I Work Her Letters To Break Up The Space Differently

The matrix of all earthly phenomena unfolds as a network of coordinates and fractions and multiples

Matrix machines figure with meat: matrix distills a philosophical mercury and pours the quicksilver over my queer body.  Ben bodies bathe in mercury matrix body without organs.  Matrix machines body archive and archival bodies pulse angles and angle grinder gods.  Archival bodies grind the molten matrix of libraries.  Archive bodies pulse angels and anglers gut grindcore distortions.  I meet matrix figure with meat and I bisect my body into two books and two hooks, and the books hocket matrix bodies.  Matrix nests and itself becomes its desert distilled mercury and I drink the mercurial desert matrix as radioactive quackery, and my jaw develops pockets of pus.

Matrix as earth hangs car and disturbing crucifixions     I compose crucifixion in bone matrix and bone bath     Earth matrix unfolds melodic actions and acts harmony unearth earth     Matrix earth riots night train and space field: my field body unfolds blade fuller     My field body unfolds fresh meat and the flesh meat recalls the lavish arrangements of fruits, meats, and confections of 17th century vanitas paintings

My body unfolds blade fuller full the bisects halves of a cow

Taryn ten ten Taryn tomorrow train terminal     Taryn long tone terminal divines the chord pantonal (Ellen Fullman’s Long String Instrument tunes tenor tabletop games in just intonation     I rub strings with rosined hands and produce longitudinal vibrations: vibrating map slipping vibrating map)

Taryn ten ten fingers fuller space field floating point tonalities     Taryn ten new tonalities: Taryn ten tune ton ten tonalities in deserts     Her matrix mixes tonalities Taryn sonata or sonatine

I listen to longer vibrational musics and I listen the longer longitudinal musics: these musics tine Taryn trine copper mine emerges Taryn matrix minerals     Her musics mer matrix mar car call chaconne matrix musics     I listen to a mercury music and a matrix music and I repeat the music fragments late Morton Feldman

I listen to an industrial music and a suburb hubcap haunted house ambiance     I imitate melody mode ten dream industry     I mean or mode imitative melody and I dream imitation imitative melody and I dream imitation initiation industries     I idle industry imitation big bomb blonde Edmond Honda thousand slaps     In immediate industry I get up and eat excessively     I eat excess earth industry and I dream matrix     Matrix meter maximum city of industry

The verb of the matrix myth Taryn music     Three verbs in my mouth between my teeth teeter industry     Verb herd earth matrix night train Taryn     Verbs bus Taryn music rubber  neon  lead  looser lights liminal / I draw her dreams on water     I draw Taryn water drift vision melted verb paper sculpture   Taryn paper music

Matrix musics match hack matrix figure with meat     Meat blurs ben body borrowed bodies deformed     Matrix deforms blue desert glassbox torture chamber     Matrix strata strews stone Taryn sonata and sonatine     I repeat matrix sonata-allegro act tonalities repeat tonal matrix

Repeat verb matrix tone clusters     

Repeat cluster body matrix meat body without organs / I repeat the verb verb and I repeat the matrix matrix.  I experiment the verb s vision wormhole or tipler cylinder.  I repeat the rotating infinite cylinder and I traverse the center cylinder matrix sonatas.  I repeat the verb verb narrative music and music myth.  The music narrative repeats matrix: music narrative repeats figure with meat.  Matrix repetition match rhizome matrix and I make matrix into multiple verbs.

Verb forest architecture form forest     Verb first forest matrix architecture form forest     Verb first forge forest matrix architecture matrix fire form forest

Verb revives Book forest fierce matrix architecture     Verb revives Book of leaves of grass stalk verb matrices myth narratives     I narrate verb forest forum irregular architecture irregular conjugates     Forest verb narrates form forms float formless armageddon / architecture matrix manipulates apocalypse     Verb forest flowers Taryn blade fuller serpent apocalypse

Multiple matrices act multiple matrices     Multiple matrices meat Taryn ten fingers new ten tonalities     Pantonal Taryn coordiantes twelve-tone row Taryn matrix     Taryn scratches matrix tonalities     I tune hues Taryn tonality of the deserts

I look a certain slant of light and her light torches multiple matrix narrative.  I look for the narrative she lights the lights but also her speech which spills sonata spirit.  I admit a difficulty trying to integrate anarchic fragment-constellations, myth narrative, and the conversations I have with Asia, Taryn, Krystal and Ghost Christina.  I either imagine myself as Igor Stravinsky’s Symphonies for Wind Instruments and I juxtapose anarchic fragments against narrative, no transition.  Similarly, I work like that great juxtapose Olivier Messiaen.  At other times, I desire control and complete syntactical and semantic integration of my developing variations like Pierre Boulez’s Le Marta sans maitre: all transition, all development, even if it’s a mystery to everyone but the composer.  The fragment floats in my brain like ant antennae and I feel my way through the earth in the sentence fragment.  I’m a brutish monolingual: I’m only a polyglot in the Finnegans Wake sense, thunderwords in a dream.

James Turrell, Dividing the Light.  2007.  Dividing the Light gathers visitors in benches beneath a canopy that frames a window to the sky.  At dusk and dawn a lighting program bathes the canopy in changing colors, from goldenrod to turquoise, altering the viewer’s perception of the sky.  One moment it’s a dreamy lavender, another it’s a ominous table of black.  A shallow pool center beneath the opening to the sky mirrors the daytime sky and reflects a dark echo f the night sky… That sounds really cool, says Asia.  It goes to show you can never exhaust art, I say.  There's always more mediums, more ways to explore.  Art is never dead, I say.  Stuff like that shouldn’t just be in art museums, says Asia.  It should be in bus stops and libraries and schools.  Soup kitchens.  Public parks.  We should be enriching our public spaces and not putting art behind a paywall, she says.  Yes, you are 100 percent right, I say.  Art is life and life is art.  It’s human and we need to make art as community.  Not think of ourselves as not artists.  This is what I’m talking about when I say I am doing creative anarchy: this communal art aspect, this community art aspect, where it’s available for everyone to participate in, observe, and enjoy, I say.  I hate so many public structures are ugly, says Asia.  Like schools.  Not just ugly: they feel and look like prison.  The prison feel is on purpose, I say.  Same with why military barracks look like that.  It’s to train bodies and discipline them.  I agree, says Asia.  Art invites questions, I say.  Art invites independent participation.  It’s contrary to the prison-school, I say.  So we change our physical structures while also shifting the non-physical ones, says Asia.

Desert matrix detours Taryn figure with meat desert midnight meat train     Matrix as desert multiples paints matte meat Taryn tomorrow train terminal     Taryn as a flock of arctic terns migrates over the matrix and it teems undifferentiated nude Taryn bodies     Taryn teems bodies matrix bodies verb and she possesses the verb language

The visible world with its teeming creatures, is none other than the word transpired: all things arise out of the combinations and rearrangements of the letters

I slice blood visible the matrix of the letters     I slice high hole whole blood teeming with platelets, plasma, and red blood cell pornographic bodies     I slice letters longitudinal tone clusters and crisp bacon clymenestra     Slit eye surreal myth marbled figure with meat

Letters light mystery     Letters light mystery first mystery and last mystery and the twenty-fourth mystery (twenty-four hours to go I want to be sedated)

Lepidopterous letters wing word and word membrane of mystery     Letters leap sermon: letters leak sermon lesser lights and greater lights     Letter lithograph simultaneous combinations combination station of the cross     Letters line low lavender greater lights sponge speed     Sponge speed light letters coral filament or air-conditioner filter     Letters roll verb using art objects / my ugly writing pulsed pimple pus from the bruised purple craters of my face

There’s a difference between boring ugly and interesting ugly, I say.  Schools and prisons and office spaces are ugly boring.  Interesting ugly is like those steel monstrosities by Richard Serra.  I don’t think they are pretty sculptures but they are interesting.  They break up the space differently.  School space is uniform space, boring space, unadorned space.  The right type of ugly can change the mind too.  Richard Serra in the 1960s and 1970s did a whole group of sculptures based on verbs. Verbs like “to prop” and “to splash” were made into sculptures. (Another pivotal moment for Serra occurred in 1969 when he was commissioned by the artist Jasper Johns to make a splash piece in John’s studio.  While Serra heated the plates to splash against the wall, he took one of the large plates and set it in the corner where it stood on its own.  Serra’s break into space followed shortly after with the sculptures Strike: To Roberta and Rudy (1969-71).  Serra wedged an 8 by 24-foot plate of steel into a corner and divided the room into two equal spaces.  The work invited the viewer to walk around the sculpture, shifting the viewer's perception of the room as they walked.  Around that time Serra wrote Verb List (1967), a list of transitive verbs (e.g. cast, roll, tear, prop, etc) which he used as directions for his sculptures.  To Lift (1967) and Thirty-Five Feat of Lead Rolled Up (1968), Splash Piece (1968) and Casting (1969) were some of the action-based works with origins in the verb list.  Serra used lead in many of his constructs because of its adaptability.  Lead is malleable enough to be rolled, folded, ripped, and melted.)  I think the results are aesthetically ugly to me, but I find it invites me into the process: I am interested in the process and that process inspires me.  It inspires me to be OK making ugly things if it causes a change in perception.  I get really obsessed with making my writing BEAUTIFUL, not realizing it sometimes traps me in the limitations of my own making, I say.  Kids love ugly art, says Asia, so I think it could work for schools, especially if it was done in a fun absurd way, she says.  I need to change my perceptions on ugly, I say.  I’m too concerned with consonance in my writing but enough dissonance.

Verb resolves verb and I perform verb violent action     I act verb and Teo Macero invades my membrane     I act Teo Macero machine verb matrix and I sculpt text from hours of rough jams long language     I listen verb long language duplex longa verb desert     Verb body desert bolt salt soda pop language / pop soap bake body verb     Versions viscous vellum invade membranes brawl palimpsest

Verb letters resolve verb letters her desert door hinge

I glue verb to verb and I stack the verbs verbum and logos.  I glue slut logos verb verbum harlot and its sex plays mascara happening and lipstick shamanism.  The animist verb valley spirits letters and cicada animation accumulations.  I glue the verb collection into and onto the verb collection, and its archive usurps lepidopterous letters logos.  When me they fly I am the wings and I whirlwind new verbs and new combinations of previously verbs.  

Ben, be careful at your work for it is her work; if you leave out but one letter or write one letter too many, you destroy the world.

I careful my work and I create worlds and destroy worlds through letters: the sayings of the letters and the writings of the letters     I careful my work large letters and small letters legerdemain magick cursive slate serpents (successive utterance of the divine names produce the four worlds / Taryn Tetractys)

Repeat verb matrix tone clusters and cluster the letters    Her letters cluster her work at your work

I Have Visions Of Earth As A Verb

I prophesy benjamin son of man prophesies     Ben Hinnom and Ben Adam prophesies the multiplicity of prophets (The Book pours Her spirit on all flesh, and the sons and daughters prophesy     The magicians and seers dream dreams     The witches and sorcerers see visions)

I prophesy rhizome repetition and its desert difference assemblages new creation: new heaven and new earth assemblages

Verb revives the Book     Verb revives Book rhizome repetition reinscribes patriarchs and prophets     Book revival vibrates big verb and large window light: skylight kingdom of the skies     Verb revives Book ben adam body without organs

Verb revives me in the desert.  I live verb revives me and I nomad in desert tent revival and great awakening camp meeting.  I nomad big tent circus and I tightrope prophecy.  Prophecy seizes me verb in the desert.  Prophecy seizes me Kingdom of the Skies epilepsy.  Epilepsy evokes epiphany and a pornographic portent.  I see verb portent revivals in the sky kingdoms: blood and fire and columns of smoke, my body in intercourse with Taryn’s body desert dalliance and windhover.  The verb sun showers Taryn solar cum and her semen ingested heals wounds Tree of Life and Tree of Knowledge.  Verb revives and repeats prophecy: the repeated prophecy, which reveals new prophecy.  New prophecy performs there is a balm in gilead to heal the sin-sick soul.  The balm bells ben adam and ben hinnom.

Verb revives Book and I do not prophesy a theology or orthodoxy, but an anarchic art and anarchic action     I act anarchic antinomian apostles and animist field color paintings     I prophesy scripture verb and scripture myth-grammar narrative: this story transforms irreversibly with every repetition     I repeat rhizomic prophecy and a female anarchic prophecy

Verb revives Book and Book revives verb: Book-Verb repetition reveals dream and vision     Book revival repeats rhizome ribbons and ribbons vibrate big verb large window     Book big verb large window sneaks light: skirt light skyscraper kingdom of the skies

Verb vines Book developing variation verb bites fight vertical Book developing variation variations cut confront flesh vision desert     I prophesy this vertical desert big verb

Verb rounds scriptural desert     Verb wanders woman verb word into permeable time times half time: permeable this is where time becomes space     Verb space splits Book time the perpetual seafloor spreading

Verb inverted dome deer desert glade glass sponge glacier erratic     I err erratic tectonic plate Taryn     I error erratic tectonic Taryn landslide tetragrammaton (ben body verb raids erratic eros     immediate ice entrance)    Verb transports verb desert drop stones

The stone of the verb steeps alchemy into aleph     The verb of stone shadows snow mystery first mystery myth avalanche     Snow falls in Manhattan in slow diagonal fashion flesh alchemy and sundress mystery

Prophecy repeats alchemy into aleph three Marys with Jesus each name a Mary     Prophecy repeats immediate mystery fragments veiled and unveiled     Veil verb mystery of aleph mystery     Veil verb slides impregnate stone mystery of aleph mystery of alchemy     Verb veil studies scripture of stone: progress from openness to the number four and the ten emerges, the mother of all things

Taryn ten ten Taryn tan tetragrammaton      Taryn ten stone Taryn tree triceratops tendons     Taryn ten ton hammer crack death valley sailing stone and stone sticks giant weta woman tetragrammaton and tetractys     Taryn ten triangles is island theologies (the matrix of all earthly pheromone unfolds as a network of coordinates and fractions and multiples)

I keep on watching him until they stripped his wings and pulled up from the earth on two feet like a man (I was sharing with Doc your thoughts about me being a prophet or not and she thought you were sugar coating your answer.  She wants you to be super honest! I say.  What about my answer is sugar coating it? says Craig.  The Bible is literally a book of people being spoken to by God.  With the New Testament, we get Emmanuel, God With Us, and the priesthood of all believers.  2,000 years of Christian history has people being spoken to by God.  If you were claiming to have the sole truth, I’d be hesitant.  If you were getting something of this, I might hesitate a bit.  If your life was being affected by this in unusual and concerning ways, I’d be concerned… but it’s not, so I’m not, says Craig)

I keep on watching him until they stripped his wings and pulled up from the earth on two feet like a man (I contemplate my history and experiences with identifying as a prophet.  I honestly don't remember when I felt like a prophet or that I prophesied, but it probably closely coincided to when Christina and I started the double autobiography, or when I had my mystical-psychotic experience in college and had the Thrill In Manila experience and felt united with the none and nothing of the universe.  Despite not exactly remembering, I do know my perceptions of what it means to prophesy and what it means to be a prophet has shifted – a tectonic shift Taryn tetragrammaton – significantly.  Initially, my idea of prophecy would not be separated from the Christian god: this god contained the source of all prophecy.  Now I would describe the source of my prophecy from myself, but not only myself, but also the network and web of my relationships: the women in my life.)

I keep on watching him until they stripped his wings and pulled up from the earth on two feet like a man (I wanted to talk to you about my relationship with God and my writing, I say to Matthew, my friend and former spiritual director.  I consider my writing a gift from God, and I feel it inspired by the spirit, and in this sense, I feel my writing is of the tradition of prophecy and consider myself – not lightly – to be in the tradition of the prophets.  I struggle and wrestle with my prophethood just as I struggle and wrestle with God.  That’s why I felt it was important to tell you about it so I can get another perspective.  I struggle with the questions, am I really a prophet, is my writing really prophetic – or even visionary or mystical.  I feel ultimately my writing, my prophesying, is about the inclusive and radical love of the Godhead.  I still wonder how crazy that is, I say.  Wrestling with God has a long history beginning bibically with Jacob, says Matthew.  And anyone who realizes they are wrestling, with God, also finds that real wrestling inevitably has painful aspect – like Jacob’s hip being put out of joint – and so, I would simply say that one who wrestles with God and recognize that they are wounded in journeying along the “prophetic” way… Again, from a biblical perspective, all the prophets had “baggage” and “wounds” as most everyone does.  For me, one thing that differentiates the “prophets” from other “wounded ones” is the compulsion or urgency to explore and express the learnings and callings of this wrestling and its pain.  Benjamin, you do that all in prose and poetry and journal… And for those like me, who are gifts with opportunities in converse with you, in conversation!  I am grateful for your wrestling, says Matthew.)

I keep on watching him until they stripped his wings and pulled up from the earth on two feet like a man (I no longer wrestle god or gods but the rhizome writing and the writing rhizome.  I wrestle the god jacob jaguar and I kiss Taryn hyenas and jaguars.  I wrestle real and real rhizome the interzone.  I light my wounds as a wick and fires fleer flesh flush and I explore these experimental fires.  I explore frantic fires and wound words god experiments.  The fire opens my face Taryn’s face her jaguar jam orgasm)

I keep on watching him until they stripped his wings and pulled up from the earth on the two feet like a man     I have visions of the earth as verb: I dream earth in desert verbs     I drive desert verb drive and I could feel the act of becoming red     I live red verb Book of Blood Book of Sand

I prophesy all particles in the pile soon to really nounal states     I prophesy all particles particulars queer prophecies ass pile high pile      I prophesy her name three marys     I name noun gnosis exotic particles and I prophesy pentaquarks and I share colour and anticolour     I share blue and antiblue, a noun yellow

I have visions of exotic earth and erotic earth as verb (She had the body of a goddess.. but the soul of a witch out of the mists of time… From the darkest beyond the grave she came in the night on her mission of death   THE NAKED WITCH in eastman color)

I have visions of exotic earth and erotic earth, a pentaquark queer pornography     Verb vibrates particle accelerator bodies     Earth verb vines erotic tor bodies     Earth verb vines erotic many earth impossible (Verb pollinates earth visionary pornographies and avant-garde particle accelerator pornographies)

Verb revives Book rhizome vain     Verb razors woman wolverine Book: Asia among wolverines weird word anarchic animals

Wild verb makes a more visible earth     Verb wild hinds sinfonia honing steel holes in the earth     Verb word rhizome wild Asia Among dung beetles caravan desert

Verb revives book and I imitate dream industry     I dream imitation into industry and big bomb steel mills     In immediate industry I get up and eat flesh excessively     I eat excessive earth and exotic earth immediate human burials     I eat earth excessive body diary industry error interior body

In immediate industry, verbs incinerate in dreams I walk with you in dreams I talk with you     Immediate iron ore I mine desert gospel     Three ribs in my mouth between my teeth teeter industry: three verbs in my mouth between my teeth ten taryn her counterpoint ten

I immediately massacre machine metal: metal mystery     Immediately driven into desert verb violet mystery of alchemy: progress from openness and one, to the number four, and the ten emerges, the mother of all things     Immediately ten ten Taryn tar triceratops hops quark desert Taryn ten ten Taryn tetragrammaton desert gamma ray rough rhythm     Taryn ten ten taryn ragtime this teeth tetractys     Taryn teeth ten verb triangles island theologies (the matrix of all earthly phenomena unfolds as a network of coordinates and fractions and multiples)

I meander the matrix in tens.  I make matrix ten texts and ten nude photos of Taryn hidden in the industrial door corners.  The matrix means maze and the maze of the torture garden.  Matrix make ten bowling pins and I pin the Taryn ten butterfly in the shadowbox surface.  Matrix eaves matrices and its ten verbs film Taryn polaroid pentaquarks.  I grow the matrix as an ontological oddity and an ontological mystery, and it mimics the 1997 Canadian film Cube.  The Matrix Tetris murders and massacres, and the human bodies fertilize torture ganders dream industries, and particle accelerators.  The matrix, like Taryn, tunes ten tenor saxophones: a careless whisper ensemble.

To Prophesy Without God And Without Christina

My body rhythms     My body hemiolas let the rhythm hit em     Body rhythm round here hound languages body     Body my body oddity odd meter and odd rhythm my body pulled polymeter metric modulation / my body assorted developing variation     My body modulates mutant rhythm read-made rhizome (the male shaft penetrates the female and almost entirely emerging in order to re-enter) (The male mine shaft shifts manual transmission and performs automobile autofellatio)     Taryn sodomizes me and penetrates my body bulldozer rhythm / psalm palm prayer     Psalm palm prayer play palm tree garden and her tree of knowledge rhizome emerges and re-emerges my body missile entry     Taryn open entry emery incisor lunar her name summertime     Taryn sodomizes ben batarang rhizome rhythm and her sodomy stink holy spirit tongues of fire fuck flesh     Taryn fucks flesh fork flesh free jazz

Body blur rhythm different desert languages     Body different desert: to write wet vision of the verb     Write new vision of the verb to write new vision of the verb     Ben body rhythm write new verb PKD taken vertical orthogonal by the Spirit of Elijah     New verb noise hardcore punk and pornography (four living creatures leave the sea)

I wear noise noir nada and dada, and I rest face-first in noise.  I near noise neon fun from rear, and noise reinvents narrative.  Noise makes loch ness narrative and narrative none and nope, but nevertheless it continues to tell myth.  Myth now manufactures factory noise and noise factory and the factory flows her histories.  She snakes new noise.  I disrupt the deadly rhythm of the production line and bricoleur body rhythm: new verb and new noises.

New verbs noise hardcore punk and pornography and I invent and reinvent nude verb     I write and rewrite naked verb     Hardcore punk punch write verb rewrite / verb radio rewrite     Lab verb punk bottomless pit berkely pit acid   (Richard Serra’s Verb List compilation: actions to relate to oneself)     I move toward the verb more verbose and I view the verb action painting or gestural abstraction     Verb abstract action hits Son of man helios heat attack child of humanity

I just checked and there’s currently 21 volumes of the Book, I say.  What constitutes a volume? says Asia.  Between 100-300 pages in a word document, depending on how I feel at that time.  If I felt it came to an ending, I started a new volume.  It becomes unwieldy to edit word documents for me that go past 200 pages.  Dang, says Asia.  Yeah, people are going to say I was mentally ill.  They wouldn’t be entirely wrong, says Asia.  More people should write more though, even just journal entries, she says.

The verb of desert dance drop vertical body mine shaft rhythm     Desert body rhythm dimer flesh fibrin degradation product     Desert detail small protein fragment fragments hint machine verbs     Desert fragments fit verb flesh fractal frictions foam metamorphosis (a locomotive rolling on the surface     her name an image of a continuous metamorphosis) (her name imago continued fractions fit rolling steel three steles of seth)

The verb of a locomotive rolling roughens the rhythms into night noise.  The verb of the locomotive rolling ripens body rhythm riptide noise, and the train and Taryn turn terrain into terse noise, rolling surfaces of the narrative.  Book rolls surfaces narrated Book.  I narrate the Book train rain rhythm and rhythm chines the chorus of Taryn cicadas.  Cicadas surface Book chaos terrain in train rain, and they fuck fearless the Book.  Book narrates near train and surfaces roll spiral staircase rhythms, a slow mace trace of Book narratives and marriages.  I continue to tell the train tale Taryn and her verb always veers restless into new noise.

Ben body rhythm row desert material     Ben body rhythm now row desert munitions     My verb body bold desert prima materia (Taryn pole dances prima materia peacock cocktail peacock angel)     Ben body rhythm run silent circus and desert carnival the writing RIOTS     Book surface circus RHIZOMES and RIOTS the shape of jazz to come the shape of punk to come

Another thing about me is that I am full of ideas but I hardly ever see them through, says Asia.  Me too, I say.  Maybe I should just get really good at talking, says Asia.  That way, I can talk other people into helping me bring my grand ideas to life, she says.  By telling me, you’ve already kind of giving yourself a level of commitment, I say.  That’s true, says Asia.

I commit myself to the rhizome and riot of the Book     I talk Taryn train span my death in spain she walked spanish down the hall     I commit myself the rhizome and riot of the verb Book herd (I heard the herd of the Book verb body rhythm vibrations)     I commit myself to ben body without organs rhizome rhythms rhythm desert and desert purges body polymeter     Desert polymeter material beatmatch polytempo Taryn     Desert prototypes rhizome material polymodal chromatic cataclysm     Krystal chromatic khora classes colors climbing colors     Ben body rhizome rows rich colors climbing colors archaic human alchemy

I climb colors to more sensual colors a mysterious alchemy and a gnostic alchemy     Alchemy pours chrism and chiral fire rhizome: rhizome rhythm platonist plutonium and electroplated eucharist     I consume eucharist incomplete but her eucharist completes colors     I choose the colors mystery and mysticism and I come from that first mastery, which is also the last mystery, the four and twentieth mystery

The mystery of the Book doubles back towards desert the mystery of the colors.  The mystery of the book doubles helix and spirit spirals around the mystery of the Christian Cross.  The Christian Cross uncloses queer Christina’s cross, her chrism of initiation into desert colors (The rhizome reds reveal further blood rhythm and the blue-grey stones engulf bodies in god lagoons and oil oases.  The orange ash sways ocean baptisms,)  The mysteries of the desert nightingale noise and gnarl Tree of Knowledge, and I host knowledge up bare birds and quartet for the end of time.  Her time names the mystery of the desert mystery and the mystery belongs to Taryn, and she always prophesies narratives.  She prophesies narrative noise mystery and narrative Christina nativity.

I wonder if I’m a failure as a prophet of God, I say to Craig.  Why do you feel like a failure? He says.  I didn’t get anything done.  You’re not a failure, he says.  God doesn’t need you, he wants you.  If you feel you shouldn’t have taken a day off, then just make sure you do something tomorrow.  God knows you better than you know yourself and is not surprised even when you slack.  He knows when and how you’ll screw up, and yet he still chose you, he says.

I still prophesy     I speak prophecy rhizome electric mystery electrocuted mystery climbs bruised colors     I prophesy the without gods but Taryn and Asia choose me and remain with me (I talked to Taryn last night and she’s been helpful to me, I say to Asia.  I forget that she also cares for me unconditionally… I have not been a good person most my life.  I have been abusive mentally and emotionally, but somehow I have very good friends who care for me a lot.  It makes me want to cry.  It’s OK to be emotional sometimes, says Asia.  We don’t always deserve good friends but we have them anyways, she says)  I have Krystal Christina, Taryn, and Asia anyways     I prophesy her name and in her names, in her mystery and in her mysteries   rhizome narratives and multiple rhythms

The first mystery in the veil of the first ordinance, the twenty-fourth mystery outside and below / towards the lower and outer     Towards the outer lower ben bodies various bodies: ben bodies mysteries museums body multiplicities     Mysteries mix mysteries maroon moonlight     Misery midnight medium median mediastinum holy spirit spirit veil Taryn tusk     Taryn tusk tobacco teeth transmigration of souls

First mystery last mystery mystery middle     First mystery prophesies last mystery mystery middle meddle language     Mystery middle mercury emerges primordial elements     Middle mystery middle mothlight alchemy: arc alchemy human into aleph three Marys with Jesus each a Mary     Arch alchemy human into aleph three mysteries with Jesus each name a mystery

First mystery mediates immediate mystery mallard magma     Mystery murmur immediate mother mallard the continuing story of counterpoint / I continue the story of narrative and prophesy



I find an old email correspondence with Ann Marie from a little over 9 years ago concerning my prophecy and vision.  I record the correspondence in its entirety.


1.  Am I a prophet?  2.  Am I a visionary?  3.  Do I have visions and dreams?

One would object these are personal questions; only I would know the answers.  However, prophecy and visionary work is shared; prophecy and visionary work is felt and influences those around them, even if it's to rage like the israelites had for many of their own prophets.  Thus, it is appropriate to ask questions – they are both personal and shared, personal and communal, solitary and for all humanity.

What are your insights to these 3?  I have never quite asked them that way before (I have asked the first several times; but repetition = difference, repetition = new creation, new heaven and earth) 


Ann Marie’s response was as follows:

I have read your recent emails and attachments.  And here  is my response to your questions.

Yesterday I was talking with a friend about the difference between aspects of my theology that I could communicate within the current Christian framework/scaffolding/theology and those aspects that I do not know how to communicate in the current theological framework or in contemporary theologies. And in talking about that outside the boundary theology, I referenced you. I stated that I felt you were articulating some of that theology that I cannot speak, that nonetheless is the golden thread for me – the word and silence, presence and absence, light and dark, image and symbol – that I experience and sometimes glimpse in my own writing and imaging. Your work sometimes feels like a response to questions I have asked or will ask – an ongoing conversation that takes place on multiple levels – revealed and concealed through us and from us more than to us.  I suspect you have similar relationships with others.

I would call our particular conversation scriptural – in that is mediated by scripture. Many other prophets and visionaries have lived and been written this way – perhaps a process through which "God" writes on the human heart – not ever only one individual but not possible without particular individuals who live and love in particular bodies, places, and times.  

The boundaries of space and time are permeable – and what passes through that boundary is most often word/image. Explanations take place within the boundaries.  They work to integrate and contain what is being incarnated – the perpetual  deep-sea floor spreading that helps us recover from and prepare for the next tectonic shift.  

One of the threads I have been following recently is the insight that it is in the scriptural religions that each age ploughs its experience back into scripture.  That is what makes it palimpsestic. And that ploughing is most needed in our own time – an extension and expansion of a tectonic shift that occurred I think in the early 20th century. Many writers (and artists of all kinds) of the 20th century were engaged in that task, ploughing almost desperately to integrate some new revelation that is not conscious, perhaps will never be – since consciousness seems to be within the boundaries.  Barnes and Joyce, Jung and Eliot, and so many more (Phillip K. Dick?) have been taken up in that task.  And I would venture to say, you and I as well.  The work is incomplete of course – the tectonic shift was of great magnitude and we are still very close to it, living in the aftershock.  It is as if  a new holy mountain has sprung up, one that only those called and guided can climb – and yet, quite dangerous – hence, the need for scripture, for grounding, for place and time, for work and pleasure.  Ecclesiastes got much of it right. Perhaps that is why his book has been so popular in our century – the text of those still in shell shock,  wary of acknowledging the presence of something that is not "under the sun" that is more real than facts and reasons and explanations.  And maybe the deep-sea floor spreading of science and reason and explanation is the necessary distraction that keeps us from gazing too long and being blinded by the sun.  

For me, the church remains the necessary container/vehicle for this revelation – a revelation it carries but does not and cannot look at – one that appears in visions and prophecies – yes.  Only fragments and images can be honest because they bear witness to the presence of the absence. 

For me to write about such things – I think I would do it in fiction.  The characters are there waiting for me.  And the time approaches to give them voice and genre and audience. I once had lunch with Susan Sontag – and she pretty much said this same thing. Though known for her essays, she understood that fiction was more honest because it allowed for multiple voices. For me the Bible is the scriptural symphony that is the best model for how to write with integrity – with a sense of the sin and the wound, as well as with a sense of the whole that extends beyond the boundaries of human thought, science, invention – but can be glimpsed through vision and revealed through prophecy.

That was my initial intuition some thirty years ago – that intuition has incarnated in many forms since then – and I can honor and perceive it more deeply after years of scholarship, reading writing, and teaching.  But I intuited it – or rather it intuited me at a particular birthing point – a point I continue to circum-ambulate and incarnate – a journey within the boundaries – but held and touched by a transforming love that has no boundaries. Jung was a clumsy midwife to that birth.  But there were others.

And encountering you on that journey – yes – that has been very important.  I don't try to understand what you write.  I bow to it. 

Thus ends Ann Marie’s email.

Prophecy plays Taryn tectonic / her techne tours or detours a god geology     Her god geologies germinate pregnant stone horn the continuing story of counterpoint     First mystery mediates immediate mystery mallard magma     Mystery murmur immediate mother mallard the continuing story of counterpoint / I continue the story of narrative and prophesy

Her Names Immediately Striptease

content warning: pornographic imagery, discussion of suicidal ideation and mental illness


I repeat bodies: ben bodies and taryn bodies minimalist-like repeated figures out of the corner     Out of the corner, modular machine bodies: modular sons of god and modular daughters of men   archangel repetition seraphim and covering cherub repetition     ben bodies minimalist-like figure repetition repositioned and manipulated paper-doll fashion in rows and patterns     I play modular patterns in performance and happenings     I play patterns pulses and meters: modular meters and additive meters     I play phase patterns and intuitive canons: I improvise imitative canons and imitative polyphony and my bodies blanket broad melodies     My bodies blanket fuging hymns and the tune strikes tacet post-minimal

Taryn repositions and manipulates ben bodies: bodies bare desert patterns and desert sand phases     Taryn desert phases erode unsettling erotic nudes often seemingly obvious women

I rearrange my collection of erotic nude photographs   nude men and nude women   nude Christs and nude secret gospel of mark

I arrange nudes reveal her names cave salamander orgasms     Arrange erotic nudes ephemera earth earthworks work telescope lens landscape     Taryn scraps my labia longer lampstand pregnant stones (Her RX for a sick marriage: sin and share it SWAMP PSYCHIATRIST)

ben bodies bulldoze earth repeated nudes / 250 cubic yards of earth in 3,60 square feet of floor space and 22 inch depth of material    

I arrange erotic nudes vertical earth kilometer     A kilometer of Krystal cave earth

I move nude earth Christina city cross and city cathedral centuries

I move Christina nude earth let’s stop doing philosophy and let’s start doing strategy: let’s stop doing erotica and start doing pornography

When her name comes, her name immediately says more than her name: her name tyrant or sharp tooth shreds an erotic name or inverted vagina dentata     When her name comes, her name immediately cums as Taryn squeezes juiced orgasms out of me     Her names pairs my name movable type and movable earth immediate eros or nude earth erosion

Her names immediately cum kingdom of god gushing ejaculate gospels     Her names immediately orgasm kingdom of heaven and the spirit immediately drove him out into the wilderness     Her name over than her names peak wilderness pornographic and her names modulate ben bodies     Her names modulate ben body melodies and she repositions and arranges my bodies oblivious nudes / sand on horizontal plate patterns

Her names immediately striptease something else and something different

Immediately her names drive me out into the wilderness and in the wilderness for forty days, I write and improvise for the first time her names the shape of jazz to come and the shape of punk to come

Her names invent nude now negative: her names naked improvise new antinomianism     Her name immediately antinomian inverts apocalypse: apartment aporia alien aporia but her face     Her face irrupts her name announces

Her names announce her face announces and her names defy the law of non-contradiction

Her face kisses my face her names     Her names kiss Krystal Khora third genus     Krystal Khora ungrid genus groundless genealogies     Krystal Khora third genus grow god gateless gates / genealogies and archaeologies genesis     Krystal gifts genealogies an asymmetrical aporia penetrating bereshit     Her face kisses Krystal asymmetrical her name prayer and her name psalm

An asymmetrical psalm prays the name Krystal and the names Krystal Khora     An asymmetrical psalm slips ship genetics and her names task me with prayer-prophecies (The only task work completely is the destruction of the world     Destroy what destroys you / Krystal Khora destroying angel the faerie queen)


I often desire to destroy myself: I desire death and annihilation.  Recently, I have had a couple of severe bouts of suicidal ideation.  I attribute this severity to a few factors: the absence of Christina, stressors at work, and starting a new medication that increased the unpredictability and severity of my moods.  I often desire to destroy myself, which is to destroy my world.

Do you hate my guts? I ask Asia.  Why would you ask me that? she says.  Because I feel very low and I feel like everyone hates my guts.  Have I done or said anything to make you think I hate you?  No, I don’t recall anything right now.  Then why would you ask me that?  Because I feel like it so that’s why I asked.  I don’t want you mad at me.  I don’t think anyone hates you besides Ben, says Asia.  It is hurtful to be asked that especially if I haven’t done anything, she says.  I’m sorry I hurt you.  Could you help me figure out how to express my thoughts when I feel like that so I don’t hurt you?  You could say that you are feeling like everyone hates you instead of asking if I hate you.  I don’t hate you, says Asia.

Her name announces the very body of the name: ben hinnom body full blood flat kiss thigh full flesh     Full blood kiss experiments Taryn thighs feet toes and her name now nude shows ben body blood transparent     Blood meanders her name mirror and moon

Ben body blood transparent (a transparent scream steam blood bed     A transparent thread stream steam engine erotic bed: our bed bridal chamber     A stream bed followed a tilted valley: Taryn tilted nude body without organs valley visions) (A stream ben bed follows a tilted body     Tilted Taryn body burrows valley pinball pornography     Toward Taryn follows her tilt sword hilt stabs holes in the valley)

Ben body blood transparent meanders threaded mirror and moon valley     (I myself meander moon: I meander through a glass darkly many moons and I maw mouth moon scripture     I reflect when Asia still did moon magic and she scripted with the moon and many nurses remain convinced full moons mean a day of increased hospital and patient intensities and incidents     I admire Asia’s moon) (I admire Asia’s moon and I remember this moon synchronizing phases and shimmering pulses to Violin Phase and Piano Phase.  I admire the moon in canon with another imaginary earth moon and they dance epicycloids and helix orbits within its phases.  I don’t keep track of the phases of the moon although I work night shift but I keep track of Asia’s moon.  I trace its phases and I live the phases of Asia’s moon mirror scripture.  I record new scripture or invented scripture.  My words wax and wane Asia’s moon and her scripting and intentions phase and canon my scripting and intentions.  I halve my body full moon.  I admire Asia’s moon: new moon and full moon.  I admire her new moon and full moon and her moon reveals through a glass darkly and through a mirror dimly.  Her moon illuminates my body without organs undifferentiated desert.  Asia scribes and reinscribes my body word woman and her new and full desert scripture.)

Ben body without organs overlaps full moon silver blood shimmer

Ben hinnom meanders mirror and full moon maximum gradient     The maximum gradient along the down valley axis follows the hypothetical straight coast channel and I search for Christina along cut bank waters     Waters meander moon mirror scripture her full lunacy of my obscene bodies

Book meanders mirrored blood and blood moon book meanders     Book transparent body cut bank Christina blood concave corridors (The meander transfers stochastic fluctuations of the direction of the flow in the random presence of the direction-changing obstacles in river paths    Book meanders stochastic and chaotic and I write impulsively and improvisationally – thankfully copying the text over and over again smooths out the stochastic irregularities like Alvin Curran’s I’m Sitting In A Room)     I meander full moon her face full stochastic fluctuations

Christina cut bank blood bluff / bare body her full moon meander     Ben hinnom bare body meander erodes and migrates in the direction of the bend, forming the cut bank     Bare body ben hinnom slices an incised cut off (abandoned) meander     My body blurs oxbow / ben liminal billabong bells

I know how you feel about going to the emergency room during an episode, says Asia, but I wanted to say that I think you are right and that you should avoid it at all costs.  I think it is going to get increasingly worse for people who get admitted, she says.  It’s not good right now for mental health services, I say.  I really appreciated how you handled my acute episode the last time.  I feel you did really well and obviously I’m still here.  I felt you didn’t judge me even though you made your position known, and I felt very cared for, I say.  It didn’t exactly feel like I was handling it well at the time, but I’m glad you feel that way, says Asia.  I promise never to call emergency services on you, she says.  I appreciate that a lot, I say.  I’ve made my stance known, says Asia, but I’m not going to strip someone of autonomy nor will I ask the state to do it, she says.  That makes sense, I say.  I will do my best to listen and be receptive if I feel in crisis, I say.  If I’m talking to you and being open with you in crisis, it’s because I trust you and I need to see that trust through, I say.  Missouri has started having people who have multiple mental health crises admitted to old folks homes, says Asia.  I can’t even say that a law was passed, because I don’t think there was, and they are violating the people with disabilities act.  Maybe I shouldn’t be talking to you about this.  I’m just scared and mad and confused, says Asia.

My bodies burn Book this great coitus with the celestial atmosphere regulated by the terrestrial rotation around the sun     When I scream I AM THE SUN, my integral erections erupts into a formation of blood and it fills the cup of Taryn Woman of the Apocalypse and Taryn Whore of Babylon     Rotation of sun spreads erotic earth orgasmic entropy     Sun sun rotation rotations spear saddle point pornographies     Her sun points pulp heap of bodies (Shame was the address of this – ORGY HOUSE)


Beware Woman Of The Apocalypse

content warning: some pornographic imagery


Stone of the pregnant woman sine spirit shadow: shadow wave sine hind animal horror     Stone pregnant surge eye socket sickle into shadow surfaces     Taryn tare thrown trilithon shadows: shadow snares tetragrammaton pairs pares time for pruning     Taryn tare trace pregnant stone star stones     Pregnant stones stem marathon megaliths     I march megalith light fire low fire furnished crypt Christina     Christina close closed ghosts and ghosts     Christina ghost lights loom ghost coast cut salt spiral jetty     I jump spiral jetty juno blues ben blasting cap quick   (Earth quickens body philosophical quicksilver)

Stone of the pregnant woman cross hand apocalypse (A great portent appeared in heaven: a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars.  She was crying out in birth pangs, in the agony of giving birth.)

Taryn pregnant with stones step skulls and skull repeats chainsaw saddle points     Chainsaw slap skull repeat saw saddle hind horse scratches an ark aurochs     Taryn pregnant with sine wave stones and sine wave skulls telescopes church scaffolding pregnant with purple martins / bird machinery matchsticks

Beware woman of the apocalypse     Beware woman of the apocalypse bodies without organs     Beware woman of the woman her sun stabs several ways crucifixions

Beware Taryn hand and to kiss her thighs apocalypse     Taryn raw rose crystal sediment of the sun     Beware sun seer stranger saddle point pornography and porous pornographies     Sun sediment sow sun sediment sinew material     Sun fight seed steel mill machine sun mar nonmetal

Beware the woman of the apocalypse: she screams I AM THE SUN and an integral erection results.  Her sun glares bald erotic: her sun gazes shared ray pornographic.  Her apocalypse parodies apocalypse and the child she bears possesses its own antisymmetry: Son of Man and Son of Perdition, King David and King of Babylon.  This Child of Humanity assembles Messianic and Accuser in the same wild body and flesh wilderness  Beware the woman of the apocalypse: her sun cums male and female.  Her sun cums the continuum of male and female genital and genitals.  Her pornographic sun sows non-binary body without organs that continually orgasm messianic, genesis, and gospel.

Who is the woman of the apocalypse? says Asia.  Taryn, but in a wider context, the Divine Woman in some sense.  It just seems a little odd for her to be sexualized because it doesn't seem consensual, says Asia.  Could you elaborate more on how it doesn't seem consensual?  Because I didn’t have that in mind at all.  I thought you would like it and I didn’t anticipate you finding it problematic.  I will rewrite it based on your suggestions.  “She screams I AM THE SUN and an integral erection – she does something, there is no implication that she did this in order to please someone, and then there is an erection as a result.  She is further sexualized throughout the passage and the context is that she just gave birth.  It comes across as male gaze-y.  You could work on it but all the pieces aren’t working together… It starts off saying “beware the woman of the apocalypse” but it doesn't really tell us why, implies that she is sexy and sexual but doesn’t do anything herself to invite this kind of attention… Sorry, I’m a little picky when it comes to sexualization of women, she says. [I send Asia more context on the Woman of the Apocalypse]  I feel like I put a lot of thought and heart into it, and I felt like if anything, it’s Taryn acting upon me, and I’m being passive.  She possesses the sun and the erection.  It’s her sun that orgasms.  She seems active to me, I say.  Your explanation makes sense but wasn’t present in the short excerpt you sent me, says Asia.  It’s an easy fix though.  Show her owning the pleasure instead of being detached from it.  I thought it was something outside of her, not something she was experiencing, she says.  Could you help me rewrite it? I say.  What would you say to show she’s owning it?  You could literally add something like “the pleasure / power coursed through her body”, she says.  You could also describe body language or facial expression to show what she is feeling or give her anatomy.  She could be eyeing you like a piece of meat: you can reverse it.  If you want her to be something you should beware of, describe her like a predatory, says Asia.

Beware woman of the apocalypse amorous ariadne     Beware woman her cocks a frenetic swarm of cicadas and her body boils erotic double brood

Beware woman of the apocalypse her cock sun and cunt star stabs several ways crucifixions and she crucifies me nailed repetitions     She nails my body crucifixion nails and her sensual sodomy rides my involuntary erect crucifix

To Taryn and to kiss her thighs forceps     She squeezes her thighs crushes and pleasure courses through her body my body bloody     Raw rose crystal sediment of the star sprays her star ejaculate

Sun seer spread erotic earth saddle point pornographies and Taryn of the Apocalypse animates orgasmic her body orgasmic

Sun sediment sinew material meander myth     Sun seer still mill war nonmetal meander new myth her beware woman not femme fatale but fatal dream-and-resurrection benjamins

Beware the Woman of the Apocalypse: she screams I AM THE SUN and her integral erection erupts.  Her sun glares bald erotic earth: her sun shimmers female gazes shares ray pornographic ben bodies.  Her apocalypse parodies apocalypse and the child she bears blesses ben body without organs and possesses its own antisymmetry:  Son of Man and Son of Perdition ben hinnom, King David and King of Babylon ben hinnom.  This Child of Humanity ben hinnom assembles Messianic and Accuser I’m the same wild body and flesh wilderness.  Beware the Woman of the Apocalypse: her sun cums within me male and female.  Her sun cums within me the continuum of male and female genesis and genitals.  Her pornographic sun sows non-binary body without organs that continually orgasm messianic, genesis, and gospel.  She shares her gospel as her power of orgasms and pornographies, and her face kisses my face blinded contorted jouissance.  Her face splashes my face over faces flat feel splint-screen erotic, and her face eros possesses my face eros.

(I like this new version a lot more says Asia)

A Stone Book Meanders Mirror And Moon

Her unearths an equal number of male and female skulls     Her here earths knuckle numbers male and female skulls     Her hair here unearths an equal number of male and female skulls     Here I unearth here comes everybody a number of male and female skulls

A number of male and female skulls resemble my own skull cast stone.  Stone strays a myriad of skulls and these stone skulls cast crystal matrix.  Matrix mirrors skulls into skulls and the stone matrix rivers metafictions and magical realm confabulations.  I put four edges around those facts and I edit the stone into the skull.  I edit the skull into a stone.  I broadcast the skulls into the soil like the sower parable from the goggles, and despite where the skull falls (bare soil, rocky soil, good soil), the skull bears stones and the stones coagulate human assemblages.  I number the stones with or without humans, and Book archives all numbers.  Numbers and skulls and human assembles all fall into and through the field of the Book.

An equal number of male and female skulls     A number of male and female skulls chapel scaffolding     Church cab christian skulls and skull-as-camera captures church ghost Christina     Skull-as-camera catches my assorted imaginary suicides (photography or performance idea: various staged suicides photographed or performed     These snapshots foreshadow my own deaths) (The Book continually foreshadows my own deaths like Christ predicting his Passion in Jerusalem these times or times, time, half a time)

Taryn thins into ancestor: Taryn trades steam trains death     I steam steam train track death and death and the human-as-death fields life and death conjoined     Taryn as Tree of Knowledge of Good and Evil rhizomes haunted life and death conjoined   (My photographs consist of negative repetition and my pictures repeat formal composition) (Skulls repeat negative fractal repetition skull skip stone skull skull)

Skull scaffolding scratches hind parts of aurochs, a dear, and hunters     Taryn-as-skull scratches chapel repetition, a seated goddess flanked by two felines: taryn leopards or taryn lionesses

Taryn pregnant with stones and skulls repeats hind horse scratches and ark at aurochs     (A great sign appeared in the sky, a woman clothed with the sun, with the moon under her feet, and on her head, a crown of twelve stars.  She was with child and wailed aloud in pain.)     Taryn pregnant with stones and skulls telescopes church scaffolding pregnant with purple martins / bird machining

Beware woman of the apocalypse     Beware woman of the apocalypse her sun stabs several rays crucifixions     Taryn and to kiss her thighs   raw rose crystal sediment of the sun     Sun seer streamer saddle point pornography     Sun steel sediment sinew material     Sun seer steel will war nonmetal

Beware the woman of the apocalypse: she screams I AM THE SUN and an integral erection results.  Her sun glares  bald erotic: her sun gazes shared ray pornographic.  Her apocalypse parodies apocalypse and the child she bears possess its own antisymmetry: Son of Man and Son of perdition, King David and King of Babylon.  This Child of Humanity assembles messianic and accuser in the same wild body and flesh wilderness.  Be ware the woman of the apocalypse: her sun cums male and female.  Her sun cums the continuum of male and female genesis as genitals.  Her pornographic sun sows a non-binary body without organs that continually orgasms messianic, genesis, and gospel.

I kiss the pure thighs of Taryn the sun   her erotic raw rose crystal sediment of the sun     Her sun seer streams saddle point pornographic     Her sun steels saw sinew material     Her sun seer steers nude will mar nonmetals     (Here, her erotic sun and keystone conflict with the paradigm of Book continuity: write without concern for continuity and the Book and Sun itself will cum connections between, between sun sand skin connections, flexible and open connections machine radically modular)

Stone of the pregnant woman shadows summit     Stone summit slink shekinah in shade / shadow cut cylinders

Taryn tip trilithon tetragrammaton     Taryn marathon megaliths     Christina cut slick cryptoporticus     Her holy ghost juts spiral jetty: my jaw jabs spiral jetty ben bodies spiral screw dislocation in crystal formation     ben bodies murk minimalist-like figure repetitions: repeat repositioned and manipulated paper-doll fashion in rows and patterns     Patterns erupt minimalist stone stone cave mouth structures structure female Book of Sand

Pregnant stones speak her names in fractal fragments and body frame repetitions     When her name comes her names says immediately more than her name: her name notches cut stone and worked stone     Her name knits knots earthworks, monoliths, and terraformed landscapes     Her names says more than her name: her name other than her name and her name something different and something else     Her name masons the shape of jazz to come and the shape of punk to come and she shapes my Book now and to come in the naming and happening (I discover – or rediscover – the acting of writing heals and the act of writing triunes therapeutic     I write into and through the annihilation and abyss, and I pay and perform many staged suicides through the writing)

Her name presents pregnant now negative: her name perfumes new antinomian     (Notice the writing heals in spite o or because of my obscuring – texts eclipse eel ellipsis but also reveals and I continually write apocalypses     I write revelation and I write apocalypse apartment aporia alien aporia / my irruption her name announces)

Her name defys the law of contradiction     Her name mystically removes the law of the excluded middle

I prophesy the rhizome and multiplicities of her name and names

Krsytal khora third genus / genealogies     Krystal Khora third genus geneses / genealogy bereshit     Asymmetry at onto aporia asymmetry her name prayer and her name psalm

I thread her name through the Book khora and korakoram     I tile her name stone blood and Mount Horeb apocalypses     Asia teak to too the Blood of the Book     Taryn true too through the Book blood brood god between breath / god beneath my breath bloody phallus     Breath beat beak Taryn exoskeleton     Taryn Book I scrape tapeworm dream: I dream a vision   visions in my head   asleep on my bed   drew the dream Taryn talons     I had a dram among my visions (among my maidens) light dreams     Book taryn dreams night dreams night dress new simplicity (both directions at once: new simplicity new complexity direction desert erections)

I dream the night of the Book.  I night dream awake Book her name and her name appears in the dreaming Book pages.  Page plays night and her name and I listen page close insect night music.  I listen music night book the grasshopper lies heavy and night opens superluminous dark and supernal dark-light.  Book dark-light listens to her name the sound of insects.  Her names arrive night book insect wings and beetle words and Asia croons among crickets.  Asia performs karaoke with southern resonant cicadas.  The nights name nostalgic and Book dreams the summer dandelions open.

Ben bodies bark books repeat books blood minimalism     Ben bodies book bark unsettling erotic nudes often seemingly obvious women

Ben bodies red out of the corner workshop red     Bodies workshop or workshed red ben blood nude (I lay awake nights, thinking of my next victim!  Who is he... What is he... When is he going to strike again??  THE ZODIAC KILLER  the 2nd suspense hit The Frightened Women)

Ben bodies red out of a corner workshed red     Work red red robed raw corner shine shadow     Workshed red red / green and florescent lights for the main nave, red in the transept and yellow for the apse

Stone of the pregnant woman shadows summer cicadas

book swarms insect fluid again blood against     Book swims fluid swarms of summer cicadas tail spikenard Taryn     Book tail tails spikenard Taryn / six-pointed triagonal siliceous spicule from a glass sponge

Book tail Taryn fluid glass sponge spicule spear soap film made of entire smooth surface

I float in fluid sometimes lake sometimes ocean.  I float in fluid salt sea bloodstream and I hallucinate occasionally in this sensory deprivation tank.  I do not hallucinate but experience altered states and I live the entire life of a cicada or a glass sponge.  I live primordial and primeval and I learn the secrets of genesis, abiogenesis, and the evolution of life on earth.  My body breaths earth and earth brings my body into existences (both directions at once).  My birth births my birth and I bear pregnant stones and apocalypses with earth and her earth.

I have been thinking about writing and its relationship to Christianity, I say.  What are your thoughts on it? says Asia.  There is a certain kind of reversal or overturning of biblical texts in my writing.  Right now I’m writing about this text from Isaiah where God declares the destruction of Edom and how his sword will be full of blood.  I have been subjecting the writing to the crucifixion and blood of Christ, the victim of violence and the metaphysical sword.  One thing I should say I truly believe my writing is a spiritual calling and I do occupy the role of a kind of modern day prophet.  So I take it seriously even though it is very crazy, I say.  That sounds interesting, says Asia.  One of my projects is a kind of rewriting the Bible, I say.  My Book is a bible in a sense.  I’m always concerned with how delusional I am.  I don’t think it’s crazy, says Asia, but then again, I don’t think anything is sacred when it comes to writing.  This made me think of this meme, I’m sorry.  I am causing problems on purpose?  Some people might say so, says Asia.

A stone book meanders mirror and moon (a stream bed followed a tilted valley.  The maximum gradient is along the down-valley axis represented by the hypothetical straight coast channel, meanders develop, which lengthen the course of the stream, decreasing the gradient)     Book meanders mirrored blood and blood noon book meanders     Book cut bank blood concave corridors (The meander train tasers stochastic fluctuations of the direction of the flow in the random presence of the direction-changing obstacle in river paths)     Blood meanders mirror and moon     Blood cut bank blood bluff / bare body the meander erodes and migrates in the direction of the outside bend, flowing the cut bank moon     Bare body ben hinnom inch an incised cut off (abandoned) meander     Body blur oxbow / ben liminal bellabong bells bill moon mirror

(A conversation related to the moon from 4 years ago)   My new approach to lunar scripting, says Asia.  Today is the new moon so you’ll be planting seeds and manifesting.  Yup, she says.  What exactly does that process consist of?  Decide what you want and write about it like it has already happened, says Asia.  Like “I’m so happy and thankful now that…”  Very cool – do you consider it an act of magic?  Yes, says Asia.  I think magic is about intention, and changing the world around you.  It’s also about believing that you have the power to change it.  Manifestation is all about believing that you have the power to change it.  Manifestation is all about believing it will change, she says.  It must have been studying bees that helped you become so powerful in your intentions, I say.  Actually deciding what I want has always been hard for me, says Asia.  I’ve never been good with decisions and I haven’t trusted myself for awhile.  So this is an exercise in trust.  Both in trusting that I will have what I need but also trusting myself to know what it is that I need… I think I figured how to do the scripting thing with the moon every day.  The week leading up to one of the four phases will be dedicated to that phase so for example, starting tomorrow, the moon will be waxing and leading up to the half moon. I will be setting intentions, forming game plans, and next steps until the half moon.  After the half moon, it will be a week of gratitude until the full moon.  Then a week of reflection, what's missing, what needs to change moving forward until the half moon.  And a week of planting seeds until the new moon.  And the end of each week I will put a page in my bullet journal, says Asia.  You got it, I say.  This is such a cool thing to witness your spiritual growth.  (Asia no longer does lunar scripting because she fully trusts herself     We perform magic by participating in the Book)

Blood meanders mirrors and moons     Phases of the moon meander mirrored Steve Reich phasing / violin phase and piano phase     Blood meanders moon minimalism and I repeat moon and moons     I write the same part, the phrase repetition, played on two musical instruments in steady but not identical tempos

Blood meanders through a mirror darkly dark moon and blood moon / moon glass sponge phase music

(I’ve lost my way and I return to the repetition of stones and woman to discover my way again)

Stone of the pregnant woman shadows blood and moon phases     Stone of the pregnant moon pulses canons and imitative polyphony: my bodies book blood in broad hymn counterpoint

Stone of the pregnant woman shadows bone on moon my body stripped muscles

I stir strewn stones the tall stall of this dream and I wander dreaming word stone lost or stone gone god the girth of the dream.  I stay dream stone stir her killings and I stew stones.  Here the stones stray ray narratives where I can’t find my ways.  I gaze moon and I scar stones but no narratives.  I stay stones and the narrative targets the revelation of her names.  Perhaps telling the stones of her names, without or with moon phases can prove sufficient.

(In the fourth generation, Rabbi Israel of Rishin stayed at home and said: The fire we can no longer light, the prayer we can no longer know, nor do we know the place.  All we can do is tell the story.  And that too, proved sufficient.)

I stay with the stones and they speak her name.  I stay with the stones pregnant and they speak her names pregnant.  Revelation is the revelation of her names; her language has no grammar but only consists of her names.  All scripture reveals nothing but her names.

I stay with stones pregnant press name post-processural archaeology     (Stones stay the giver of ways and although I lose my ways I find her names.  I find her names liturgy of the hours and pregnant stones stretch hour of the wolf her words of longer duration.  I endure her names and stones at many multidirectional lost ways.)

Taryn tack trilithon tetragrammaton     Taryn tack task trilithon tetragrammaton no grammar but Taryn names pruning the primordial tyrants     Taryn mass material marathon megaliths     (I creep Christina necropolis and her ghosts purse pregnant cemetery     Her stones shadow sheol pregnant stones moon phases)     Christina holy ghost jumps spiral jetty: my jaw janitor sweeps other broken jaws spiral jetty     (I jaw spiral jetty flotsam and jetsam glass sponges) (Flanked by a pink-clad band, she wasn’t about to pass up the opportunity to serve up an absolute look, complete with white make-up and a towering wig bolstered by a wadded up trash bag tucked inside, as well as an assortment of stubbed-out cigarette butts)

Christina holy ghost compacts crypt crypts earthwork cemeteries     Christina holy ghost compacts rose compass mystical rose a light red with the mirror of the moon

Holy spirit spiral jetty juxtaposes piston ben body spiral jetty ben beast spiral screw dislocation in crystal formation     (pregnant stone heightens ghost heterotopias)

The moon is so beautiful.  It’s a big silver dollar, flipped by god.  And it landed on the scarred side up, see?  So he made the world.

A pregnant moon remixes a pregnant moon

Send Stone Of The Pregnant Woman

Send stone of the pregnant woman     Send stone of the pregnant woman: sign stone of the pregnant woman     Stone stinks human bone: ben bone stone stirs     Ben bone stirs ben stench: stench wrench wench     Stone stinks bonfire woman of the apocalypse

(This 1997 instructional video can’t decide whether to be informational or sexy, and as a result, succeeds at neither.  Tedium has never been this topless.)

Stone of the pregnant woman instructs sex and hex     Stone of the pregnant woman insists Taryn topless timed tedium: she shares or strums my tedium pornographic     Stone stinks human bone thimble: tumbles ben bone     Stone stirs her ben bone raw broth: math broth wrench bitches brew     Stone stinks bonfire birch woman of the apocalypse     Stone stirs sport bone sport whore of babylon     Stone of the pregnant woman stews bone machine whores made my motion     Pregnant woman screams bone machine steam seeing seer apocalypse
 
I stand in bone and I see stone.  I stand stone and see bone and my breath steers bonfire.  Bonfire dances bone beach and the pregnant woman prepares for giving birth from beach and to beach.  The pregnant woman sires stone and stone emerges splintered human body and fossil flesh.  The pregnant woman stands stone bone birth both doe of wilderness and woman of the apocalypses, and her stone child of humanity heels up cornerstone and keystone.  Child of humanity grasps from the afar the heel of the cornerstone.  Child and Woman stand beach cathedral.

Pregnant woman wedges bone into bone further bone stone and stone turns into speech scroll     Pregnant woman wires bone to bone stone twine swine scroll speech

Square stone stars centipede syntax     Square stone spread bone signals signal rhizome     Square stone compass bone blind silver book bone

I strike my Book as stone and I cut bone stonemasonry.  I strike the book stone earth art and land art.  I see the book as Michael Heizer’s Double Negative and I dig dense into Book earth.  The negative of the Book is its bone squared off and calibrated to a rose compass.  I strike the book stone and it becomes a viewing portal: a view of Michael Heizer’s artwork “Double Negative”, located on Mormon Mesa, outside of Overton Nevada; the art consists of two aligned trenches across a valley.  Book births earth and Earth Woman Beach Woman births Book Child of Humanity.

Pregnant Woman impregnates resin black painting canvas crevasse     Crevasse short sharp shock bone     Bone skeeters mosquitoes moss skeleton     Moss mass skeleton no survivor but silver     Bar silver butts but bone: bone machine bone sister

I dream my sister – stone stone Christina     I miss Christina among the stones     I dream my sister both Christina my twin and Jane PKD’s twin (She ultimately is Beauty: Helen of Troy who hatches from an egg.  And of course most of all she is my sister; I am a thought in my sister’s mind)     I am a thought in Christina’s mind

My death dreams different PKDs and different Christinas, and they all dream me towards death (at one point Dick felt that he had been taken over by the spirit of the prophet Elijah)     I prophesy in the spirit of Elijah and in the double portion of his spirit     I prophesy Christina spirit Christina although she pours out pure ghost: ghost bone   dream stone   god ghouls     I drink the cup of her ghostings and stonetape horrors     I dream her cup of blessing, which rests on five fingers and no more, like a rose, sitting on five sturdy leaves, paradigm of five fingers… This rose is a cup of blessing

Cup creeps khora     Cup collects khora and khora reaches me as the name     Theme eventually but the first letter     Letter cape lights and chalice lights Christina ghosts     Christina ghost chalice lights Charlie Parker Bloomdido     I keep a cup of scythe and crescent: her scythe cuts serpent tail shaman     Cup crucifies as khora bad when her name comes, it immediately says more than her name


I continue to archive Christina conversations:

I got a job, says Christina.  I’m a cog in the capitalist machine.  I really think this is a turning point in my life, as ridiculous as that sounds.  What job? I say.  I’m going to take care of a cow and a donkey and three pigs and like 10 rabbits, and a tarantula and a tortoise.  And bees!  I’m going to run the animal education program at Fairytale Town.  0.25 animal caring, 0.25 animal training, 0.25 teaching gigs, 0.25 curriculum planning, she says.

I work archive archive dream hem her bone     I archive crocodile weddings and serpent weddings and I see the double negative graph one drop of crocodile     I work look shake archive archaeology and I scrape late Christina letters longer double negative duration     I wed Christina crocodile catchweight kisses kiss contact improvisation / improvise nude kindred cataract kisses     Christina change crocodile change crypt strip syntax     Christina change crocodile classical keystone critical hit (I sift through stones Christina and sand Christina and I still cannot discover her ruins) (I sift her stone strange strawberry Christina and I chase her bas relief and comic relief) (Syntax rolls rolls spin special effects step Christina step hex syntax ghosts sting)

I continue to archive Christina conversations:

You are immune to my bullshit, I say.  I could say anything to you and we would be friends.  It’s very true, says Christina.  Asia is kind of similar.  I thought you were going to call me a cunt, says C.  You’re a cunt I love! I say.

I archive Christina and Book exists as archive     Book archive pregnant Christina stones and bone Christian ghosts     (I dream archive as a corridor of crocodiles     Christian crocodile bite death cap sap cup of blessing and my five fingers fractal archive through reflections and mirrorings)

Stone of the pregnant woman slashes stone of the south     Stone of the south surveys jackal skeleton signals   jackal stone jazz     Jackal stelae ton hyena skeleton stone spring     Spring screens spirit skeleton switch bomb bone   bone bomb stop sign still buries

I see her stone     I see her stone stand wedding: Ben and Christina marriage of heaven and hell     I see her stone and as if by stealth I see that fold by fold the widowed stone unrobed itself

See her stone stack stone and her stone show stone     Soon see her stone show stone soon and I dream stone archive     I stone dream archive arrive stones     I step her stone steppe soon stay stone and I swallow stone pregnant prayer     I see her stone full breasts on which hands extend / her stomach extends central maps

Her stone slacks something different and I dream difference.  You are the one who writes and the one who is written, and I write her stone as rhizome between and through difference.  This difference dreams rewritten: this difference dreams the rewritten rhizome and rhizome inverts dome rhizome.  I dream the rhizome archive and it scrolls stone and Christina stories.  I story Christian within stone difference and all I’ve ever written is Christina.  The Book has only spoken about and to Christina and these stone pages remain pregnant with Christina ghost scroll and Christina haunted stones (Camera on the haunted stones   blood-shadow gentle painted scorn)

Stones sleep in difference, the something of different     Stones write here this difference now and stones gnarl new name loch ness     Stones ripple loch ness mess machine lagoon soon stones

Stones stack stones Christina spectres     Spectres stack spectres Christina syntax     Syntax sleep stretch something difference     Syntax stretch sleeping something happened different stones     Syntax happens different difference desert lagoon loch ness (The first matter of the stone is the very same with the first matter of all things)

Stones stack stones hack ben hinnom ghosts: ghosts haunt stones circular ruins     Ghosts hang stones circular ruins tigers jaw orgasm (I repeat the ghosts and stones stunted syntax)

I stay with stones Christina sculptures and effigies     Her archive speaks stone incomplete     I record incomplete Kindred fragments:

Has a good mouthfeel, says C.  Like my dick!  How would you know?  Your mom told me, I say.

I want to die, I say.  I’m thinking I’m going to jump off a bridge.  Our AC died, says C.  I also want to die.

Last night, he told me girls only like lullabies and boys like “hard rock and roll”, says C.  I played him Glassjaw like a good mom.  Teaching him about stereotypes.  I chose Pretty Lush because I forgot the titles of the songs.  He calls it the “horse song”, says C.  You’re a good mom, I say.

I’m going to be on a podcast maybe, I say.  Which one?  The Rebelcast.  It’s a Two Broke Watch Snobs adjacent podcast.  What will you talk about?  Watches and pens.  What makes it rebellious?  They cuss a lot, I say.

I archive an incomplete Christina; to archive a complete Christina (or even a complete Christina-Benjamin intersection) proves impossible but I maneuver these stones toward impossibility     Stones sail difference here: an incomplete archive at strata periodic incomplete apocalypse

I write the different stones here     Write here stones this difference now: book body without organs     My brain body without organs range and domain rockets rhizome     Christina ghosts and landscapes rocket stone depressions and I don’t write stones but on this difference     The difference proceeds luminous stones and numerous ghosts written opaque and obscure     I only record ghosts: I only archive hauntings, hauntologies, spectres, unfulfilled apocalypses     I archive occult obsessive / overlapping link to the past languages

I pulse something different or something else / I pulse pregnant stone and pregnant spirit woman shaman woman

I pulse something different different or something else and in dreams I walk with you.  In dreams I walk with Christina and we improvise over rhythm changes, bird blues, and coltrane changes.  I jam tenor saxophone multiphonics and she plays flute countermelody and song tone textures.  We play modes to add form to the free form and our improvisation conjures the dead and bebop combo, big band, and unorthodox combinations.  We jam mouth harp and tiger jaw orgasm and our music crescendos complete archive and compete apocalypse.

I pulse something different and something else     An else other also alto excess, a Christina specter else     An else stone other and Christina specter and spectator spins my coffin and falls in the same way     I pulse specter and corpse cross casket (Christina’s casket full of stones     My casket boiling body without organs)     I pulse spectator ghost spectacle cross pause stone casket / casket stone stations of the cross     Stone carry cross canyon crayon human cranium

Cranium khora cross khora     Carry cranium cave stone khora (Khora reaches me and as the name: her name     Christina Marie name Mara, her bitter Book and her bitter her b body without organs) (Khora reaches me and as her name: Asia Among Aphids and Asia Among Ant Colonies)     Her names arrive incomplete archive and incomplete apocalypse   a materialist name and name jazz june gloom improvisation

Her name comes: she immediately says more than her name     More than her name and names: material     Christina material and radically material: Christina dark matter and other forms of exotic matter   materiel apocalypse prima materia

I myth and material.  I match material to material and I make gospel of mark stones.  I myth moon matter and I quarry mother stones to construct the great pyramids of giza.  My myth murals magnolia Christina Marie and her bitter mara makes waters mist.  I measure body her stone crosses and post-and-lintel standing monoliths.  Material overlaps and mixes pyramids, neolithic monoliths, and Andy Warhol’s factory.  I mass produce stones stone ghosts Christina tombstones (tombstone hard and graveyard mine just 22 and I don’t mind dying).  I do not fear the factory but I machine matter and material.  I machine ben bodies from abyss with her names as stones.  Stones proliferate as churches and ghosts.

Any myths and stories you think we aren’t writing that we should write? I say.  I’m not sure, says Asia.  I don't think most people are intentionally making myths when they make them, she says.  That’s true, I say.  I think there’s value in being aware of the stories we are telling ourselves though.  Using your example of Christianity, many aren’t aware of the implications of a lot of Christianity they grow up with, like how it affects self-worth or our relationship with nature.  They just see it as immutable, a fact of life, not a story that can be changed.  We are often blind to our assumptions and frameworks, I say.  I don’t mean that someone should be unintentional, says Asia.  But someone might not see the full scope of it until alter.  Myth making is a collective thing after all, she says.  Collective in what way? I say.  As in, it doesn't become myth until it is shared and helps create and is created by others, she says.  I guess it’s possible for mythology to only exist for one person if it shapes the way they see the world but I understand mythology to be a shared thing, says Asia.  Does us participating in the Book count as shared myth? I say.  Like Jesus saying in the Gospel of Thomas:  Where there are three divine beings, they are divine; where there is two or one, I myself dwell with that person…  I think it does [count as myth], says Asia.

I make stone myth and ghost myth     Myths reflect mirrors crucifixions     Myths mirror myths and I keep the clay close choir cobwebs

I make wake maze myth and myth mine myth crucifixions     I kiss Christina crucifixions stone nails seven hills

I myth stone body full breasts, on which hands extend / her stomach extends central maps     Woman twins and derives death, and she feels life and death conjoined

I myth her stone an equal number of male and female skulls

Five Sturdy Leaves Surround The Rose

I raise up the cup of salvation: sieve substance   salve somewhere   human skeleton scientist     Salve signs gospel her snow shortfall and salve symposium     Salve signs shake calve halves glacier salvation    I raise the cup spell gospel sphere and I raise gospel graph god languages

I raise the cup of salvation: her sieve serpent swings team second serpent     Her sieve serpent slides hide gospel secret second gospels spare serpent     Second serpent salve calve Christina halves god glacier pressure flake serpents     I up cup serpent hermeneutics     I up cup clowns captive trickster Taryn up last supper     Cup up trickster Taryn up porn clusters (it’s tight jams and loose morals at the wildest whorehouse in the west!  CATHOUSE COWGIRLS)

I count the cup as a chair: I count the cup as a chair and a chain.  I count cups and I drink the cup as a hollowed cross.  I drink the cup as a barren body and her body pours blood bursts into my mouth.  Mouth machines matchlock moths months gunpowder and the month fires cup bullets of condensed blood.  I count the cup corpus hypercubus and Christina stands at the foot of the cross and hangs nailed crucified to the cross hypercube.  Cup pours into cup hypercube and klein bottle and mouth distorts intersecting dimensions.  I count the cup dimensions of desert distance dimensions.

I raise the cup of salvation and cup sheds Christina antlers saddle point     Raise the cup cusp cut punk salvation and Christina stripteases calve halve human skeletons     Cain rose up I raise the cup gospel of mark mark of cain: cain claims chain and wolf bridal chamber     Bridal chamber chews revolver chamber rhizome russian roulette and narrative ripens multidirectional

Salvation slices sieve     Salvation slice sieve heaven halves slice sieve     Christina shares sieve slice signs gospel

I sight salvation sheets of sound.  Sound stabs with tuttis and gruppetti, and divergent groups of gospels network narratives.  I sight many narratives and gospel experiments experiments prophetic sound.  I sound prophecy and I prophesy experiment gospel and experiment salvation.  Salvation with sight laces lattice double blood and black lace: narrative bodies and mythic bodies fully participating in sounds slide silences liminal musics.  I sight salvation sheets of sound.

I think part of the myth of the Book is the act of tearing apart the myths that made us and recreating them, says Asia.  Yes, I say.  The Book tears apart hierarchies, exclusivity, othering people, violence… And it takes the myths of the Bible and subverts them and recreates them into anarchy and inclusivity, I say.

Salvation sheets of sound clusters terror Taryn irreversible trace (Taryn terror trine trace taste last supper     Taryn climb trine time counterpoint pocket: pickpocket augmented Taryn triads) (Triad terror sticks three Taryn tree bodies     Taryn terror and awe reconstructs the Pythagorean cosmos according to the plane of the octave)

I raise the cup of salvation and five sturdy leaves surround the rose: these five leaves salvation     These five leaves sight weight her salvation: shape her shape sheets of sound     Five sturdy leaves sight light height harsh horror expressed harsh noise (I experiment leaf noise     I experiment shelf noise) (I raise the cup of salvation and shelf noise wail distortion body undifferentiated desert) (I raise the cup of salvation and a surface of stratification is a more compact plane of consistency lying between two layers)

Five sturdy leaves lies between two layers and they line pairs wolf pack snow / secret gospel avalanche

Five sturdy leaves surround the rose and I raise up cain a gospel towards the fields

I like the new direction, says Asia.  I think it’s a smoother read when you mix up the mediums a bit like you have. I’ll be on the lookout for more anarchist narrative for you.  I think narrative does a beautiful job of building symbolism through imagery that’s hard to get with other forms of writing.  I think people think of narrative and poetry and figurative language as separate things and that does everyone a disservice.  Narrative can set the stage, add context and depth to it, bring it to life.  A metaphor can say “it is” but turn it into a narrative and you can show us.  This isn't really can example of anarchic narrative but an example of an in-depth metaphor in a narrative: there is this book that really stuck with me called H Is For Hawk, where a woman who is grieving the death of her father gets a hawk and tames it.  Part of the hawk taming process is to seclude yourself with the hawk.  So she isolates herself, just her and this giant bird of prey.  As the hawk becomes more tame, she becomes more feral and there is something powerful about the imagery because she could have just waxed poetic about the sadness and weariness of grief and she turned it into something wild – untamed – animal –  something that changes us.  And she was just didn’t tell us, she shows us exactly what it can looks like, says Asia.

I raise the cup of salvation as new myth and five study leaves surround the rose new narrative.  I always know rose as rosary, and rosary reveals sea of reeds reveals ark of the covenant.  Rose and rosary ring exile and exodus cup earth ground salvation.  I walk the ground narrative and I rinse in the river myth.  Narrative speaks into the rose salvation and the leaves make good eating.  I eat leaves light and life and I walk on sea of galilee ground myth.

Five sturdy leaves surround the rose: these five called salvation     These five salvation name the gate five gates

Leaves name the leaves five leaves: gates name the gates five gates.  My five fingers grasp five gates and I open the hinge hinge Alice’s Adventures Underground.  I pass through five simultaneous gates with absurd same and romantic chess tactics.  Names transform with numbers: Christina names me multiple bens between pairs of strata.  The repetition of names repeat difference onto numbers: Ben Gate calls Ben Five Gates and gates open radical rose.  Five gates open mystical five roses rhizomes.

Five gates graffiti gruppen ben flesh the mechanical roughness of the surface     Five gates grapple ben body gardener blue pomegranate: pearl pomegranate plays actual substance through which the picture is made

I paint pomegranate pictures: I paint pictures projected through five gates     I improvise ink impasto incarnation sharp chiaroscuro cross     Cross scratches and carves pigments

I paint pomegranate pictures accent pink pigments     I paint isolated pink and my feral flesh flank hawk flirt animal     Pink all animal and all gates gate five gates chiaroscuro     I see one drop of crocodile meditating     I see different death dark dream dream down crocodile teeth     Crocodile accuse death accents ben skin stretch cut staccato (funk sting staccato stations of the cross)     I see the kiss of my shadow sex crocodile crown chasm     I kiss schism ben skin shadow five gates alligator but the pink crocodile shreds workshed among scissors / my eyes slice rectangular salamanders     A drip of cross lizard leers into my eye dandelions

I eye crocodile the chair of the cross.  I carry the cross covered in crocodile skin.  I wear the cross and a covert boot or batman utility belt.  I eye a drop of crocodile extends the cross judas seat and iron maiden.  No one expects the inquisition.  I carry the cross as a child of humanity: I carry the cross recorded onto a cassette tape.  I record the cross onto magnetic tape and it reads boombox wocket in my pocket.  I kiss the cross crocodile Christina and she chews my hand clean captain hook.

A drop cross lizard leers into my eye dandelions     Dandelions press pomegranates and their pigment blossoms five sturdy leaves     Dandelion pomegranate gleans coast grasswork work cross crocodile wheel     Pigment ply pigment canvas twisted damascus / crushed dandelion     A pale pigment palm death pig destroyer / Taryn Trickster terrorizer

I would like to write some narratives about you being different insects or different legendary creatures, I say.  I’m down with that, says Asia.  Do you have any insects or creatures you want me to write you as?  No, I want you to decide, says Asia.  You borrow heavily from other sources and that’s good, and you do good work with the things you collect, but something tells that you could do a little more to draw from the inner wells of Ben and that has been neglected some.  I think this narrative experiment is drawing it out of you a bit though, she says.  That’s an interesting point and I think you’re right, I say.  You want to draw from the inner wells of ben in writing you?  In writing in general, says Asia.  I always worry about writing you incorrectly or in a way that doesn't represent you, so I check with you a lot… I will draw from the inner wells of ben on writing in general and in writing our friendship too.  I will still check with you on ideas to make sure you’re OK with it and give you feedback I say.  That's fine with me, says Asia.

Dandelion drips dross dandelion Christina: dandelion drips crocodile Christina rope roses     I weave dandelions into my hair and my braids blossom crucified blonde Christina.  I wear Christina a dandelion bow in a messy bun and her crucifixion drips cup blood stains my skull.  I wear her worship bright red, the cutting tooth of lions.  The lion mane merges with the membrane of my scalp and my eyes direct miniature crucifixions: dandelion dollhouse crucifixions.

I crush dandelions to make color butter pigment and I scatter lion leaves crucifixions (to wonder why a given work, a given brushstroke, appears in one canvas and not the other) (Why one particular text appears on one page and not the other / Because I encounter one text one this page and another text on another page; however I try to write a total heterogeneous text sprawled like the inflation of the universe, so I may disrupt my sense of chronological time: to let the CHRONOS cut cave mouth khora a prophetic time and time medium conversing with other time animals and spirits)

To produce five sturdy leaves surrounding the rose.  These five called salvation, they the five gates.  Concerning this mystery, it is written: I raise up the cup of salvation (I lift up the cup of salvation and call on the name YHVH; I will pay my vows to YHVH in the presence of all his people; precious in the sight of YHVH, the death of his faithful ones) (My death bulldozes god dreaming     My death dissolves all intervals on the continuum, a claptrap death monody and monorhythm / the principle of variation provides the unifying factor)

My death deserts my death / death possibly a boat     My body boats death blood vapor and bone vapor     Black bone vapor death dream or something masked as a dream     Dream duplicated desert cup: chariot chalice stations of the cross     Chariot chalice cupped crucifixion or common crucified copy

(I was talking to Christina yesterday and got on the topic of Kendrick Lamar’s To Pimp A Butterfly.  Have you heard the record?… I listened to it again afterward and I felt like I am never going to be able to create writing as great as that record.  I felt very discouraged.  That's when I wrote you the prophecy stuff:  “I hope I create.  I hope I pray something radically flat and radically open…” because I felt creatively inadequate.  I feel I can’t prophesy to the extent I need to, I say.  Why would listening to an album make you feel like you can’t create? says Asia.  You aren’t Kendrick Lamar.  You aren’t making albums.  You are Ben and you create as Ben.  You will never be Kendrick and Kendrick will never be Ben and that’s OK, she says.  I know, but I feel the way the themes and techniques used in that album – the creative techniques – outstrip what I can do with my creative techniques.  I’m not doing enough creatively.  I have to put in more work.  Even then it might not be enough.  No, stop thinking like that, says Asia.  It’s not about more work – stop using this as an opportunity to punish yourself.  Find the direction you want to go in, what you want to get across and then shift your technique accordingly, she says.)

(I move in both directions at once / I machine multidirectional multiplicities     I work myth, narrative, and vision into the kingdom of KRYSXTRYN + Asia Among Aphids     I work anarchic creative flat open     Asia participates and helps me discover this anarchic multidirectional)

(Talking about To Pimp A Butterfly really depressed me, I say.  It made me feel like I’m never going to make work that great.  Oh, I see, says Christina.  It’s a great piece of work.  Lots of people make great pieces of work though.  Except me, I say.  Why do you discount yourself?  What changed when you see someone else’s work?  I can’t make something as great.  I recognize a greatness I don’t recognize in myself.  What do you think he thought as he was struggling writing the album? says C.  How many times did he almost trash the whole thing?  How much was left on the cutting room floor? Says Christina.)

To produce five sturdy leaves surrounding the rose.  These five are called salvation; they are five gates.  Concerning this mystery it is written:  I raise up the cup of salvation.  This is the cup of blessing, which should rest on five fingers – and mo more – like the rose, sitting on five sturdy leaves, paradigm of five fingers.  This rose is the cup of blessing.

Rose shows slow rose     Rose snows slow rose (longitudinal section through a developing rose hip)     Rose snows most rose rhizome (a new rhizome forms in the heart of the tree, the hollows of a rose, the crook of a branch)     Rose saws snow sleep: snow word show languages lamp lights lights lips     Rose bows black body lagoon legume leg room (rose show windows     rose snow kingdoms)

Her rose exposes shadows.  I stay shade suicides.  Her rose reveals neon fun from rear strawberries but I dwell dark lack luck suicides.  I never die.  I die many times but her rose revives me I go ghosts.  Her rose resurrects surreal sex again suicides.  I never die.  I die many bens and many bodies burst red balloon pop goes the weasel bodies.  I desire death.  I drive death towards her desert and dandelions, and blessed the lion that eats the human one and the lion lives human.  The lion lure anglerfish light and I strive a romantic suicide but her rose remembers me.  I realize her rose as a raw meat resurrection of Christ: rose exposes bone, rose exposed tendon.  A saber-toothed Taryn chomps ben bone feldspar and machine dream mica.  She spits out my eye, and my eye planted in earth extracts or transmutates rose and roses.  I remember her rose and my many resurrections.

A drop cross lizard leers into my eye dandelions / lions lick my eyes new-formed roses     I rest on rose and I caress Christina crocodile crooked syntax     Crook syntax crystal scale scale mail     Snail mail scale syntax sled crystal crocodiles     Syntax kiss Christina dirt of shadows shadow widow wire wedding     I caress Christina crocodile my kiss strays strange weddings     I wed crocodile Christina catchweight kisses kiss contact improvisation     Charge crocodile change crypt strip syntax     Charge crocodile classical keystone critical hit (I sift through sculpture tongue cannon) (I sift strange strawberry ball bearings and I roll bas relief and comic relief) (Syntax rolls roll gain special effects affects step hex steppe syntax axe)     Crocodile bit death cap sap colored planes constituted only through reflections and mirrorings

I return to her rose.  I return to her rose rhizome and circular ruins, but the rose repeats pure repetition.  Rose repeats distilled water watch word.  I return to her rose sheol and ben hinnom: my grave which shares the grave of god.  I remember her rose circular ruins and circular saw and her rose cuts my body half halves halves body variations of zeno’s paradox.

Crocodile Christina bites death cap gap sap displaces through reflections and mirrorings     Reflections mirror crucifixions / keep the clay close choir cobwebs (And to kiss your pure thighs    Raw rose Krystal sediment of the sun)

I dream her rose: her rose diverges multidirectional rhizome     My death dreams different PKDs     

I dream her rose:  her rose runs desert dandelion multidirectional. I dream Philip K. Dick and my dreams meet his dreams     My hypnagogic voice meets his hypnagogic voice and Christina sisters us both.  I write this Exegesis (What is this book but another variation of the Exegesis of Philip K. Dick?  What is this Book but a flipped Bible and a negative Zohar?  Subversion is the very movement of writing: the movement is death).  My death dreams different Philip K. Dicks and I live some lives of PKD.  I contain the soul sparks of PKD and Sabbatai Sevi.

I dream this cup of blessing which rests on five fingers and no more – like her rose, sitting on five sturdy leaves     Her rose canons cup of blessing

I Tell Myth Ghosts And Myth Fragments

I go ghosts or ghastly grinner     Grin ghosts gothic romance string stone go slow motion     Motion ghosts mimed media cinema / ghosts paint tape print pink spirit     Speak soft ghosts slush film     I go ghosts or ghastly grinner grand guinol

I go ghosts do happens desert     Go ghosts gout old english alliterative verse / beowulf body without organs     Ghosts surface ben body stone / a surface of stratification is a more compact plane of consistency lying between two layers     Ghosts surface watercolour washing machine / machine ghosts gashes gnashing of teeth     I gnash teeth ghosts constant surfaces swerve outer darkness

I gash dark and gnash dark familiar Christian ghosts

Gash dark gush blood rush ration rhizome: rhizome dark constant insistent surfaces

Ghost stories and urban legends fascinate me: they sometimes frighten me wonderfully.  I’ve never told stories around the campfire but I dream myself around the campfire and I mimic jump stories from the collection Scary Stories To Tell In the Dark.  Ghost stories pervade waking life and dreaming life and I wake to sleep and take my waking slow.  I wake to sleep ghosts inside and ghosts outside, and every ghost speaks stories.  I know and tell stories, myth ghosts, and ghost fragments.

I would like to talk about mythology, says Asia.  The myths that are a part of religions and how they shape worldviews.  Many of the stories in the Bible are treated like and function as mythology.  I’m going to be mostly talking about the creation story.  God makes the earth, the animals, the plants, the sky, then makes Adam.  Adam gets lonely, God makes Eve, God tells the humans not to eat from the Tree of Knowledge, the serpent tricks Eve and God banishes Adam and Eve and curses them.  This myth shaped the way Christian societies viewed the world and women.  Yesterday, I started reading a book called Braiding Sweet Grass and it starts off with the native origin myth.  Sky Woman grabbed fruits and seeds from the tree of life as she was falling.  She fell to the earth, was rescued by geese, other animals came to her aide, pulling mud from the bottom of the water and putting it on the turtle’s back.  Sky Woman dances with joy and her joy multiplied the dirt.  She planted the fruit and seeds that she carried with her and she consecrated the earth with other living things.  I had to put the book down and grieve the impact of the mythology that raised me.  All of the guilt and shame.  Being told that I was inherently gullible and naive because I was a woman and Eve was tricked.  Told that we should have dominion over the living things around us.  The stories we tell are powerful.  They literally shape the world around us… How do you reconcile this?  What does a nonviolent Christianity do about violent myths? says Asia.  I was thinking of several texts from the Nag Hammadi Codex that reinterprets the Genesis myths, I say.  In the Apocryphon of John, The Nature of the Rulers, and a couple others, the Woman shows the Man his true nature and gnosis.  The serpent is either Zoe, a woman, or Jesus himself.  The myths of the Bible are myths of human nature and human history.  Its violence is human violence, not Christ.  It reveals ourselves at our worst, I say.  Funny how they seem to give god the same nature in those early myths, says Asia.  I kind of have a theory that those myths are created by and perpetuated by man’s self-hatred.  I think there is something about Christianity that is very open to preconceived negative thought patterns.  I don’t think Christianity was intentionally designed to be oppressive, I think it was shaped that way by our hatred for ourselves.  My brain was like “hmm yes, I am inherently unworthy of love” and turned that into my own personal gospel.  You can’t convince me that the dogma of “humans are inherently evil” was created by a people that didn’t hate themselves.  Because that means that they believe they were born evil and sinful too, says Asia.  I’m experiencing that now, I say.  You know I struggle with my value.  It’s very possible that has roots in me growing up in a fundamentalist church, I say.  I think it’s a bit of an ouroboros situation or a “What came first? The chicken or the egg?” situation, says Asia.  Like a feedback loop, I say.  Exactly.  How did you break out of it?  There are probably multiple ways to do it but I took a step back and started untangling things, says Asia.  I eventually realized that the feelings of being unworthy were older than when I started going to church.  Then worked to untangle that from the religious beliefs that reinforced it.  But the problem still remains that there are core beliefs and teachings in contemporary Christianity that can be dangerous for people already in those kind of feedback loops and encourage them.  I don’t really know how to reconcile that.  You would have to change those beliefs and myths entirely, says Asia.

I go ghosts or ghastly grinner stones and myths     I make myths ghost mineral mingled matrix myth inclusion     Myth occludes and includes ghost incisors

I go ghosts mythopoetic language and bard body without organs     I bard archaic human throne ancient of ancients

Go ghosts game myth grow body mechanical     Ghosts go gave glow gold myth body mathematics   (holy ghost determines a Christ calculus) (holy spirit solves church systems of differential equations)     Go ghosts go gala genealogies / holy spirit compact surface to surface     Ghosts surface urban decay / desert surface and stratification     Gall ghosts jump go sprawl dead mall body mechanical / Christ in the claw machine

It might be a thematic idea or a purely structural idea with its main pivots: a big time span, with departure and arrival points but you don’t know what’s between them, says Peter Maxwell Davies

I depart ghosts and I arrive ghosts     I depart ghosts desert destruction and I arrive ghosts spectres of marx     Ghosts point punctuates aporia or punch pornography   (Ghosts too flap phallus pornographic     I create my mates out of my members and members machine god body nude     I machine member membrane m-theory branes / multiverse plow phallus     Multiverse ox phallus phylum needle nose pliers     Multiverse phallus tool steel field flesh for habitation / wooden crate word Christina in nameless territory     Nameless territory phallic wavelength / secrets of mammets your straight spurt)

I go pornographic ghosts (she was not only good for her patients… she was good to them   NURSE CAROLYN   An intimate peek into the extracurricular duties of a very private nurse)

I go private pornographies graph nude ghosts (men – and women – tried to give Candy the love she craved, but somehow it was never enough  INSATIABLE)

I depart ghosts and I arrive ghosts: a spirit cunt and a spirit phallus     Ghosts depart and arrive exotic earth, nude occlusions that strive to seize whatever they realm

I depart ghosts to the always-erotic desert.  Ghosts swarm over and across the desert, each spirit a story.  I nomad desert nameless territory and ghosts tell me their stories.  I tell stories and to prophesy means to tell stories and knit net narratives.  I build a campfire in the night of desert, and ghosts gather to send and receive stories.  Stories change and exchange earth into earth.


Ghosts theater themes and idee fixes     I inhabit many idee fixes including the ghost-rampant desert, ghost-rampant Christianities and ghost-rampant women     Taryn teeming with ghosts task theme theater and field fire idee fixe

Anthony Braxton gathers his ghost trance music ensemble, turns over the hour long hourglass, and the performance goes

I too improvise ghosts     I go ghost performance, the passion plays and soap opera passions of the desert theater     I improvise ghost departure accelerating and decelerating     I improvise ghost gore arrival (no one is safe… from this deadly vampire!!  A ravishing psycho-fiend with the diabolical power to turn into a giant deathshead moth who feasts on the blood her lovers before clawing them to death!  In frenzied color   THE VAMPIRE-BEAST CRAVES BLOOD)     I improvise ghost gore transparent blood transparent banishing circle     Circle bloody ghosts cloak desert guts god ensemble     Her ensemble surrounds human corpses animate acceleration and deceleration

I improvise Book ghosts primeval giants (subversion is the very movement of writing: the very movement of death)

More death: play compact heart attack     Play compact heart attack / libertine fuck infarction     (a more compact plane of consistency lying between two layers)     Play compact ghosts I’m just walking around your city is a wonder town     Play needlenose plier repetition / phallus phylum needle nose pliers porno experiments     Play pries ghost pli selon pli plane visions and ghost Cleopatra the Physician visits video valley     Cleopatra the Alchemist seizes my brain blood alembic / compact heart attack chrysopoeia     (compact plane of consistent chryspoeia lying between layers)

Subversion is the very movement of writing: the movement of death     Writing inverts serpents inverted serpents     Invert ghostlike like seep serpentcoach     Ghostlike line seat serpentcoach     Ghostlike seat sent serpentcoach cryptogram graph girl giants     Seep invert spirit serpentcoach granite glyph sacrifice of young girls / girls granite graphite glow goal     Invert serpent coal climb abyss / bay of blood bottomless pit

I birth blood and ghosts birth blood bird lawnmower.  I work the blood methodically and patiently.  I birth bloody writing a patient spider crawling.  I birth blood book ghost book and the blood of dead drive ride writing.  I notice the books and the bloods overlap.  The organs of the Book overlap and intersect Asia serpent insects.  I invert insects and mothlights lurk campfires.  I copy the campfire and I birth bloody campfire.  I copy caravans and creations.

I copy campfire caravans   campfire crab canons   campfire creations     I copy inverted creation canals and chaos terrain

I copy serpentcoach scripture     I copy ghost scripture written rhizome (the written page an unknown mirror: to write confronts an unknown face) (my face remains unknown to my face) (my face reminds my face unknown) (my face arrives ghost writing and spirit pages automatic apocalypse)

Are there myths you find useful now? I say.  Stories you tell, live, and remember.  I’m not sure, but I should probably start being more intentional about collecting them, says Asia.

I collect myths and stories and the Book only consists of found myths, sometimes serpent-inverted     I steep street stretch music serpentcoach kabbalist     I graffiti lurianic kabbalah strides stripe serpent logia (I record various serpent logia:  He who is near me is near the fire, and he who is far from me is far from the kingdom)     I write additional rope rope rhizome flying serpents     rhizome rope poke serpents smoke celluloid snake kiss     I keep the sabbath with her serpents

The Book I am writing is a myth I am creating for myself, I say.  You are part of that myth.  You participate in helping me create stories I tell about myself and we tell about our friendship.  The unconditional care we have for each other and are pursuing, our respective creativities that diverge and combine: that’s the myths you were talking about, to break out of the violence to self and the violence of the world, I say.  Myth making is the most sacred things someone can do, says Asia.  I think that's true, I say.  Do you remember when I said that our friendship does god activity?  I think myth-making is also god-activity, I say.

I keep the sabbath with her serpents and serpents kiss and invert myth     I keep the Sabbath with Ghost Christina and Ghost Christianity and I prophesy to their coptic crypt     Serpents saturate the crypt     Serpents slow crypt cloud of unknowing / I know her name unknown via negativa     Via negativa varies ghost vision desert up the black ray memory     Her serpents sleeve memory selves sleeves stop-motion median paint mixtures     Serpent stray ray myth modulations

I steep myth stretch music: I sleep myth serpentcoach kabbalists 

To produce five sturdy leaves surrounding the rose.  These five called salvation: they are the five gates.  Concerning this mystery it is written:  I raise the cup of salvation.  This is the cup of salvation, which should rest on five fingers – and no more – like a rose sitting on five sturdy leaves, paradigm of five fingers.  This is the cup of blessing.

Whenever I feel slightly egotistical about my creative work, this Book and Myth, I read the Zohar and become quickly humbled.  Moses De Leon (and the precursors he built off of and the kabbalists who followed and expanded upon the Zohar) wrote the desert dense beauty body without organs.  I aspire to write this undifferentiated desert myth, this infinite machine-assemble myth and myths.  The Zohar continually reveals grandleon revelation and grand guinol ghost gore, and I copy its monstrous grotesque.  I copy its prophetic and punch talon theater revelation, and its hermeneutic and hermetic flame never diminishes.

I raise the cup of salvation: sieve large human skeletons     Serpent savle calve halves glacier salvation     Salve sifts book of sand halves glacial horror / grotesque gods     Cup clowns Taryn trickster torture porn cluster terror (Taryn terror trine counterpoint augmented aporia) (aporia terror / reconstruction of the Pythagorean cosmos according to the plane of the octave)     Cup calves Taryn glacier pornographies (nightmare thrills beyond belief!  The mammoth monster that terrorizes the earth!  MONSTER FROM GREEN HELL    Today it’s destroying Africa… Tomorrow the world!  Man-eating lions!  Stampeding elephants?  Razor-jawed crocodiles!  Screaming savages! … All powerless against the marauding unknown monster that crushes all before it!)

What myths do you think we are creating together? I say.  Like what specific stories do you think we tell about each other, our friendship, and the world?  Share yours first and I’ll think about mine, says Asia.  The story of the Book first of all is a story of Ben and his relationships, I say.  It began with his relationship with Christina, then with Taryn, and now with Asia.  Specifically concerning our friendship: it is a story of recognizing harm and destruction, surviving and growing despite the difficulties and obstacles, and now our pursuit of the unconditional.  Our friendship is a myth of perseverance, unconditional care, growth, and also the power of creativity.  It is about overcoming previous constraints (confining religion, mental illness, emotional abuse and manipulation) and becoming healthy, loving, open, inclusive, creative.  We were previously caterpillars and we underwent metamorphosis and are butterflies and moths.  Our creativity is a myth of new spirituality: one without violence, without destructive gods and creeds.  It is anarchic spirituality and a kingdom of the now, without hierarchy.  This again is part of the unconditional, our pursuit and practice of unconditional care and agape run throughout friendship, creativity, and work on the Book, I say.  I agree with the ones you listed so far, says Asia.

I Wrestle Gods The Inconsistency Principle

You could be thinking of something entirely different and then tune into the process that’s going on somewhere, says Peter Maxwell Davies     I think of something and the something sinks into difference something tunes tine time tunes difference desert microtones and oscillations

The inconsistency principle     The inconsistency principle plays palimpsest     The inconsistency principle pulses pink palimpsest inconsistency imposed inconsistency     I play inconsistency and I prepare the palimpsest in overlapping pulse participations     I participate in inconsistent myth and I myth palimpsest participation     I act as an inconsistent sorcerer and sorcerer dark subverts masquerade movement     I move palimpsest ragtime serpentine syncopation     Inconsistent sorcerer saw subvert terrain vain vein venous venom fissure     Terrain plain pink temporary terrain but I sleep inconsistency     I tighten titan titanium inconsistent torture garden

(Here on or now new terrain rain helium: I crosshatch helium hectic hydrogen     I crossbeam helium novella novena / I subvert terrain retail remains)

I write subvert remains terrain     I write inconsistent rhizome inconsistent (are these sections considered transitions   emphasize repetition   look closely at the most interesting details and amplify them)      I crossbeam back steel in the hour of chaos / to write means to confront an unknown face

Terrain traces rhizomes and I traverse the rhizomic terrain.  I travel terrain circular ruins and the ruins appear as new difference with every glance: every glance gleams the rock corpses of god.  I travel rhizome rapid rough rhythm as Christina’s dreaming.  Christina dreams me and I’m only a sort of thing in her dream.  She dreams rocky rhizomes that rival my writing pink plateau.  Plateaus palace rhizomes and I journey their palimpsests.

You could be thinking of something entirely different and then tune into that process that’s going on somewhere, says Peter Maxwell Davies     I think something and something sinks into difference     Something tunes dialogic detunes difference desert microtones and oscillations     I tune into desert process and write erosion     Write tune dune dime noels process demon possession     My process goes nowhere but desert

An inconsistent desert directs desert dominant sevenths     An inconsistent desert details four-part counterpoint in a chorale coral Christianities     I discover the Christian desert daylight Christianities coupled rhizome and palimpsest     Desert diameter disclosed the Christian desert inconsistent and multiple

I tune into an inconsistent desert process and I write inconsistent erosion     Erosion doesn't erase but coalesces chronologies and christianities / Christina dreams circular ruins     Erosion invades its own erosion but explodes earth rhizome elemental air fires

I continue to drink and dream Christina’s inconsistent desert.  Desert diodes collide and spark pink plateaus and pink palimpsests.  Palimpsest drones Christina desert overtones.  Overtones dot deserts and the daemons dust taryn tasmanian devils.  Christina as devil tempts me in deserts and her erosions unearth immediate Kingdoms: Kingdoms draw drawl additional deserts.

I tune into desert process punk palimpsest and I witness elephant erosion   (I who died dreaming of an elephant     I who died dreaming the elephant elephant     Elephant erode et aleph specter on cipher: cipher grey on grey granite cipher   cipher grey on grey Christina garden god   cipher grey on grey griffin garbed god / god becomes garbed in my tongues KING FELIX)

I turn into the desert process cipher KING FELIX and palimpsest KING FELIX     Write tune dune dime novel process inconsistent demon possession (and the unclean spirits came down and entered the swine, and the herd, numbering about two thousand, stampeded down the steep bank into the sea and were drowned into the sea)     My processes go nowhere but desert / my desert drive and drown in sea     My processes go nowhere but scherzo insect wings northwest wing     Insects inject entirely different tonality diamonds   tonal torsion twist and shout taryn insects (I’m about to send you a bug that looks like a bottle of goth nail polish, says Asia.  I’m wheezing, why is he shaped like that?  Goofy hot topic shopping ass, she says.  He’s been working out that badonkadonk, I say.)

I talk of entirely different insects     I talk of entirely different dung beetles fire deluge of the desert     The Christina desert detours and defers desert difference inverted dome stations of the cross     Stations of the cross crosshatch Christina dreaming and Christina desert difference / subterranean univocality

Subterranean desert inhabits dream elephants: aleph elephants habitation, wooden create in wheels territory   territory lacunae loop Taryn elephant     Elephant infers difference hangman helios / It is Re who created his names out of his members

Subversion is the very movement of writing: the very movement of death     I write towards a death and I writes towards my death     I write lengthy death personal letters procedural laboratory     I look at no mirror but my face earth erosion     My face laps lime stone cool clash karst     Face karst clash klang no mirror but mirror awl apparition emphasize repetitions     I urge an actual earth repetition no mirror     I urge earth erode emergent repetitions     I urge use repetitions unify ark invisible mirror marauder mirrors     Use word urge bare blue nodes now where driven mad the sea

I move through many mirrors.  I move through mirrors plenitude and pleroma and my meditation on mirrors reveals more mirrors.  Mirrors intermingle mirrors and I see through a glass darkly.  I gaze through a glass darkly and I focus through a mirror dimly and soon face to face: face to face with Christina.  I charge Christina through mirrors and she evades ghost in mirror swinging mirror to mirror the evolution of great apes (living in the forests, more or less sheltered from the light of the sun, sometimes in the darkness of the cellar, clumsily surging from one branch to another, apes are destined by a certain mode of life to never-composed agitation, Georges Bataille tells me in a mirrored desert dream).  I chase Christina into mirrored rooms like the climax of Enter The Dragon, and her mirrors bewilder dark, my face full erosion.  I remember her face as a transparent mirror: a speculum that doesn’t shine on its own and like a lantern absorbing light and glowing.

Subversion moves very death and very palimpsest: I live very desert death     I write towards a desert death and I write towards my very desert     I write very rhizome length death desert durations and I sing death letter blues procedural archaeology     I look at no mirror swans reflecting elephants and I emerge elephant aleph taryn ass alphabets     I emerge faces converge Christina of mysteries / desert Christianities secret subterranean     I face subterranean the subverted face: Christina’s mouth gnaws body without organs claws maws ben bodies (My face facets lap bar limestone cool clash karst     My face feelers karst clash klang no mirror but mirror awl apparition emphasize repetitions     I urge surge saw in earth repetition no speculum     I urge surge earth erode faces and faces emergent repetitions     Rhizome urge use repetitions unify ark speculum species speculum     Rhizome use word pink plateau nudes now where drive mad sea

If god came to me in a vision and said to me, the truth is the SDA church, I say, I’d say fuck you god, and we would wrestle like Jacob did, and I would submit him and wouldn’t let him go until he became inclusive and radically loving, I say.  One thing that made me curious about the Unitarian Universalism, says Asia, was a UU pastor saying “Humans don't have to prove themselves to God, God has to prove himself to humans.”  I’m paraphrasing but that was the first time I heard anyone say that God has to be held accountable, she says.  

I wrestle gods     I wrestle gods rhizome riot process pink beat body without organs     Wrestle rhizome ruin a scanner darkly     Wrestle dark desert god I go ghosts or ghastly grinner     Wrestle process I go ghosts gout old english alliterative verse     Dark gall wrestle ghost grip jump ghost gunshots

It might be a thematic idea or a purely structural idea with its pivots: a big time span, with departure points and arrival points, but you don’t know what’s between them, says Peter Maxwell Davies

Anthony Braxton gathers his ghosts trance music ensemble, turns over the hour-long hourglass and the performance goes

I too improvise ghosts     I improvise ghosts accelerating and decelerating     I improvise ghost gore / transparent blood transparent banishing circle     I improvise book ghosts primeval giants (subversion improvises the very movement of writing: it improvises the very movement of death)

It might be a thematic idea or a purely structural idea.  The theme throws the theme Christina cornerstone and stone stacks themes.  Theme stacks theme stone and the stonehenge stands stonehenge.  Theme timber and timbre sounds Christina tetragrammaton and her names make the myth machine theme.  I see the machine there in dream and the dream dives themes.

It might be a thematic idea or a purely structural idea.  I trade theme for theme and I insist on an inconsistent theme tissues palimpsest (the theme always means Christina) (The theme always means Kindred)     I wrestle with the theme god theater tetragrammaton

I wrestle gods the inconsistency principle     I wrestle the inconsistent Christina, and I write towards a death and my death     I oscillate microtonal death and desert Christianity and the Christianities queue catacombs cataract ben hinnom body without organs

The theme god and the theme death wrestles inconsistency