loop loop loop     Line holes only nude by motion / wholes only made by motion (My general philosophy recently has been more in line with “fuck it we ball,” says Asia.)

Line elongates the line recent pointillism.  Recently pointillism breaks up the voices point ball neighborhood primary point.  Recently pointillism divides my body positioned at the point and points in line both exist and do not exist linearly.  The general point-line plays philosophy and ball jumps from point to point filling in the line.

Black painting points / pigment pointillism desert divisionism

Point partitions post-impressionism ink points eye iris iridium


//
Each line descends into dark and luminous dark

Taryn thunders voice upon the might waters wade wide waters / wide wild word     Taryn thunders the line ascending and descending waters / waters dive and surface the line completely consequence     Taryn upon might waters voices vav voice and vav bone vision (her might waters vav voice upon waters word wild awake or other awake   line-point thunders awake on other awake fuck it we ball)

Her might waters vav voice upon waters word line-point point cusp awake     Awake I wild her armies earthquakes

I descend did/continuous line and points pour into dark – dark on dark sparks – superluminary black on superluminary black flint-dark space descending lines     Upon lines I voice vav voluptuous night and night pikes upward ice pick porous into my skull     (My skull voices vav voluptuous with wide fractures and increasing intercranial pressure)

I voice vav voluptuous night and point-line voices descend velvet voluptuous rivers night voices     Vav vowel host black sound modal: I voice modal modes YHVH makes lebanon skip like a calf

I descend lines my skull split point-vowels     (Pumpkinhead cruel, devious, pure as venom.  All hell’s broken loose.)

My skull descends fuck it we ball blood and blood voices black water (Meet the Maniac and his friends.  Together they make the greatest team in the history of mass slaughter in…  Eaten Alive)

Each line descends into dark and superluminary dark
//


Each line equals its own completion and every line has been more in line with fuck it we ball

(An anchorite, probably a relative of the Desert Fathers of the East, boasted of having been as far as the end of the world and have been obliged to stoop with his shoulders, on the account of the joining of the sky and the earth in that distant place)

This is the place.  Don’t bother with transitions.  This is the distant place.  X marks unknown as the unknown and the distant place.  My general tragically recently has hair note in line with wind.  It we ball: my general philosophy recently has moon more in line with “fuck it we ball.”  The general philosophy touches X, the unknown distant place.

Each line equals its own completion and every next line is its consequence

I abandon almost: almost kisses almost and almost emptied other the complete (full) sign

I abandon almost and signs sign pleroma     Pleroma plays at and between paradox     I abandon almost all way multidirectional (multidirectional dummy warhead   sour warheads   sword hilt erratic)     I abandon almost about: about kisses misses almost (almost movement and almost repetition)

I shift practice making a landscape – almost landscape almost dreaming but I do not abandon the dream.  I shift to the dream bird swift or I dive almost into landscape depths.  I almost abandon my obsession with scale and duration but I abandon the almost almost as I prophesy the puzzle of duration.  Duration – long duration – seeps into landscape scrapes language.  Language moves into almost without almost the absolute dreaming.  

Don’t bother with transrational but scrape language     I abandon almost almost transitions

I abandon abandon with abandon / I listen to Why Can’t I Be Snowing by Camping In Alaska (Why can’t I be Snowing?  Why can’t you fucking love me?  Because I love you but I guess I’m a shitty person  Yes I love you but don’t want to know  No you don’t want to know)     Don’t bother with transition but abandon and almost abandon and abandon almost

Don’t bother with bodies this is my body given for you     (The process of scraping garbage and trash layer – take a pencil to this – cross out as much as you can rewrite and aggregate and recite rotation, translation, and transformation.  Don’t bother with transitions but destroy the page no man’s land destroy the page almost as no transitions almost always all other.)

Scrape page pagination numbers hummingbird page prime numbers     Almost don’t bother with transitions but scrape landscape shift move

I abandon almost: almost kisses almost signed pleroma

(He doesn’t bother with transitions.  While he and his musicians create every sudden textual shift themselves, without technological assistance, his guides are the splice, the jump cut, the video edit – not to mention the jack-in-the-box and it’s sinister relatives in funhouses and horror movies.  In his music, coherence is barely more than propinquity; one sound or style doesn’t predict the next.)

I keep reworking the same material: I see each segment and each quotation and that funhouse / hall of mirror continually shifting (shift landscape movement and almost movement constellation of signs).  The material can never be exhausted and I obsess with transforming conversations, fragments, repetition-differences.  The Book Funhouse reflects echo echo mirror house music and sometimes fragments overwhelm and destroy but I abandon almost I abandon transitions and I trust the text-in-itself and the text-by-itself: absolute Book.  I pursue exploration and experimentation with these reworded texts.  Funhouse and horror movie extends scale and duration no transition.

I abandon almost: almost kissed almost and almost emptied other complete (full) sign     I do not abandon cipher and sign signs pleroma, the play of motion between pages / landscapes

(Almost nudge noiseless electrics    Almost nudge nurse noiseless patient spider   Almost hard movement of words material action)

I abandon almost material action quiet sounds with household objects     Object almost material scraping the trash layer (There was never been a shock, like a shock of Repulsion!  The fascinating frightening hidden life of a young girl’s unashamed desire!     Almost transition shocks and repulses movement – moving landscape – moving pleroma sign funhouse house horror film     I desire the unashamed long scale of the Book)

It was nine months you were gone, I say to Christina.  Now we are a newborn baby.  When I was thinking of reaching out, says C, I was going over what might have happened in the past 9 months.  I kind of hoped you knocked someone up.  No, I’m an aspiring to be a 40 year old virgin, I say.  Do you think we need to rethink the Kindred?  Make changes?  Or do we continue as a continuation of your absence? … Is it a break and revolution or a continuing where we left off?  I don’t know, says C.  I’ll yield to you.  Maybe see where things go.  I’m frail.  I have enough strength for both of us until you’re stronger, I say.  Thank you, says C.  I’ll lean on you.  But if it’s not healthy for you, feel free to insert some space or time, says C.  Will do.  I will let you know.  I feel I’m in a healthier place than before the absence… Life feels surreal right now.  Yeah, says C.  Movie-like.  I feel like this marks something significant. Movie as good? I say.  Andy Warhol after his assassination attempt said life was all television, but he meant as irreal, all surface.  I meant movie as good, says C.  Like fairy tale?  Rom-com?  Marvel universe?  Horror, says C.  I thought you said it was good!  I didn’t think I would make it out, says C.  I’m a final girl!  I passed a point now where I see a way out, she says.

Don’t bother with transitions immutable fruit bats     Don’t bother with bodies or bone char or chipmunk cheerios (Woodchipper MULCH MULCH MULCH MULCH now now more mow.  Milkshake mulch mondo module mock mulch.  Milky e milky cs silly challenge mulch mom ire body movie.  Mulch mulch mulch module module mock mills and more drag mulch.  Woodchipper MULCH MULCH MULCH)

Don’t bother it’s going to hurt me     Don’t you need frail on this didn’t were for there’s you marks think gone rethink – I rethink don’t bother abandon almost

I abandon almost and almost when I was thinking about reaching out, I was yeahs over what harls have happened

I abandon almost almost kisses I kind of hoped you knocked someone up