I feign a flat writing     I feign star flat flesh stalactite or slaughterhouse happenings     (I happen across a haunted slaughterhouse and animal spirits howl beach performances) (I host a haunted beach slaughtered animals)

I feign a flat writing embedded in a flat flesh / I cook writing earth core cauldron

I feign a flat writing photograph and a flat writing canvas     I place flares with monochromatic canvases / cook canvas stations of the cross     I flirt flat and my flesh first flirts before my dark dual (I duel a dark desert and a dark body / I duel dark horses and the sea of reeds harbors seahorses)

I feign a flat written photography and an abstract flat slow shutter speed blur     Ben body blurs flat and sometimes flirts the experiment and other times, experiments happen     Experiments happen horse myth match reflections (my body reflects elephants and horses in the waters)

I narrate experiments and although I often narrate too comfortably and too much within my style without betrayal, I want to experiment endless and explore every combination and permutation of that experiment.  The exploration and repetitions research the experiment and performs the experiment.  Philip Glass said in an interview (paraphrased): The difficult thing is not finding your style but getting rid of your style… This feels true: I want to write in a way that always reveals Ben Adam and Ben Hinnom but also makes those revelations surprising: creative and intuitive surprises, and inventive-revolutionary surprises.  I think of John Coltrane or Igor Stravinsky as artists who continued to search and experiment while still expressing the depths of their being without compromise.  I feign flat but the faults fuck and jolt earth orgasms / landscapes ejaculate shrapnel cities.

I feign flat but I continue an anarchic polyrhythmic approximation…   … I feign flat freight fright night vampires and I continue a confused undead vision…     … Flat and fleet flat float something else or any my flesh enmeshed…

I flat flat language flat broad and flat far sprawl and flat flat language

(I like your interesting take on things, like religion and writing, says Asia.  I value your opinion in those areas and you encourage me to keep exploring those areas.  You take it seriously too if that makes sense, she says.) (You’re the reason I got into tarot, says Asia.  You made me feel comfortable with exploring a boundaryless spirituality.  Your writing is incredibly unique and you try to break down barriers with it.  You prophesy to the people left in the liminal spaces, she says.)

I tow flat tarot and I hermit hermetic flat rat-a-tat     I tow flat gatling god grammar and all my grammars gun girl god girls girth     (Spirit spills tape loop light magnets ben hinnom africa bras / half an hour in E)

I feign flat yet rhizomic relationships with Asia Among Rivers: her rivers rope deep water wading water words     Asia flattens my languages in the long body material anarchic     Asia Between the Book beguiles book flat freight flesh: faster flat

I feign flat     First flat I spill fire: I speak wildfire word     Word wide wide works works wide waters: Asia acts flat rivers     Flat word wide wide works wide water birds

Asia and Ben create flat, which means we create with without hierarchy: we create with with word waters our anarchic friendships     Asia and Ben friend flat rivers and fire / fire oceans Asia + Ben bereshit abyss

In nature nothing has movement backwards

I feign flat in nature nothing has movement backwards     Nearby I bray nature beach backwards     Between I weave bipedal human not earth migrate horizon     (I weave earth experiments: experiments continually migrate and nomad machine meiosis)

I narrate a flat nature and it narrates multidirectional.  Nature navigates flat multidirectional molars mash wheat word retrograde.  Nature navigates nonretrogradable rhythms and I myth ragtime palindromes.  Myth as structures steadies structure as myth.  I narrate myth flat multidirectional desert migrate flat compass myth.  Myth molts flat symmetry sap asymmetry.  I conduct the myth and narrative through an intentional asymmetry.

In nature nothing has movement backwards     In nature I flash flat in nature nothing and I move flat my body beach backwards     Nearby I bray nature beach backwards / backwards body without organs ostinato nearby rhythms     (I hue hew hue a natural text nearby bold body without organs) (I hue hermetic ostinato repeated narratives / noxious myths and myth apocalyptic)

In nature nothing has movement backwards but I migrate flat multidirectional     I migrate multidirectional flat myth and retrograde     I weird nature network     Nature network weird weld nature hatch backwards     Network neurons enervate erratic earth earth nothing compound eye nihilism     I massage flat multidirectional insects beat peck pike iron

I feign flat and I subject the human face to my grotesque tortures that deform it and make it rickety     My face flat finds fugitive fire and Taryn torture tickles skull stone stirrer     I float Book bloat beetle boehme bondage     Flat deserts deform my skull and my elongated forehead descends into the dune     My flat forehead folds paper forceps surgical skin lap / laparoscopic she lights the lights

Her lights flood my face in mysticism and apophatic theopoetics / her lights direct a multidirectional theophany.  Her lights flash flood my fiery face and my face fat serpentfall hermetic halls.  I illuminate the hermetic halls and the alchemical laboratory with her supernal lights.  Her supernal lights light the lights serpent and seraph / supernatural serpent burning.  (I feel the desperate need to revive anew for myself a mysticism, a heterodox Christianity, an occult and esoteric that prophesies KRYSXTRYN + Asia Rhizome. I want to dive into the Bible and Nag Hammadi and Pistis Sophia and the Zohar and the Corpus Hermeticum all over again, and I feel overwhelmed at how much work I need to do.  Nevertheless, the work must be worked daily, the cross that I pick up and I follow her daily, until the hour I die.  I will revive and engage in these esotericisms slowly and haphazardly and irregularly.  I engage with my ben hinnom occult-gnostic-mystic thing – or more accurately, the secret gospel of Ben Hinnom + KRYSXTRYN + Asia Among Ant Colonies.)

I feign flat skull surfaces and my body surface butts brutal body burst partial bodies / partial bodies bloody the profusion of stomachs, larynxes, and brains

In nature nothing woman wears her word beach insects / beetle backwards

There’s a fiery apocalypse within me and I sense there is a great transformation about to arrive.  In Jewish mythology, it is said that the Messiah will only come in a generation that is entirely good or entirely evil.  I fear sometimes the latter.  Some Sabbatean sects actually said, OK, let’s be evil, and developed a theology of “redemption through sin” – which usually meant orgies.  I can handle orgies though.  I want to summon the Messiah – the Messiah is a Woman – through writing and art.  Only a woman can save us now.  A weeping woman perhaps.  Christ will return as a Woman and Christians will try to crucify her again.

I feign flat and first flat, I spill fire     I speak mystical speech backwards fires     Backwards fires beach word wide bodies and in my nature, I prophesy and I write     I write to prophesy and I prophesy to write nearby I body nature beach backwards     I figure flat figure with meat and I cave an effigy of the female messiah from this side of flesh flank     I fish flank Christ crucifies between criminals dead / dead detour catacomb Christianity     I fray flat between Christianity (between between bewilder / flower repetition)…

Book flat frustrates with equally flat fragments.  I gather the fragments but I don’t know how to organize them or present them… Perhaps I should consult the I Ching and then arrange the results in a PowerPoint presentation.  Flat fragments hammers Ben Hinnom flat and I fight flat lines of flight but fragments fog and obscure my seeing and seeing.  

Today, I found out that my first word was “kee” while pointing at a cat, says Asia.  I also found out that if I was a boy they were going to name me Christopher Cayman, she says.

I name this fragment Christopher and this Christopher creoles Taryn’s Saint Christopher and Philip  K. Dick’s son of vision Christopher and the imaginary male Asia Christopher: each Christopher crop-dusts aleph and alphabet fragments     I make this fragment flat name and flat narrative and the multidirectional net opens nuclear the female messianic

In nature nothing woman wears her word beach insects / body without organs beetle backwards    I gesture nature obscene jaguars / I join my nature in the nature of prostitutes

I dream flat use scream model on being an angel / I scream flat dream robins sudden first she     She dreams now necromancy bow flat emergence

I feign flat hummingbird birds     Flat bird     Bird bird     Bird bird weird shutter sheer fleet feature flat     Bird bard shard shore whorl word flat bird     Bird sword share swear shore more flat birds / heterogeneous birds     Bird bind red wed weird watercolour flat wash bird

I feign flat bird bird red wed when wire dire wolf women (these messianic women commune wire word wyrd scripture, the flurry of birds)     Bird bird flat bible body bounty cardinal curlicue cornucopia     I turn birds on and off flat Christina ghost

Christina ghosts permeate a flat pigment and flat canvas.  Christina spirits sprawl flat body suspension bridge slight blue and bright blue.  I still choose her ghost to awl a hand book horror.  I choose a ghost Nag Hammadi Codex and Christina ghost couples ghost to codex and copula Christina to codex.  Christina ghost cornucopia inhabits Book copula bird comma (Christina improvises on bone flute passenger pigeon pythagorean comma).  Christina ghosts permute gospel and gnosis flat tree of life / tree of knowledge.  Christian knits Tree of Knowledge of Good and Evil with the marriage of heaven and hell.  Christina appears in omens the flat flock of many birds / birds mixed multitudes.

Christina exists in every religious manuscript and she scribes flat birds     Christina writes and rewrites flat birds birds apocalypse / an esoteric yet material body     Christina fragments flail skull body

Her flat fragments mediate medications its invocation goldo only dorba: I drink undressed desert     I drink her flat fragments diagonal undressed desert stressed mess meg megaton bomb (I draw her letters as the day draws its images and blows them over and does not return)

I feign flat / draw a map to get lost     I flirt flat lost she lights the lights     Horse flat I letter to the letters: letters continually vibrate     My vision vibrates flat region of intensities mass electricities     First flat vibrates visions and letters her lights compound eyes entire Book

Christina vibrates through my letters which do not say as my letters but her letters (Absent Christina still transmits the vibrating message through letters) (Her message: prophesy to survive.  Prophesy Kindred.  Prophesy KRYSXTRYN + Asia Rhizome) (I feel as an assemblage of flat fragments and I do not know how to collect myself into something whole and coherent) (You made me feel comfortable with exploring a boundaryless spirituality, says Asia.  Your writing is incredibly unique and you try to break down barriers with it.  You prophesy to people left in the liminal spaces, says Asia.) (In these flat fragments, even isolated and as individual aphorisms, still prophesy: they prophesy the messianic women and the creative anarchic anarchic anew / resurrection and revival)

I write a flat Book: Book draws a map to get lost in     Book plateaus maps where abouts blastophere her dream spread     … Book plateaus passenger pigeon pythagorean commas…     … Book plateaus passenger virus flat contagion…     … An aperiodic Book cycles passenger to passenger roller coaster cars….     … I write a Flat Book and Christina still keeps the sabbath seraphs…

I wrestle Book and the structure of the Book as Jacob wrestles the angel of YHVH

I wrestle Book rhizome radical rhizome and in wrangles away inland empire serpents     I wrestle Book structureless structure and religionless religion: I don’t know how to structure this prophecy and make this prophetic endeavor cohere / coherent / a totality     I still find it necessary to prophesy: write and prophesy even a messy and ugly prophecy     Even an ugly and contradictory / fragmentary prophecy pierces through the plenum and pleroma and provides an gnosis and anamnesis…

I feign flat     First flat I spill fire and fires finger fierce wildfire word     I feign flat word

Book plateaus mad maps and mapped myths     Book plays myth plateau where dream spread draw raw rhizome     Book draw dream Christina ghosts and the map says we’re fucked     I dream Christina draw then quillion to connect after insect runaway     Christina so connects after insect rather: hover Asia Among River Waters     Asia with rivers hover insect rather riddle bodies     Insects impact body flat open unopen insect terrain   (insect terrain erupts chaos and erodes flat top hat surfaces)   Insects oscillate bodies bubble stone brink lemur link lamp ladder

I feign flat     I feign forest flat / silence in the library forest of the dead

I feign flat fragments

Birds bring blues     Birds bring blues hues automobile hubcaps     Hub caps pretend play flying saucers or apple pie tins

Birds bring blues body without organs     Birds bring bandsaw sprawl: blues brawl sprawl salt bird choreographies     I choreograph champagne birds: their carbonation brawls bald blues

Birds blast blues     Birds blast blues bird action     I act little boy blue blow your horn birds     Birds act cool jazz choreography and anarchic birds blast blues flat    (I flatten bird blues     I flat blue bird band shard flat shell)

I bring birds with birds.  I bring this bird – what bird? – this bird.  This bird babels blues.  I bring this blue bird and it calls a twelve-bar blue, and an alice doesn’t live in this apartment anymore blues.  I bring bird with birds and each bird – which bird – these birds babel blues.  Birds call blue god bless the child and bend choirs chorus children of men.  I bring birds to blue primeval forest.  I find forests and further forests bride birds.  Birds bride ben adam gnostic bridal chambers.  I bring birds with birds bridal chamber.

Birds act bandsaw sprawl: bird sprawl salt bird choreographies     Birds choreograph bird activity bandsaw activated charcoal catalack     I catwalk charcoal birds and birds babel cat-o-nine tails gory cool jazz     Bird cool jazz tells choreography’s story: birth of the cool backyard brawl     (a backyard brawl lashes Yahweh yardbird)

I begin brawl in monsters / experiment drift paired punches     I pair pare punches pixie Taryn Trickster

Remember this is a comic film and the birds chatter magical innovations     Birds chatter comic stations of the cross and cross collects signs and sigils: icons ink icons occult gospels

Remember this is a comic film and a comic gospel     I construct metalworking and a volcano gospel     I construct a Yahweh Serpent and Serpent Twin Tree of Knowledge of Good and Evil

I construct a comic film from splinters of the true cross / I keep sabbath a nude crucifixion     I meet the minimum quota of four nude scenes per hour

I bring bird with birds and bodies with bodies     I bring ben body near nude book breasts     Birds bandsaw book breasts and my body drones stratocone     Bird ben hinnom drone stratocone bird conic section

Birds and comic crows beguile a droning apocalypse     Book drones bird breasts and bird books / gore body jigsaw bandsaw

Ben hinnom drone stratocone     Ben hinnom drone body splattercone     Ben Adam drone body bash zippo cinder cone     Birds ben drone bone shield slow bone solid / cross Christina caldera

I bring birds with birds.  Birds herd human flesh flocks into the fields.  Birds herd human forests and I first bird forests.  I bring forests to birds and I bring birds to forests.  I bring birds and I bring birds.  I bring birds drone forest volcanoes.

Birds drone bone shield slow bone solid / cross Christina cauldron     Christina collects bird fathers and opens my camera as a human skull     She clatters across my skull a polaroid camera and splashes its spill cauldron birds     Christina cauldron birds burr cats Christina pauline ponytail     (Christina’s ponytail hockey puck punches purgatory into my skull) (A neoplatonic Christina prods bone purgatory gold-plate bone)

Birds bring ben bodies and Christina bodies and Christina plays boat piccolo

I pilot a multiplicity to text and texts, and I identify with the Magician and Juggler: I juggle the secret sign and syntax within text.  Asia encourages a certain kind of poetic doubling: she pairs a lucid text with the obscure text, and I expand and extend the texts in different repetitions in the same differences.  Asia explains the Book in multiplicities and pairings, Magician and Juggler.

I pitch high piccolo bone pitches in multiplicity multidirectional.  I talk to Ann Marie on the phone and explain Asia's influence on the Book:  Write the same text twice.  Write the text and tell the text again in another way to expand and reinforce themes and to give the readers stepping stones, to navigate through the magmatic flow of fragment-constellations.  Asia suggests different types of stylistic narratives and metacommentaries and ways of writing the same text differently and repeating the same themes with new inventions.  Asia hasn’t specifically expressed it this way – I will ask her what she thinks – to these difference-repetitions and peculiar polystylisms invite the reader for a second chance at understanding and to give the reader a map to assist (a map and not a tracing).

I bring birds to the boat / Christina a bird’s piccolo pivot pitch pivot chord     Christina plays piccolo bird chorus / bird chord cluster clustered body sisters    (Christina, you are an enclosed garden my sister my bride, an enclosed garden, a fountain sealed)     Christina plays cluster chords, cloud of unknowing / Christina cloud of forgetting chimes cloud chamber bowls

Christina in cloud corners and cloud pink out the corner crowns birds     Christina inserts letters, poems, drama scenes, visions and drawings / she freely admits to using plagiarism in her work     (I plagiarize Christina’s wedding ring or a faerie courting the Marriage of Heaven and Hell) (I plagiarize texts and snap their air god juggler     I juggle plagiarism and appropriation previously-hidden heretic gospels) (I juggle text clouds lighting bird magics)

I bring birds to birds and I plagiarize bone text tall purgatory     I plagiarize panic attack picnic at hanging rock     I plagiarize cool cat cool jazz gatling jazz jab     I jab jane says sister ray futurism

(I find an older conversation I had with Asia about my writing, but it still remains insightful     The conversation dates to 04/29/2021 10:17 AM)  Sometimes I feel like I should give up on my writing and that it’s very bad, I say.  What makes you think that your writing is bad? says Asia.  Like is it wordplay for the sake of wordplay only, sometimes writing without mystical significance, I say.  I give an example.  I was writing through the Gospel of Thomas, and Thomas says, If I tell you the secret sayings Jesus told me, you’ll pick up these rocks and stone me, and the rocks will breathe fire and destroy you.  I was focusing on the phrase “pick up rocks” and was writing like pick pink pac-man pursuing murder and mortal kombat… weird shit.  And it’s like, what does this mean?  Is this just bad? I say.  You talk like your writing is made out of stone, says Asia.  Your writing is a living thing, she says.  What do you mean by a living thing? I say.  It’s growing and changing, she says.  Yeah… but is it changing into something bad?  What is bad writing? says Asia.  Bad writing is the writing that is not beautiful or meaningful.  What makes writing meaningful? she says.  For my writing, if it’s from the divine.  Maybe this nonsense is not from the divine.  How do you know it’s divine? she says.  I don’t know.  That makes my whole writing endeavor useless I think because I don’t know.  Here’s the secret, says Asia.  The power of your writing lies in the hands of those who perceive it, how they interpret it.  It is everything while it is in their hands.  All you can do is be authentic.  The problem is that you are having an identity crisis, says Asia.  I don’t know who I am maybe, I say.  You can’t define yourself with your writing, she says.  Your writing acts as a mirror.  Your writing isn’t divine.  You are divine.  Your writing only reflects you.  Others will read your writing and connect to something human.  For a moment that space in their head won’t be lonely.  That’s what makes it divine – that human connection, she says.

I bring birds to birds biblical doublets: doubled desert had repeated desert dimes human divine (double nickels on the dime post-hardcore divine)     I dig deep deep dig desert doublets and I speak two divine narratives the same narrative: her name my name differences

I bring birds to birds ben hinnom divine

I bring birds to birds broad desert dresser drawers     I bring bright birds dresser drawer and her birds whips desert shoot from the hip divine     Birds bear burden of babylon as Teo Macero invades my membranes     Teo Macero mockingbird invades my membranes and I sculpt from hours of rough jams language music long melody     I jam rough hourglass god melody galaxy

Birds melodies meander additional melodies and oxbow     Oxbow birds book or water passion narratives, and a certain one of those standing by, having drawn the sword, struck the servant of the chief priest and took off his ear

Oxbow birds ball witch of blackbird pond     Oxbow birds remember this is a comic film and they bash skulls with camera feces     oxbow birds bring blues / lady of the lake larks lariat blues     I lariat blues darkness the night cold was the ground     Grow bows jujitsu black belt blows dark was the night cold was the ground