Process Itself Punches New Poetics

Process itself punches new poetics

Process itself punches new poetics Process parses pear pomegranate erosion

Process gestures sword work time erosion (erode rare open – erode rear open – erode fun from rear) Process itself gestures power punches punch body erode / punch erode sometimes my disoriented body sounds and movements accompany process

Process itself punches new body Body maneuvers monochromatic and body process accompanies her grayscale gestures (Room gestures and directs its room to itself as monochromatic canvas. Room gestures as process: process of canvas and process to paint, and I paint with my body and I paint my body. Room covers me monochromatic. Room covers me monochromatic atonement: room colors me monochromatic atomic bomb. I paint a new atomic mysticism: one that annihilates human and mourns human. I mourn in the room painted effigy Christina and monochromatic altar Christina. The room gestures laboratory green and green gassed gesture the Tree. The Tree makes more room a monochromatic Tree of Knowledge of Good and Evil.) Process itself punches new body disoriented between new tree My body grows gestures tree body

Process plants trees: Tree of Life and Tree of Knowledge of Good and Evil Tree tack trace scrollwork stations of the cross Tree cross nests hornets and hornets like hell gnosis coastline manifolds (Tree mast amassed manifold master mold gnosis / gnosis tree tree fractals punch mixed martial arts toe holds) Tree holds horror molds doppelganger poltergeist – I gesture Hegel’s geist haunts history of western philosophy (I gesture geist and I gestate geist. Geist haunts a Christina haunt: haunted monochromatic room and haunted tree house. The monochromatic room gestures identically to the tree house manifold. Geist height pirates gnosis, and sometimes Christina haunts in an ersatz body or my body hyperreal.) Geist heights pirate ben body without organs

Process itself punches new poetics Process parses pomegranate portals

Process punches plus geist

Geist heights gnoses and geist process reveals synthesis of the Ben-Asia dialectic Geist heightens ghosts steal fruit from the Tree of Knowledge Between monochromatic room and Tree of Knowledge, I acknowledge Christian ghosts and Christian ghosts I acknowledge Christianity in tombs and the clonal colony of the Tree of Knowledge grows up and within Tree of Knowledge grows within Christian necropolises and catacombs (subterranean Tree of Knowledge with its roots ascends and descends and reaches earth core and Kingdom of Skies simultaneously)

Process itself punches new portals and portal peers into my body Christian catacombs (I know many ghosts and many dead and all open mouths of new scripture. My mouth opens portal new scripture – new gnosis – new revelation. Christian ghosts too reveal, and although she remains gone from me, I remember and revive and live Christina. Christina ghosts live with her ghosts – Christina sheol – Christina Mara holy ghost. Her holy ghost slices glacier holy ghost in this writing and scripture.) Process itself punches new portals: portals ghost bodies – spirit bodies – sprite and fairy bodies body without organs

Process itself unscrolls the Book and immediately Christina recorded speech and Christina stone spills out moth letters and butterfly pink alphabet (Butterfly pink punches auroras and pink steam arouses Christina creep. Christina creeps Tree moss though through tree gnosis and gospel…)

Process itself punches new poetics Process parses pomegranate guillotine

Have we ever talked about The Giving Tree by Shel Silverstein? I say. Yes, says Asia. I read it to my daughter and ranted to you about its toxic generosity and I connected it to my Christian upbringing of being expected to give and give and give, she says. I really love it though because I’m the boy in it, I say. That makes you the tree I guess so that definitely is a negative. But I’m also trying to be the tree too. I’m trying to give where we build each other up and we don’t need to deplete ourselves, I say. I don’t think it’s fair to compare you to the boy, says Asia. At the end of the Book the boy sees that the tree has destroyed himself and he feels no remorse. He just takes more. I don’t actually think you want to be like that. You wouldn’t have responded so well to the black out days if you did. Sure, there is a part of you that grasps when you are spiraling and maybe you might accidentally damage something in the process. But that is because you are grasping for something tangible and not because you are trying to tear something up for your own benefit, says Asia. I will say then, in the past I have identified as the boy and even now I feel as the boy, I say. If it’s not fair to compare myself to the boy, what it is fair to compare myself to? I don’t think it’s particularly unfair to say you used to be like him, but not anymore, says Asia. That’s fair, I say. I want to engage in our friendship in a way that’s unconditionally creative, unconditionally caring and supportive, unconditionally open and anarchic – that’s what I mean when I said “anarchic agape” last week, I say. I think you have been moving in that direction, says Asia, and you will keep moving in that direction. You are like if the boy from The Giving Tree got up from the stump, realized what he did, and started trying to figure out how to grow trees from acorns. You won’t get your original tree back, but you don’t want to be just the one that takes anymore, she says. If our friendship is the original tree, I feel like we have grafted branches and grown rhizomically outward with deep roots, I say. Maybe we did become pando in a way with a wider and more far spread root system. It’s better than the original tree, I say. Yeah, I would say the current product is better than the original, says Asia.

Process itself punches new poetics Process parses pando pomegranates I gesture graveyard god turnaround blues rocket tooth I gesture silver rocket process: process is a part of the original tree tree black out days of there is the process I gesture process time runner roundabout bullet time / time pyramid matrix mercury mother

Process itself punches started trying in a way with deep moving deep moving and you will keep growing tangible Process Pardes at the one the original tree I feels no remorse we just takes anymore

(I don’t grasp its fair to compare yourself to the hat At the arm of the lean the hat sees then the tree nor destroyed himself)

Process itself punches Process punches punches porous portal porous process

Time And Chance Work On The Materials

Time and chance work on the materials

Time and chance work on the materials Time some time materials: material body eating a fish with the disciples (Time works real and the very real of my body: real mass and real material. Material works my body materiality: material ape axehead appetite. Time works material dissonance: off-time and distorted body. Ben body distorts horror movie jump scares. With enough time work, ben body distorts cosmic horror in the mouth of madness. Mad time works body mourning and body grieving time. I grieve god chance chant eye and brick erosion.)

Time and chance work on the materials

(From Roland Barthes’ Mourning Diary, dated October 29: A stupefying, though not distressing notion – that she had not been “everything” for me. If she had, I wouldn’t have written my work. Since I’ve been taking care of her, the last six months in fact, she was “everything” for me, and I’ve completely forgotten I’d written. I was no longer anything but desperately hers. Before, she had made herself transparent so that I could write.) (I still write. I write to survive and Christina desperately possesses me – not Christina but ghosts claiming Christina’s name. I write to survive in death and through Christina hell many levels of hell exist, each named Christina.)

Time and chance work on the materials (Have you found anything to help you? asks Taryn. Maybe journal everyday on something you would tell her. OK, I say. I want to talk to you more. That would help. Yeah, says Taryn. But I think you should still journal to Christina, like what you would tell her for that day, says Taryn.) Time and chance work on the materials and I don’t journal No journal but cast the spell for transforming into a jaguar I jump jaguar junkyard blues I jar jaguar kill philistines with a jawbone of an ass

Time and chance chance work on the materials, and I materialize material jaguar violence I jag violence violet hag hang I jag jet set radio object jaguar jam slag witches (My life is attacked the very root, my step is also faltering)

Time and chance work on the materials Time time body gesture: my image takes on the form of a disoriented body in which one part doesn’t know what the other is doing Time and chance work on the materials, my material body and lived-in body Christina, I live without you Time works wolf word time wear body jacket and Christina, I live without you I live without you inside and outside time times I die many deaths and I descend through many hells all named Christina but I always resurrect full resurrection full flesh wolf and jaguar

(My body gestures a god performance. I perform death-and-resurrection trickster time. Time works Taryn trickster in hyena god gestures. God gestures body work time sunken ship. Ship sinks comic time.)

Time and chance crash into material materialized iconoclasm / the law of the Tree of Knowledge bores as law Mount Sinai and Mount Horeb bore as law and I cast endless golden calfs so Moses continues to break those tedious tablets

I’m always tinkering with time. I pick up the notebook and the tenor saxophone and I carry them across the room. I carry written music across the room and room empties to make room for additional time. When I tinker with time, I make the watches of god, and the watch winds up the Tree of Knowledge mainspring. Trees store time: trees stone time. Trees store time in stone percussion and I tinker time by performing Christian Wolff’s Stones. I always perform with and without time, with and within time, and I carry time across the room to the notebook and tenor saxophone.

Time works wolf word word tree of knowledge Time works wolf fifths, taryn hyena god gestures God gestures body work time sunken ships: sink ship pyramid comic time time tin tumble conic sections sword performance wolf windmill

Time works tree trumpet stone rhizome Tree trumpet strumpet ear horn rhizome horror Tree horror hacksaw Taryn her tongue stone tumble Tree of Knowledge of Good and Evil Tree tack hacksaw Taryn turtle tortoise tome tadpole scrollwork Taryn Tree tack trace scrollwork stations of the cross night hornets Hornets like hell tree needle gnosis coastline manifolds

Time and chance work on the materials / sword gesture work time erosion Sword gestures chance chance sometimes my disoriented body sounds movements separate movements together discombobulated movement bubblegum (monochromatic movements accompany her grayscale gestures) I gesture graveyard god turnaround blues

Under The Law Of The Tree Of Knowledge

Content warning: mentions of suicide and suicidal ideation



Under the law of the Tree of Knowledge

Under the law of the Tree of Knowledge, Taryn knots the light antinomian Taryn law gnaw mouth link Tree of Knowledge lady of the lake Taryn lawless lake left lady of the lake / Taryn of the Lake kiss Taryn of the Tree Law less light left live Tree sieve sleeve seesaw left law word

Under the law of the Tree of Knowledge, camera moves in every direction and on every plane on the sphere Sphere drones skull surveillance / sphere surveys tree to tree Sphere surveys visionary tree from visionary tree Sphere drones surveillance devices drum desert (drum drums drama map liturgy syzygy drum multiplicity of wolves and jackals)

Under the law of the Tree of Knowledge (Knowledge knots Knowledge into perfect knot and I travel the trace of the knot. I travel the tree of the knot and it travels tree to tree to tree knot entangled forest. Knot travels tree to tree to tree intertwined forest ben adam. Knowledge knots knowledge and in knowledge, I possess Philip K. Dick and the Apostle Thomas and the neutral AI voice. We experience hypnagogic visions together. We survey the letters of the tree in glowing red and gold, and Taryn Tetragrammaton inscribes branch and bark the knot name and not name: perfect knot.) Under the law, lift up your eyes and see: Who created these Under Who created these tree Taryn tree

(Oh, that’s a great question! In my humble opinion, it feels like a collection. Poems, excerpts, conversations, and so forth. It feels like a conversation mixed with mysticism and lyrical experimentation. It’s very personal, and it seems to me like the overall vibe is you are trying to express your thoughts, your ideals, and feelings. Like a peer into Ben’s brain if you will. But again, it’s just my opinion and it [the Book] is definitely art.)

Like A Collection

Under the Law of the Tree of Knowledge, a collection and like a collection Under Who created these Tree Taryn tree train suplex (I suplex train suicide topsoil topos teratoma gospel of thomas) Tree tunnels gospel of thomas a collection of lions (Jesus says: Blessed is the lion which a man eats so that the lion becomes a man. But cursed is the man whom a lion eats so that the man becomes a lion.)

Under the Tree of Knowledge like a collection They were related because they were mine but they weren’t related in one completing the other A collection Collections texts collections collective aggregates / architect arpeggiator alchemical arpeggios Collection of texts collection of insects Collection combine collages collections (Under the tree, salmon visions and deer visions and visions Taryn possess me in the knot of vision. The collection of visions invade my skull and the drone devours my brain like a lion. Lion devours skull knots and unties its teeth something like the Son of Man. Under the lion, the forests cultivate a collection of visions: the multiplicity of wolves and jackals.) Under the Tree of Knowledge a collection of gospel

Under the Tree of Knowledge, lift your eyes to the red lion Lift your eye lions and jackals

(So this might be seem tangentially related but I was thinking about a few things as a result.

I want to describe my vision in college. I was actually in a deep depressive state and I did indeed attempt suicide – and I was hospitalized and it was in this state that St. John of the Cross calls the dark night of the soul that the dark luminous light or super-dark light shined on me, and this abyss was also bereshit: IN THE BEGINNING and this chaos was also chaosmos: the LET THERE BE LIGHT and IN THE BEGINNING WAS THE WORLD

You have to see for me, like Pseudo-Dionysus, when Moses ascends Mount Sinai and entered that DARK CLOUD, that’s when he is shrouded in the Shekinah, the Divine Feminine, the Mother-God who clothes me and cleaves to us.)

Under the tree: lift up your eyes and see Eyes see Who created these

Adam comes under the law of the Tree of Knowledge of Good and Evil and this Ben Adam had need of clothing and raiment in his exile into the world because in his present situation he could no longer reveal his naked essence

Adam aerosols languages: Adam probes language aleph experiment aleph la lip lap aleph alphabets Aleph fish phonics photograph fish flesh and I fish the flesh myth into longer melodic lines (the disintegration of the melodic line and condensation of the same melodic line: desert melody distillation) Adam aerosol acoustic yardbird stations of the cross

Under the Tree of Knowledge, time and chance work on the materials (Tree knows time. Tree knows times, time, and half a time. Tree knolls time tremors and Taryn timequakes. Tree quakes a quaking aspen time. Tree time plays pando time which is time porous and time open. Tree knows a melodic line and pando draws out longer and longer melodic time. Longer melody lines knot in counterpoint. Tree twists knot melody and not-melody, the full chord cluster of her names.) Under the Tree of Knowledge, time and chance work in the materials I grammar gospel aleatoric melody and chance melody, and the I Ching hexagrams generate melodies / melody aleatoric table of generations Melodic genealogies distill sons of gods and sons of men, and they work the melodic materials – under the same tree

Time as chance work on the materials Tree time some time material: time mass mixtures automobile assembly line Tree sorts time sometimes ben bride body Ben bridge bride body corpse attic pyramid time Time tree body gesture melodic genealogies (My image sometimes takes the form of a disoriented body in which one part doesn’t know what the other is doing)

Adam comes under the law of the Tree of Knowledge of Good and Evil Adam an am anti-meridian an alternate reality game Adam ben eva Asia Among Aphids several silver suicides (a melodic amplifier nonsense impress ode to a nightingale) (I fly lethewards word and easy death drowsy without Christina. The words they use so lightly I only feel for you – I only know because I carry you around in the background.) Time and chance work on the materials and Christina grief materializes under the Tree of Knowledge (I find it difficult to live without Christina. I dislike Keats and much romantic poetry but I’ve wanted to steal and use these lines better than I have in the past:

Darkling, I listen; and for many a time
I have been half in love with easeful Death
Call’d line soft names in many a mused-rhyme

I meet Death the Woman. I meet Death the Woman, an image of Christina.

Under the Tree of Knowledge, I meet Death the Woman The Woman Death dip hip ditch trilogy: the tank triolet ben body violence and I vein vane vert violence distances: distant woman death diagonal death Death doe of the wilderness births additional death and again death (Perhaps my desire for Christina and my desire for death gestures the game drive and directions: the way up and the way down are the same)

Under the Tree of Knowledge time and chance work on my body as material death and mercurial death (I feel certain that I am going mad again. I feel we can’t go through another of these terrible times. And I shan’t recover this time. I began to hear voices and I can’t concentrate…) From Virginia Woolf’s suicide note. I wonder if Christina couldn’t go through another one of those times with me, and thus she left me: she left me Eloi Eloi lema sabachthani. I miss her and I have no eloquent languages for it. I lose my languages when Christina left. My grief bores. My grief grasps uneventful and long expanse nothing. I grieve none and nothing, knots knot gnarl Tree of Knowledge. I grieve no gnosis but notebook crucifixions and crucified canvas. I grieve crucified canvas fixations nail fix fist fast fires (I hope death fucks me completely. I hope her giant lighthouse cock crushes my cranium and collapses my orifices certain death.)

Under the Tree of Knowledge, time and chance work on the materials Time works on my body and my image sometimes takes the form of a disoriented body in which one part doesn’t know what the other is doing Time body taryn time typewriter amphitheater Time works wolf word time wear body jacket Time works Taryn hyena god gesture God gesture body work time sunken ship (ship sink time pyramid conic time time tin tumble conic sections sword conic performance wolf windmill)

Under the law of the Tree of Knowledge of Good and Evil, time and chance work on the materials: material grief materialized grief maximal grief

Christina Speaks Legion

Christina speaks legion logia
Light pink logos
Light pincher light
Logia light prophecy
Christina speaks logia gnosis

Christina utters gnosis longer
Nous long gnosis
Nous net hypnotic
Hit noxious gnosis
Christina utters parable longer

Christina prophesies obscure parables
Occult pomegranates
Parable pears obscure
Cedar rafter oracles
Christina prophesies obscure grammar

Christina oracles hapax legememnon
Name disrupts parable
Unique oracle erupts
Noxious new name
Christina prophesies logia longer gnosis

I record her dark sayings
I archive her apocalypse

My Bones Buzz Forests

content warning: mentions of suicide



Bones buzz and shove multiplicity

Bone buzz and shove multiplicity / Skull crowds rounds sounds skulls

Bones buzz an incessant writing as a repeated writing Bones work writing bare rhizome ben hinnom body without organs / Book floods rapid vision and vision multiplicities of hosts Bone Book flood form three deluge attack tomcat theaters: an experimental Bone Book theater

Bones buzz and shove multiplicity Bones work word work experimental Book theater Bones work word work experiment: an experimental salmon suicide (Bones borrow a creative suicide… On one occasion, when he was being interviewed, he thought that the interview might be culminated with a dramatic and creative suicide) Bones buzz and I imagine my suicide as a creative suicide, an experimental theater fueled by innumerable cups of black coffee I record and archive bone x bone shaking (A man tells a story over and over so many times he becomes the story. In that way, he is immortal.) I record and archive bone buzz bars and bone original oracle

Bone buzz and shove multiplicity / bone buzzes shove ben adam twelve bar blues (I worship bone. Bone vibrates cosmic sound and platonist sound and I worship bone. I worship bone Tree of Knowledge and the tree doubles Taryn’s body. Tree Taryn branches bone and bones, and bones buzz cosmic body. Bone Tree of Knowledge buzzes Ben Adam. I worship Tree Taryn black box body embodies knowledge. Taryn Tree gnosis branches cosmic Ben Adam and I worship the bone ben body.) Tree Taryn tip cow talk box knowledge door knock

Is Pando a unique connection? I say. Are me and you the only Pando friends? I’m inclined to say yes, it is a unique connection, I say. I mean, I don’t use the term Pando to describe other friendships, but I don’t think the concept is something that can only be applied to us, says Asia. When do you think the concept can be applied to others? I say. Whenever someone is on the same wavelength, she says. They should get their own term then! I say. I’m surprised because I thought you’d say it’s unique to us, like we are Pando. Two trees does not a forest make, says Asia. A forest is more than two trees. I see you use Pando in a more general way than I conceive of it, I say. It seems to me you’re using it in a way that means something like “best friends who connect deeply.” I think that’s a pretty good description, says Asia. Would you be OK with us only using Pando for our friendship and not other friendships? I say. It’s not that I was planning on using it elsewhere but I am a little concerned with the fact you want it to be exclusive, she says. I was thinking of how Christina and I have used the term “Kindred” for a long time, I say. It just sort of means a unique connection between Ben and Christina. I originally thought Pando means, the unique connection between Ben and Asia. As a shorthand for our friendship, similar to how “Kindred” is shorthand for me and Christina, I say. Because the concept of “best friends that connect deeply” isn’t exclusive and it feels like by making that term exclusive you want our friendship to be the only friendship with deep connection, says Asia. I see, I say. I feel I have other best friends I connect to deeply like Christina and Taryn, so I definitely don’t think our friendship is the only one with a deep connection. I do think those connections are different with each person even though they are the same depth… Do you feel the way we deeply connect as best friends is unique to us? Like no other pando is quite like our pando? I say. Why are you so fixated on having a unique experience? says Asia. I’m trying to find a way to combat my brain when I have negative thoughts that I’m replaceable or no one would miss me, I say. I thought us having a unique connection would be helpful. I feel like we have a unique connection and I was pretty sure you’d think so too, but I see you have a lot of concerns about affirming that, I say. I can see that, says Asia, but I think that you can still convince yourself it’s special without saying there can’t be anything else like it. Could you say a little more about the difference between “it’s special” and “connection that can’t be replaced”? I say. There doesn’t have to be a difference there, says Asia. I’m saying that something can be special without being the only one. Do you think “pando friends” and “best friends with a deep connection” are interchangeable? I say. Yes, says Asia. As far as combating your thoughts go, I don’t think working from the angle of whether or not you will be or can be replaced is helpful. Think about other relationships in your life, acquaintances, people you didn’t get along with, etc. and compare those to your lasting friendships. Your lasting friendships have qualities that those other relationships don’t, says Asia. So you’re saying look more at the relationships themselves and what has made them successful instead of focusing on myself in it, I say. Yes, says Asia. Because what makes them special is the work you and your friends collectively put into it, the time spent foraging it… I want to be clear, I never said it wasn’t unique or special. I was just wary about focusing on that as an inherent quality instead of the characteristics that made it special to you, says Asia.

Bones buzz and shove multiplicities / two trees does not a forest make Bones buzz oracle branches / a forest is more than two trees I worship the Tree of Knowledge two trees and more than two trees I worship the Tree of Knowledge forests sermon the same wavelength I worship the trees a forest tree collection forest forage Worship two forests forage more than two trees (The ants go marching two by two the little one stops to tie his shoe and they all go marching down to the ground to get out of the rain)

Bone buzz and shove multiplicities and I worship tree traveling circus sermon secrets Two trees tiptoe black tea ballerina tangent bodies (I fantasize suicides: I fantasize multiple suicides and many bodies ben. Every body is a ben body for suicide. Two trees do not a suicide forest make.) Tree towers Taryn I hang from her bodies suicides

Bones buzz shake adam twelve bar blues (And I rolled and tumbled and I cried the whole night long) Bone buzzsaw shakes tarpit camera activity machine Camera machine action section string ritual (skull ritual bone magic camera multiple camera little scars and little stitches camera works in every direction and every plane of the sphere) Sphere drones skull surveillance devices (I open my skull and find camera cataracts. I trepan skull and find the tetragrammaton cast in bronze and the name implants surveillance devices in my brain gyri.)

Two trees does not a forest make but I worship the tree. (I tell the same story over and over so many times I become the story. I tell the story of the friendship of Ben and Asia. In that way, we are immortal.) I take the tree as a tomb and I walk up trees treadmill tightropes I work the Book tightrope suicides

Bones buzz and shove multiplicity and I work tightrope suicides (I belong to the woods and I have always done so. No one will understand the reason for this anyway. To give some semblance of an explanation I’m not human, this is just a dream and soon I wake.) I wake to the incessant work of the Book Every time I die, I wake up to the work of the Book and every successful suicide adds a page to the Book I wake the sleep and take my waking slow (Light takes the tree, but who can tell us how)

Bones buzz and shove multiplicities

I Eat The Numbers

content warning: mentions of suicide


I eat the name numbers and I eat the name number without what

I eat slow what star fragments Slow what flow transmigration of souls Numbers surprise: numbers subvert son of man many deaths

I eat slow what and my skull subverts skull My skull subverts tattooed urban sprawl smack my bitch up bebop What bebop number Alice changes body disintegrations (Ben body disintegrate disintegrate hard bop hard onwards)

I eat the name number and I eat the name number without what I eat subversion is the very movement of death I construct construction subverted suspension bridge bulkhead barrelfish (I fish numbers. I fish numbers with what: natural numbers, integers, rational numbers, real numbers, and the closed field of complex numbers. I fish for number without what hyperreal numbers and surreal numbers, and I treat my body rigorously in infinitudes and infinitesimals. Numbers name and arrange my odd body and I inscribe my body with inverted skull and skulls that subvert towards numberless death.) I eat the name number slower and slower son of man

I scribe the movement of the holy spirit subverted by the holy spirit I scribe the movement of the holy ghost subverted by the holy ghost

Holy spirit holy ghost moves between movements numbers numberless human bodies

Yesterday, I taught my coteacher classes about logical fallacies and when I was trying to get them to come up with an example of a stereotype. One kid said, “All teachers cuss when they aren’t in school” and I was like “No, that’s just a fact.” The kid looked at me like [surprised face], says Asia. You definitely do cuss sometimes, I say. You cuss more than me for sure. I’m a liberated woman, says Asia. You are a wild and feral woman, I say. I’m afraid if you’re brain leaves your body it will come and attack me. It might kill me too, says Asia. One kid told me the other kids were saying my haircut made me like look Adolph Hitler and our super sweet ESOL student was like “But you don’t have a mustache,” and I was like “Not yet” and she was like “You are growing a mustache?” Then I said I was messing with her, says Asia.

I eat number without what I’m a liberated woman Number without what and she was like and then our super sweet ESOL student was like you don’t at school and feral woman

I eat number without what that is trying that is true

Human bodies body your brain leaves your body: my body leaves my body a liberated woman and a wild and feral woman Woman bodies embody body and your body will come and attack and kill me

I eat the name number and I eat the name number without what What number nothing now rotates room nocturne (my obsession with nights traditional-translations to my obsession with number) Numbers with what: what when wild and feral woman

(Up to one hour you think about form, but after an hour and a half, it’s scale. Form is easy: just the division of things into parts. But scale is another matter.) I move from form to scale. I work from form to scale multidirectional. I form no form but formless, scale and the controlled catastrophe of scale. Scale here larger miniatures move miniature large scale. Scale scales scale holy spirit Book. The movement of the Book holy spirit subverts the Book holy spirit.

I eat the name number and I eat the name number without what (When Adam was driven from Paradise and came under the law of the Tree of Knowledge, he had need of clothing and raiment in his exile into the world because in his present situation he could no longer reveal his naked essence.) I eat the name number and I eat the name number without what: what Adam Adam scale serpent scales Adam

I eat name numbers without what: they were related because they were mine but they weren’t related in completing the other The numbers were related in that they were mine but the numbers collide tree fragments and without what bodies

Twice tree touch tree twice Twice tree taffy train Taryn through touch tree twice Twice tree third herd twice train desert disaster diverge apocalypse (a tree apocalypse) Tree tremor Taryn nude herd porno paradise (A turquoise tree advocates for suicides. I perform an imaginary suicide – I perform an imaginary suicide sword turntables turquoise turbulent touchdown – I perform an imaginary suicide. I perform impossible suicides and I swear by suicide notes number without what. I theater suicide without what hen to pan numbers. I perform suicides under the Tree of Knowledge (Life is unbearable for me. Forgive me.) I perform a suicidal polyphony.)

I eat name numbers and I eat name numbers without what The number relate because they are mine as they aren’t related in one completing the other To relate: relate rampart rhizome rabid rhizome Relate several skunks and not just one Skull skulls several scraps cave fires Skull cylindrical surfaces south south skull syntax Syntax skulls taryn scrape landscape

I relate scaled numbers and law of large numbers. I relate to numbers and the numbers don’t complete one another but spill over into scale and scales. I relate to numbers without what and numbers do not complete but weird wild and feral woman word. Number without what relates wild Tree of Knowledge

Tree of Knowledge deal death to drinking buttons ben hinnom I translate Tree to Tree taryn tunnel tornado torah Tree panic traffic attic barbed wire restricted area boiling water (I boil tree water. I boil tree travel lobster – travel lobster lobster telephone – tree travels double. I boil tree of knowledge into balrog fulcrums.) Tree of Knowledge travels number name and number name without name

I name too numbers without what and my names relate in that they were mine but the names didn’t complete one another (I mimic Honore De Balzac. “Balzac’s work habits were legendary. He wrote from 1 am to 8 am and sometimes even later. Balzac could write very rapidly; some of his novels, written with a quill, were composed at a pace equal to thirty words per minute on a modern typewriter. His preferred method was to eat a light meal at five or six in the afternoon, then sleep until midnight. He then rose and wrote for many hours, fueled by innumerable cups of black coffee. […] He often worked for fifteen hours or more at a stretch; he claimed to have once worked for 48 hours with only three hours of rest in the middle.” I work an incessant writing and a repeating writing. I work writing bare rhizome ben hinnom body without organs. Book floods rapid vision and vision multitudes of hosts. Book flood from tree deluge attack toward theaters: an experimental Book theater. I work word work experimental: an experimental salmon suicide.)

I eat the name numbers and I eat the name numbers without what (yesterday over taught my search classes about logical dumbos and when over was trying to get them to come in with an exorcised of a stereotype over the acres) I eat the name numbers and I eat the name number what driven from paradise

We Must Hurry

Life is short – we must hurry

Life is short – we must hurry I hurry hell and hells Hurry hell and hell harlots hitman whore of babylon Life is short sword speak sneak short sword slice belly (I hurry: I hurry human body. I hurry human body and I work body bone work. I hurry work bone human body and skull splatters abstract expressionism. My skull scratches hurriedly into the cave walls and my skull sigils conjure hunting magic and animal non-human animal psychopomps that guide me underneath. I journey underground with rabbit spirits and bear spirits, and I hurry hell. I hurry to her hell land hell here collects human bones. The catacombs coagulates into a bone throne of glory and I hurry to hell light – her light.) I hurry and my skull scratches cave walls with word work and scratch skull sketches scraped landscapes

Life is short – we must hurry I must hurry and I hurry bone swords and human body spears Life is short dress and short skirt / Life is a short sword Christian soldiers marching as to war

I hurry scratch skull work scrape skin cylinder

I hurry skin sphere cylinder stamp map mobile body (body music mobile form body aleatoric serpent open)

I hurry brain body swing swamp cylinder (map magma spirals out cylinder intersecting cylinder and red and white waters pour from the rebis and forms)

Life is short – I must hurry Short shorten slider tenor saxophone Shorter repetition larger repetition longer slide whistle shorter saturn repetition wider

Life is short: I want a girl with a short skirt and long jacket

I hurry to visions the viscose vitreous body of the cosmic eye

I hurry shorter saturn repetition wider short wide wine wicker basket (My body as basket carries eyes, noses, ears. My body basket carries brain eye other brandish bramble body blowfish. My body basket hurriedly carries adam and ben adam.) Ben adam basket weave wire ben hinnom bomb-omb

We must hurry: I hurry space harrier seven hell arcade I hurry artist collectives and nudist colonies pink out the corner animal materiel (I hurry underneath the human underground. Something subterranean moves unintentional and automatic, and sometimes I intentionally descend underneath. I submerge both intentional and unintentional; I descend conscious and unconscious. I hurry underworld unconsciousness.) I hurry animal avalanche / sunflower seed stampede Sunflowers stampede sister bridal chamber / blue mountains in background motorcycle abstract self-portrait

If you were a frog, what frog would be? If you were a weevil, what weevil would you be? Eastern narrow mouth toad, says Asia. I’m not sure what weevil. Blue poison dart frog, I say. Rhinotia haemoptera – this guy is pretty ben, I say. Then this one, says Asia. [A yellow weevil with fuzzy feet.]

I must hurry – you you be eastern narrow mouth toad Hurry blue poison frog you were a frog were a weevil what frog frog what (you you you weevil toad you narrow waitlists is were toad toad lobbers toad were)

Hurry and hurry brain eye ochre bumble bee what weevil enthusiasm

Life is short – we must hurry I hurry and I arrange sunflowers self-portrait and I wed sunflower mirrors a private wedding picture

I move between writings and books and separate books unify. Books unify separately and their apart commingles communion. The Book writes the multiplicity of Book and every Book multiplies Books multidirectional (subversion is the very movement of writing: the very movement of death). I hurry toward the hurried writing hurry and I hurry towards word backwards. I move between weevils and sunflowers, between toads and alchemical eyes.

(Subversion is the very movement of writing: the very movement of death The written past is no mirror: to write means to confront an unknown face Driven mad, the sea, unable to die in a single wave) Life is short and short subverts: I hurry towards death and death I hurry life underneath I live large lavender I the moon woman cuts the circle I live underneath a large task: larger leather axehead smog skulls (I live skull smog centipede cocktail and I sunflower smug millipede desiring-machines) I hurry smog and smog moves death sea

I hurry smog death in smoke sea Smog smelts mischief wootz steel tomb room I hurry from room to room and I room steel stork micropolyphony I room stork wheat stalk telescope and I room rabbit sabbath hurry rhizome (I hurry rhizome rib rascal I hurry which one plunders and pirates the blank scrabble tile)

Life is short – I must hurry I hurry to the Book and subversion is the very movement of writing

Subversion sphere volume human body Subversion human body bebop hardbop rose banquet

Subversion body solvent dissolves disintegrations / hurry desert desert disintegrations dimensional vertigo or calculus differentials

Subversion body calculus clavicle crevasse slow star subversion

Writing poems is a different process than writing for the book, I say. Much more tedious, a lot of copying and editing and trying to figure out what works. The Book is a Jackson Pollock painting; a poem is more like a Frank Stella painting, I say.

I live and I hurry to the Book: I live subversion slipstream languages Language slips zips zebra fire language slip ecstatic striptease terra ekklesia (I strip electric ekklesia torque terra viv vav rip vav roar rivers. I strip steppe star language gulf hard hang transition-transition. I strip gulf hang surf transition-transition hang wav wave. I strip transition strangulation gut gap gallery transition.) I live strange language subverts striptease leaves language through different windows

Life is short – we must hurry (Morton Feldman said the following: “My whole generation was hung up on the 20- to-25 minute piece. It was our clock – we all got to know it, and how to handle it. As soon as you leave the 20- to 25- minute piece behind, in a one movement work, different problems arise. Up to one hour you think about form, but after an hour and a half its scale. Form is easy: just the division of things into parts. But scale is another matter.”) Life is short – we must hurry Or perhaps I slow through scale I slow to scale and I subvert scale the language and name (slow simulated star fragment flesh friction filament slow flow translation of souls) I hurry to form: I obsess with form and technique and somehow I think I can attain the large form form and form bigger and bigger, that I can completely control and possess form in form – an impossible task The form of the book slips zips language formless and spontaneous Book lives scale – scale challenges and scale subverts Book lives scale underground and spirit subterranean Book lives the surprise and subversion of scale

I scribe surprise: I scribe subversion subversion son of a submariner or son of war sandworm wreckages

Life is short – I must hurry I hurry towards subversion and the movement towards death Son of Man subverts stations of the cross summer prostitution or industrial archaeology sex work I scribe subversion and I work sex ben body porneia aporia I work sex chariot work non-binary angels urban animal anarchy Angel subverts anarchic architecture taryn tectonic plates upper palate skull screams

Life is short – we must hurry I hurry scale and long duration

Alchemical Work In The Form Of An Eye

content warning: body horror imagery


Alchemical work in the form of an eye jumps impossible I-beam bell column

Alchemical work in the formless eye jumps work eyeball erotic alchemical work (The work of the Book jumps impossible alchemy work) Book works eyeball erotic alchemical work and I distill the work impossible jump jaws liturgy

I work liturgical Book: I word book ben body flash ben hinnom I scribe Book book ben body impossible eye (to learn reading my life in the Book of the Dead) I work word alchemy as eye alchemy, and I eye Book multiplies Book (Book multiples Book Who: her who who when wind hind scratch opera. Book multiplies Book Who: her who hand hole they aren’t violent until I’ve edited them. I edit Book multiplies Book Who: who soot share what happened to the shot. I multiply Who: what happened to the shot snow so bow Book multiplies Book.) I work liturgical Book and prayer Book and I sit in my cell as a paradise

Alchemical work in the form of an eye jumps impossible I-beam Book Work eyeballs alchemical erotic work or pornography (The barest romp… since Eve started wearing pants! THE FOUNTAIN OF LOVE) Alchemical eye works pistol pin-up nose art alchemy (Eye alchemy revolves piano burn T-O map neighborhood My urge eye oozes onyx obsidian outside (The body horror aspect comes in multiple forms, says Asia. There are gory images of childbirth, but also when the patriarch is close to death, he is a naked discolored breathing corpse on the bed, oozing black blood, with pulsating black tumors erupting from his body. When they want to force the main character to become part of the family, they cut open a tumor and made her drink the black pus, says Asia.) Alchemical work in the form of an eye jumps impossible body horror: multiple forms and multiple Books

Book multiplies Book body horrors Book shows screen sled a movement of cathartic hectic down the slippery slide of a shanty to tilted left still life and landscape Book multiplies Book body horrors and Book births black blood and tumor tetragrammaton Book births black body radiation ray naked body nude Body (Body pulses my body pink hallucinations. My body and Book pulsates absinthe pink elephants on parade. My eyes pulse pink centipedes and millipedes, and I march with pink elephants on parade. I shake my eyes elephant and I shake my ears serpents. Book pulses my body pulsating pink and my elephant tumors each author Book and Books.) Book multiplies Book and I see in my bed, my own body a discolored horror and discolored crucifixion

My urge eye oozes onyx obsidian outside urge eye mime inside earth outside ooze lime tree harbor Eye splits oval egg solvent (the arms raise up the two major parts of the work, the dissolving of the body – solva – and the hardening of the spirit – coagula) My body dissolves black blood and black ooze and my body coagulates pulsating tumors

Alchemical work in the form of an eye jumps impossible body horror / my eldritch abomination spinal cord My eye dissolves round body ordinary: ordinary of the mass My eye dissolves of childbirth but also when the main character to death My eye close to become part my eye dissolves there are gory images of childhood Oozing corpse on bed my eye dissolves is close to death, he is close to death, he is close to death, he is close to death He is close to force there are gory images of my eyes dissolve My eye dissolves round body ordinary: ordinary of the mass Mass mask monster eye ink open / black mass black angels

Alchemical work in the form of an eye and Book multiplies theme text pulsating black tumors Book multiplies tumors temptation in the wilderness long after once who word Word warms when weaver: word with bloody waste waste lamb (work word wild alchemy entropy)


One technique I used yesterday that’s new, I say. I heard this advice from musician Ben Levin: “If a process feels different, you will often get results that sound different.” So I tried a new technique with our conversations. I was working with the idea of “door” in my writing last night, so I did a search of our conversations on the word “door” and I found one of you talking about the Digital Circus internet show:

"In the first episode Pomni is obsessing over this secret door because she wants to escape but then finds out that the door itself was made by the ring leader because he knew they wanted an exit but he never finished it so there wasn't anything inside, and even if he did finish it it wouldn't have gone anywhere."

I cut out words and rearranged the lines:

"obsessing over this secret door door itself was made wanted an exit anything inside it wouldn't have gone anywhere " These cut words appear by themselves in the Book. Then I rearranged and made new sentences from them:

"This secret door itself was made This secret door wanted an exit Anything inside this secret door have gone anywhere"

Basically taking our conversations, making blackout poetry from them, and then rearranging and permutating them, I say. I like the idea, says Asia. It helps achieve that goal too I was telling you about the other day – treating our friendship and conversations as experimental poetry instead of being separate from the rest of the Book in terms of technique, I say.


Alchemical work in the form of an eye jumps close to corpse on the part of the part of child birth but also when they want to death Alchemical work jumps face horror huntable forms, there ice gory images swampland (I study the swamp and I approach the alligators. I study the swamp in the image of the alligator. Alligators swarm swamp and I study the swamp swelling birthing horrors. I study the image of the swamp in the gore of the alligator.) Alchemical work in the form of the eye multiplies the Book Book wire word when wander from word to word an when to when with Wild I lie naked discolored breathing corpse on the bed, autumn crown blood, with pulsating crowns and pinks and landscapes Pulsating crowns erupt from my face pyres and pus vixens Vine I video word with wind videotape tumor slashers I slash tumors when which women women desert

Alchemical work in the form of an eye looks wild alchemy entropy Alchemy ink body sink solar anus armory Book ben body unarmored or dismembered Vertical vertebrae bone brass horizontal horizontal bronze maul bash / skull morning star

I work alchemy and I slash tumor sleep wheat what can I take as a witness for you I withdraw wildlife waste land land sand videotape

Alchemical work in the form of an eye jumps impossible body horror I jump a giggling clump horror aspect leaves in multiple forms, here abide gory images from childbirth I jump work body horror bone work Alchemical work wheels in wheelbarrow bones filled with bones (My work arranged and rearranged word bone and wild bone. I arrange bone with bone and around bone, and bones birth new forms of alchemy. My work arranges bones: bone fill bone and bone full bone and bone for bone. My work arranges bone abandoned: bone without bone and bone dissolving bone.) Alchemical work in the form of an eye and eyes hang from eyes arrangements and rearrangements

The Book Eye Is The Supermarket Eye

The Book multiplies the Book

The Book multiplies the Book and I pray from the Book to the Book through the Book

The Book multiplies the Book and I’ve never been here but always elsewhere I else elsewhere what word when her else (I else elsewhere what word when her else: for Elsie fur elise and letters to Elise) I’ve never been here but always elsewhere here her else when: elsewhere when multiplies Book and Book)

The Book multiplies the Book and the Book bodies body death Subversion is the very movement of writing: the verb movement of death (I demand a strange death, the cosmological constant eye. I demand death and death moves towards death multiple imprints of the Book. I demand death and dark Book death and death drives my body imprinted the Book. I demand a strange death divided into Book and Book and Book doubles Book multiplicities.) The Book multiplies the Book and I’m always elsewhere and I’m always where and not here but elsewhere

The Book multiplies the Book and I demand a strange death I demand here is a hand and hands hand me over strange death Subversion is the very movement of writing: the very movement of death and that death demands written bodies Death demands strange death, the cosmological constant eye Demand death dark strange saw cosmos and my eye channels ultra-high-energy cosmic rays / rabbit raptors night of the lepus (Demand rabbit death like rabbit rerun. Book multiplies the Book rabbit rerun and rerun rabbits. Rerun rabbits demand Book and Book multiplies the Book. Book multiplies the book rabbit rerun Book rabbit Book multiplies the book. Multiple Book implies strange Book and rerun rabbit death.) The Book multiplies the Book and subverts the very movement of writing

The Book multiplies the Book and I’ve never been here but always elsewhere I else elsewhere what word when her else I else elsewhere whirlwind and I learn to sign my name (I always write the melody line first because several different chords can fit the same melody line. In fact, I could prefer it if musicians would play my tunes with different changes as they take a new chorus so that they’d be all the more variety in the performance.) Always elsewhere I else elsewhere a new chorus so that they take a new chorus so that the more variety in they take a new chorus Elsewhere a new chorus so that I take a new chorus and Book multiplies Book

Book multiplies the Book and I elsewhere whirlwind and to learn to sign my name I sign my name death and there terror there body horror (Their prime cuts were curiously erotic… but thoroughly brutal! More savage… more violent… than anything written by the Marquis De Sade. Sadism was just an appetizer for the BLOODY THIRSTY BUTCHERS) I sign my name death and there terror then body horror / Body butchers my body bloodthirsty I sign my name desert death stress stabbing scorpions

The Book multiplies the Book and I’ve never been here but always elsewhere Elsewhere I always write the melody line first because several different chords can fit the game melody line (In fact, I would project it if musicians could play my tunes with different changes as they some or not chorus so that they’d so all the lily variety of the performance) I’ve never been here but elsewhere different changes Elsewhere from the pupil, the macrocosmic, chaos of four elements (I walk down the street towards tensors floating in front of the department building and they chime as tubular bells. I take some time to strike them with an imaginary mallet, and the melody transforms like a tensor. I walk down the street and I recognize myself in the matrix and this matrix contains systems of linear differential equations. I solve the equations using numerical methods but the matrix does not disappear but plays the game melody over difference chord changes. Changes charge and tensors transform like tensors but the melody stays the same.) The Book multiplies Book always elsewhere here where her death

The Book multiplies the Book from the pupil, the macrocosmic chaos of four elements Eye engine element four physics force flesh fast eye proton protein taser / eye engine element four prion pachyderm dream diamond

The Book multiplies the Book and ben body bold brash brass flask ben hinnom Book multiplies elusive eye engine empty skull fathom phantom fold ghost clothes clockwork coffinworm (Dewey Redman told me once that he was looking at a piece of Ornette’s music and he thought he heard some changes in there. He asked Ornette what the structure was and Ornette responded by putting a chord symbol on every eight note. He made sure never to ask Ornette that question again.) Book multiplies ben body brush brash some changes in there Book multiplies a chord symbol on every eight note Book multiplies he asked Ornette’s music and thought he was looking a chord some changes Book multiplies looking a chord some changes

The Book multiplies the Book eye book book ben body brash book broad block hocket book (to learn reading my life in the Book of the Dead) (I walk to the library and I pick up the first book I see. It’s Ficciones by Jorge Luis Borges and I relive the Garden of Forking Paths as a melodic labyrinth sustained by different chords. The labyrinth as open as the Book and identical with the Book sprouts forked bodies. The library transforms as a tensor tuned to the labyrinth. Garden of Forking Paths vibrate in big harmony and my body shakes crowds of tuning forks. Library tensors strike my body and my body contorts into leaves of labyrinth, human and not human.) Book multiplies my body labyrinth inside my eye labyrinth

My elusive eye engine impacts compact word body bottle body (DIANA To give flesh peddlers her body was just one more publicity gimmick) I give my body to the book: I give my body bottle blister sister body sister fire Pupil punch fire pierce passenger pigeon pupil oval slime snow eye

Look at this dweeb, says Asia. Do they usually look like that? I say. Yes. It’s a male small mayfly. That’s amazing, I say. I was worried he had a fungus parasite as a hat. Those small nuclear tractors are eyes used to spot females in flight, says Asia. Imagine, a second pair of eyes used only for looking at women. Built in binoculars for peeping, says Asia. Male dream, I guess, I say.

Book multiplies eye eye iron spot female in flight Book multiples small a pair women small only flight to spot for peeping Second for binoculars eye nuclear elusive eye engine In looking those pupil punch

Alchemical work in the form of an eye jumps impossible I-bar bell column cabin creation (I walk into the supermarket and my second pair of eyes looks at the cereal aisle and spots a rebranding of cinnamon toast crunch. My first pair of eyes magnifies my second pair of eyes and the cinnamon toast crunch conceals the Book cipher. The Binocular Book competes with the Book Telescope, and both sprout eyes and eyes and eyes.) Alchemical work eyes erotic and eros multiplied eros earth Book

The Book multiplies the Book and the Book bodies eye labyrinth Subversion is the very movement of writing: the verb views death with compound eyes (I demand a strange death, the cosmological constant eye. I demand death and death moves towards death multiple eyes imprinted on Book. I demand death and dark Book death and death drives my body into the library. I demand a strange death divided into Book and Book and Book sprouts Book eye labyrinth and eye mercury.) The Book multiplies the Book and I’m always elsewhere and I’m always where and not here but elsewhere

The Book multiplies the Book and I’ve never been here but always elsewhere I else elsewhere library and labyrinth and what word when her else (I else elsewhere supermarket and cereal her else: for Elsie fur elise and letters to Elise cinnamon) I’ve never been here but always elsewhere here lost in the supermarket: elsewhere when multiplies Book and Book labyrinth)

The Book multiplies the Book and I pray from the Book to the Book through the Book peeping underneath

The Book multiplies the Book library and library and labyrinth and binocular eyes library

Adam Dense Sound Complexes

When Adam was driven from Paradise

Adam away array ascension Adam away array ascension visions of amen Visions of amen move meander moment in moment figure with meat: Visions of Amen amass moment meander ben adam (Adam away awry ben adam) Adam when away array visions of amen

When Adam away array adam, Adam moment map moment ascension amen Visions of Amen mer moment form adam: adam again moment map moment visions of amen (The central idea not to produce a network of interwoven independent melodic lines but dense sound complexes) When Adam was driven is not to produce a network of interwoven independent lines, but dense sound complexes Not to produce a network of interwoven independent melodic lines, but dense sound complexes to produce a network of interwoven but dense sound complexes

When Adam was driven Adam, I away ascension visions of amen I away array amen formless shadows figures fire further (Taryn fills my side amen. Taryn fills my side fiery amen and shadowy amen. Taryn fills my side serpent bone bondage fire. Taryn fills my side scroll of the snake sow adam amen.) I sow amen when Adam away adam, I sow amen

I sow amen I sow amen formless fire and shadow fire (form fire formless furthers shadows) I sow amen son of man (son of man angels and archangels again ascension) I sow to produce a network of man Adam amen ascension The central is not to produce a network of interwoven independent melodies not to produce a network of Man Adam amen ascension Of man Adam amen ascension the central idea

I sow amen I sow amen secret fire and sacred fire I sow amen fire fume body flow window filled side stain rain Sow amen rain reach body asia along rivers riddle rabbits side sadist sphinx

I found a new ADHD cleaning hack, says Asia. So you start with picking things off the floor and putting it away, the next step (I don’t really do this part) is to pick a corner and work around the room decluttering and wiping off surfaces, then you wipe down walls, windows, door frames, baseboards and such if you need to, then you sweep, mop, vacuum the floors as needed. The most important part, if you find an item that goes in another room, YOU DON’T BRING IT TO THAT ROOM. You instead put it outside the room you are working on so that you minimize side quests, she says. Yeah that makes sense, I say. So you don’t get distracted and stay focused. I admit I'm very haphazard when it comes to cleaning because I will move items and get sidetracked, I say.

I sow amen and Taryn fills my serpent bone bondage fire I sow that goes in another room minimize side the floors as you need I sow minimize side the floor and need to the floor Amen sow amen if you need to then you stay focused the most important

Sow amen so you drunk with picking things off the floor and putting it axe amen, the want step (I gods course do this wall) is to pick a corner and work awaits

I sow amen son of man and amen work around the room decluttering and wiping off surfaces Archangels amen again visions of amen twelve principles of animation (I animate wiping down the walls, windows, door frames, base boards. I animate the sweep, mop, vacuum the floors as needed. Taryn fills my side side quest and side tracked and the train tracks on my spinal column clusters amen clusters.)

When Adam was driven from paradise, amen answers amen deep calling to deep and abyss calling to abyss Amen answering amen her mystery Christ has died Christ has risen Christ has come again Adam arrays ascension and I pray for a palpable ascension I pray an ascension pulse and impulse play visions of amen (This superimposition produces rapidly moving sound fields whose rhythmic differentiation is provided as a rule by the rhythm rather than coming from within. When seven independent melodic-rhythm lines coincide, the relationship between them lose clarity, fusing into a field of sound enlivened by irregular accentuations.) I pray an ascension pulse and impulse play visions of amen

When Adam was driven from paradise, Adam when pulse and impulse amen Pulse and impulse amen than coming sound-fields whose rhythmic lines set against another than coming sound Another than coming sound enlivened by irregular accentuation provided as a rule by irregular accentuation provides rapidly moving into a field (When away, my bowels open empty into ghosts and onto ghosts. My bone bowel cuts a skull cup from my own bone and bone clatters sound-fields. My bone empties irregular accentuations.) My bone bowel cup skull open center and I center in light and as light births light, and from light an age comes out An age comes out a great age The great age reveals to me the Book of Questions: the Book of Questions I write and the Book of Questions I have yet to write and I continue to write with the light and write the dark I write with the light and with the dark / dark light mixed intermixed remixed light dark

When Adam was driven from paradise I drive driven I drive death desert driven Death in desert derives Death desert dermis and epidermis solar eclipse driven isosceles (My antennae skin feelers frenzy death desert isosceles and I dream desert triangles) My antennae feels anthems of death of the author anarchic antlers (Book reaches for Book and Name reaches for Name. Book reaches for Book rhythm and row rough rhythm for Book and Name. Name annihilates Name novena nested tuplets prayer. I pray from the book to the book through the book.) When Adam was driven from paradise, I dream desert and desert and desert driven (I always see my skull growing various appendages and apparitions: antlers, horns, antennae, tumors… The additional assemblages and appendages sweeps the winds wings winged desert.)

When Adam was driven from paradise, I dream slim ben crib death: desert crib sand catacombs I slide slim death toward, death a movement of discontinuous displacement that never permitted a new harmony I dream slim amen and ascension and my empty skull ascends Book amen and visions of amen (a new type of group improvisation emerges in which melodic-motivic evolution gives way to the moulding of a total sound… the macro-structures of a total sound are more important then the micro-structure of the parts.) I dream slim slide amen and amen the total sound are more important than the more important than the more important moulding of the total sound I dream skull adam away driven a total sound more improvisation emerges in which melodic-motivic evolution emerges in which melodic-motivic a total sound more important than

I was feeding my ravenous child, says Asia. Now she’s pulling clothes out of the dryer onto the floor. She put them back in. Now she’s pulling them out again. She loves taking things out of things and putting things into things. She also likes to group things together. She once took a french fry out of my hand and put it back with the other fries. She’s a goofy kid. She gets really excited when I come home from work. One time I came home and she squeals, turns around, then started hurriedly crawling backwards towards me, she says.

I pull the Book from the Book and I put the Book back into the Book I take the Book out of the Book and putting the Book into the Book I group the Book together with the Book When Adam was driven from paradise, Book drives the Book into the Book with the Book Book taking clothes out of them out again Book also likes taking the floor she also likes to group things out again Book she loves to group things

When Adam was driven from Paradise and when she’d pulling shallow out of the break away only the creed When Adam array she put them back as now she’d pulling them out a peak Adam when array amen and she tapirs basing cranny out of the cranny and I car cranny into cranny She groups together Book cranny amen

When. When array when Adam when. When I pray from the book to the Book through the Book – this When Adam language and I listen language this When. The subversion is the very moment of writing: the very movement of death. When I arrange, I group the Book together with the Book and the Book multiplies the book. The Book multiples the book and I’ve never been here but always elsewhere.

When Adam was driven from Paradise Driven driving array subverts the very movement of writing: driven driving amen and amen the movement of death

When Adam was driven from Paradise, he wrote the Book