Repetition reveals Book repetition Repetition reveals Book repetition rhizome repetition: ben body repeated as minimalist modular waits Ben body repeats postminimalist modular units / language scale late Morton Feldman pieces
Rhizome repeats Book rhizome and I play jazz long melody / I repeat the melodic desert fragment I repeat desert melody machine rhizome and rhizome repeats rhizome real apocalypse I repeat apocalypse what way names applied to things I repeat her names trembling hold manner of variation and shift I repeat sly shift tempo changes: shift nasum grindcore viscera hang by tactile and auditory cuts
Repetition reveals me her you dreamed before and before dream, God Before I dream here her, woman Is here her you dreamed before the very dreams and it condensates dancing complete droplets I dance repetitive desert incomplete rain: her rain couples droplet detective stories Is her red dream repeat her red herring detective stories In one desert disguised as a garden, I dream dim rain I dreamed before the most real dream and I rotate murky hands beyond the bull fight I dream before the most real dream, the dream dropkick taryn titans and I stone yellow keys behind the light
I repeat real dream and real desert (real flesh death real and eternal)
I Discover In The Desert Repetition
Jesus said, Let one who seeks not stop seeking until that person finds: and upon finding, the person will be disturbed, will be astonished; and will reign over the entirety
The gospel disturbs me Gospel disturbs me desert barren body without organs Gospel defers desert doubled body desert and I search desert as open labyrinth Labyrinth expands light light extensions tone clusters A cluster desert colony / gospel gulf monastery
Gospel dispels rhythm desert dense desert: desert oar double syncopation
I syncopate gospels the guts the first number split one and two Gospel sift guts first number tetragrammaton
This is the first number and this two which appears to separate me unites and rewrites me subterranean: subterranean holy spirit Underground holy ghost grapples ben hinnom light lacunae and my body barters bone gospel manuscripts
This is the first number and I search holy ghost underground underneath Now I search underneath female fermata: taryn fermata tetragrammaton Her name assigns the first number prime primal prima materia Her names assign numbers to waters and waters swerve words wind wild her wilderness Her name numbers wild from first to last: she lights the lights wild alpha and omega
This first number knows unknown fires: first fires within fires faster fire Her fire fishes numbers south her number wild evening Her fires fish names and numbers flat body crucifixions I toward south firefly set the fore on fire Toward south cave mouth oil fire south motor
This first number fished field female her run into the train beat out the flame
Her names run into the train beat out the flames fish tone cluster fields I word wordless wild clusters I word monstrous clusters south sun her cave names I word wordless vocal tone clusters seed out through the skeletal arrangements of viola, celeste, and percussion
This two which appears to separate me from her unites me with her fire underneath Underneath her south mouth cosmic cave pulp (THE STARS LIKE DUST A cataclysm of interplanetary terrorism: the stakes were death, or the end of the galaxy)
I think of Asia’s critique how the Book exists at times without structure and cohesion and I experiment with several processes – developing variations and developing deserts – and I discover in the desert repetition and anarchic structure I experiment in a repeated desert developing variations and its iterative apocalypse reveals an anarchic structure and an ontologically flat structure I experiment fire grain nonhierarchical structure and a haunted structure without hegemony I experiment a weak structure with an impossible passion for the cross, for human body, for the animal sacrifice, for the body golgotha I simplify the passionate sound of the lamb with tone clusters (behold the lamb of god who takes away the sins of the world) I experiment and repeat a spiritual anarchy and I name this experiment for Asia Rhizome
When he sensed that a piece needed an introduction or an ending, a new direction or fresh material, he would call for a space chord, a collectively improvised tone cluster at high volume which would suggest a new melody, maybe a rhythm…
This is the first number: two the first number now tone clusters haunted architecture Two brutalist buildings double human bodies: Thomas the Twin, compassion of Jesus Two turntable tone clusters clot Taryn thrust through ghosts ghost blood compact pac-man bone (Building up the arpeggios, he could create eddies of noise on the keyboard)
Tomas the Twin or Taryn the Twin cluster two tier terra topos rain Two rain Taryn wordshed shudder shade rain
Gospel disturbs desert rainwork slit sailing stones and I draw stone astonished gospel I draw oval agon gospel stone I raw stone oval again red pink oil open ocean I gospel oval red orange on pink I arrange orange on pink ocean open canvas (oil on paper laid on canvas)
I keep gospel canvas as canvas sabbath I color canvas iron core wine cork / cork canoe or can collapse I keep canvas accumulation of land maintain household bear (Canvas labor of house child human one belonging to I belong to two: two Taryn to Taryn station to station I dispel or distill disturbed gospels accumulation of land layer landscape / two, isolated I dream desert always in twos: I draw two deserts canvas conic sections
I cut quick desert gospel allways two I tune allways two desert multidirectional I repeat apocalypse all ways two turtle motor turtle moon and this repetition demonstrates (non)control / this repetition reveals nonlinear (non)control
I Suggest A New Melody And A New Syntax
I dream the kingdom of the skies as a labyrinthine bookstore and the books break open human bodies as old as fire and water I dream kingdom of the skies as skipping stone bookstore striptease human skulls and my skull opens wide libraries
I shape each letter of my skull as a light and a library My skull windows wide stained glass word and wilderness worship I worship wild skull belly of the whale
I sculpt my skull letters the shape of jazz to come and the shape of punk to come My very dream improvises the open amen and the amen ostinato: variations ground bass holy ghost Holy ghost invents libraries library invasion / ghost space invaders
I search the Book as a library and I search the library as the Book (Let him who seeks cease not to seek until he finds: when he finds, he will wonder; and when he wonders he will reign, and reigning, he will have rest) I search the Book – my Book – and I search the Body – my Body, ben hinnom and ben adam – for new vision fire and fire vision vertical (orthogonal amen: orthogonal amen ouroboros) I search for the BEN VISION – what Asia might refer to as BEN VISION, the reworking and transformation of Ben (and the transformation of Ben and Asia by extension) I search for vision and BEN VISION vertical new and orthogonal invention I search to invent and improvise a new Book and a new Bible I suspect the search will remain incomplete and I will not find rest, but I will find awe and fulfillment in the search process
I dream the kingdom of the skies as libraries layered and looped in libraries, and the library listens from one skull to another skull end The library linocuts secondary then tertiary libraries, skull letters all the way down Library latches ghost hag and ghost god languages Library loads letters bone spear and spear sparks: spark language body ghosts all summer in the sound sea Ghosts hosts hack light not this way woman host: she lights the lights ladder legion Female ghosts hand god river latex / Eva Hesse’s expanded expulsion
Easy mark sucker studies for dreams I extend easy mark sucker and graffiti god ghosts I dream easy god golem gods gear gargoyle I run on easy death dreams run in death I run easy in death let me easter in, in hell Let me easter in, in hello everything the text The text till ghost hand Taryn tent Taryn tent: the text being-towards death
Then at one point I did not need to translate the notes: they went directly to my hands
My hands at the door hinge generate ghost notes notes death translations I translate my hands ghost hosts new notes and new visions I prophesy all ways meet and god dies as god I prophesy allways meet figure with meat and god dies as god deer desert (the very feature which appears to separate me from god turns out to unite me with god, and I write write underground)
Two is the first number, and this two which appears to separate me from god simultaneously unites me with god Thsi first number erases my names twos and twins, and ben adam binary stars stretch the separation god from god and light from light
Two is the first umber and there were two sisters who went playing with a hie downe downe desert sound loud Down sound two desert and two gods galleys / conceptual art galleries
What do you live for? I say. Why do you keep going? Curiosity, love, a desire to build and build better, says Asia. That's lovely, I say. How does one construct oneself after the deconstruction of god? There is a core to you that has always been there, says Asia. It probably brought you to religion and it probably took you out: find it and start there, she says.
I live because I feel our friendship is important and beautiful, I say. I live because I write and prophesy and I create and I believe those creations speak to others. I live for creating art and listening to music. Even though some god is gone, I feel some other mysterious god, who goes partially by the names Ben, Asia, Krystal, and Christina… That's beautiful, says Asia.
There are two sisters and two deserts, and I descend into two I descend to two deserts and two bodies: I bring ballads to two bodies ben binary stars I bring in sheaves holy spirits and holy ghosts shared star bodies Share star bodies blast sharp shark bodies
I search sharps and sharks: street art and street sharks Shark card arc bodies cave mouth mouth harp / alphabet arpeggios This is the first number and this two sharpens shield rod rhizome This two which appears to separate me from god simultaneously rewrites god rhizomes ben hinnom
I seek and I do not rest but I write and rewrite names and numbers
This first number names unknown with the number unknown The first number sharpens the field farm female the Christian female fish The first number assigns her name: her name numbers first and last and she lights the lights alpha and omega The first numbers films Christian and Christina film cinema
This first number fin fast flash Christina fish crucifixion fires Flat fires spin first numbers fort on fire
The first number field female fan run into the train beat out the flame
This first number apples her name split numbers: her names knit complex number pomegranates and hypercomplex numbers grape clusters She conceals sheave bodies hypercomplex microtonal tunnel bodies apricots
Her name ran into the train beat out the flames field tone clusters (wordless vocal tone clusters seep out through the skeletal arrangements of viola, celeste, and percussion)
(When he sensed that a piece needed an introduction or an ending, a new direction or fresh materials, he would call for a space chord, a collectively improvised tone cluster at high volume “which would suggest a new melody, maybe a new rhythm”. It was a pianistically conceived device which created another context for the music, a new mood, opening up fresh tonal areas…)
The seeker should not stop until he finds When he does find he will be disturbed After being disturbed he will be astonished Then he will reign over everything Having reigned he will rest I search for a new direction and fresh material and I do not find but revive: I revive the text and the first number This the first number: two numbers Thomas the Twin companion of Jesus First number fire twist twin Taryn thrust through ghosts (Why don’t monsters eat ghosts? says Taryn. Because they taste like sheet, she says)
I sense a need for a new direction or fresh material and the material makes sharp myth and shark math Shark card arp bodies cave mouth mouth harp / alphabet arpeggios I dream the kingdom of the skies synthesizers alphabet arpeggios At ark alphabet ladder arpeggios geode gulf bodies Gulf bodies number chasms: chasm cave cooks gulf calculus I chisel cave calculus tone clusters and I material mouth harp marriage of heaven and hell (in her trembling hands she took the name born terror howling) (I howl mouth harp The Howling II Your Sister Is A Werewolf)
I suggest a new melody, a new syntax I suggest new syntax John Coltrane transition I suggest a strict free jazz John Coltrane transition transmutation Transition often functions a moment of transformation / new musical material prima materia Transition talons in twos prima materia and math myth mash transition syntax Syntax twins sheets of sound swing transition syntax
I Seek And I Continue Seeking
Jesus said, Let him who seeks continue seeking until he finds. When he finds, he will become troubled. When he becomes troubles, he will be astonished, and he will rule over the All.
I seek and I continue seeking I search serpent sheet of sound and earth blues bodies without organs I search serpent sheets of sound several spirals shaping new prophetic solids: a series of new interlocking spheres that deform into visions parallax visions
I seek spiral prophecy and spiral apocalypse and I prophesy ben adam without ben adam and ben adam completely ben adam / human one apocalypses (As soon as one no longer who knows writes or speaks, the texts becomes apocalyptic / who writes me Who writes me ben adam the book as old as fire and water I seek my human apocalypses)
You know, says Asia, I’m thinking I like your writing more after you stopped reworking the Bible so much. Now you’re reworking Ben, she says. I wan to go back to reworking the Bible though, I say. It will be fine as long as it’s not the only thing you do, she says. You used to rely on it pretty heavily. How do I write a vision that reveals truth while remaining true to myself? I say. How do I write my own vision that others will find truth in? Write yourself too, says Asia. Your own thoughts and experiences and insights and to just other people’s, she says.
Let him who seeks, continue seeking until he finds: I have not yet found so I continue seeking I seek serpent sheets of sound: I search human one apocalypses human one aporia chromatic accelerations human asymptotes
I write the Book as old as fire and water I write the Book sheet sleet snow serpents Book open automatic avalanche apocalypse: Book voices always human the last human apocalypse the last human
I find human fire Find flesh fine finish fire and I look fleet fire swarm human I swarm sword apocalypse: no longer any more prophets but only Christs Find flesh swarm snow soundtracks (Soundtracks for the Blind is music for wen your brain completely transforms into analog television snow)
I swarm solo tenor saxophone texts No longer any more prophets but only Christs and the Christ wounds autodeconstruction and autoapophatic kenotic khora The spirit tries to heal its own wounds and only the god can save god
A bloody bridegroom circumcises Yahweh Yod Yoshi’s Island (touch fuzzy get dizzy) The absurd and nonsensical reveals the godhead and I breech blood beach: the more absurd and superficial an idea or object, the more it reveals the divine The secret revelatory discourse Jesus spoke with Judas Iscariot in the course of eight days, three days before his passion
The spirit tries to heal its own wounds and wounds work woman worship / I grieve my wounds woman
I have been struggling with intense and complicated brief. I haven’t heard from Christina in almost three months despite numerous attempts to contact her. Because of her long history of poor health, I have been preparing for the possibility of her death, but I did not anticipate I would not hear from her at all and not know what happened. She’s not particularly close to her family and contacting them would not be helpful. I don’t know how to grieve or create with my complicated grieving. My daily life has not changed much: I still write and I still create and I still work. The only difference is she’s not her and I don’t know why, and that destroys me.
I don’t know how to write this grieving, partially due to its lack of closure and also because I still hope for reconciliation / revival / resurrection (I hope in what I cannot be seen I hope for Christina, here and now, my leap to faith) Nevertheless, I still must create and express my anguish I slowly write through Mourning Diary by Roland Barthes, and his grief expressed in aphoristic fragments inspires me I open myself up to explore the grief and mourning and mystery: this mystery resembles the mystery of God and the Eloi Eloi lema sabachthani
I don’t think we are meant to hold the world up, says Asia. I think we have to hold each other up and maybe together we can manage, she says. I feel I want to prophesy to the world and change it and I feel I have a responsibility as a prophet to carry the world, I say. You might be right though… I had a dream with Christina in it. I don’t remember the dream now but I remember she was in it and I remember feeling happy. I woke up and I felt down again. I feel deeply wounded by the absence of Christina, I say. I don’t know how to stop hurting or help you stop hurting, says Asia. That sounds like a bittersweet and deeply jarring dream. I’m sorry, she says. You unconditionally care for me in the same manner as Christina unconditionally cares for me… I hope you’ll forgive me for using the term unconditional love in that context – I was drawing a parallel in what you said the other day. “You loved Christina and Christina loved you, and you are what you are today because of that and will carry her because of that.” Our friendship too is that, transformed and carried by the unconditional… I’m trying to remind myself and tell myself because I don’t think I would want to hurt you by leaving you with my absence, I say. It makes pretty good sense and was well-articulated, says Asia. Do you feel it’s accurate? Yes, she says.
On the journey, at a place where they spent the night, Yahweh came upon Moses and sought to put him to death. But Zipporah took a piece of flint and cut off her sons foreskin and touching his feet, she said, Surely you are a spouse of blood to me
A bloody bridegroom circumfesses the fiasco of God is still the fiasco of God and he will die because he is God
Let him he seeks continue seeking until he finds
I seek Christina dreams I dream Christina her bookstores I dream bookstores deathly compact earth core labyrinths I seek the very dream Christina cusp resurrections
I seek new vision and I overuse certain techniques: mismatched lights, abrupt transitions, the reduction of a person's entire life to two or three scenes
I dream bookstore body without organs / bookstore ben adam automatic apocalypse Apocalypse blossoms bookstores beast from the earth
I seek and I continue seeking: I continue seeking twin minoan snake goddess figurines (there were two sisters, they went playing with a hie donne downe a downe a to see to see their father’s ships say long in with a my downe down a downe)
I seek and I do not cease seeking until I find and I find the Book as old as fire and water I ship seek down sound desert drown down sounds monad building I downe drown sound down mound builders hyssop desert I build desert ballads desert bookstore some round mounds I draw sounds drowned wounds Wound edge open wind dehiscence / my wound opens spontaneous bookstore My wounds open improvised fanfares trumpet and trombone flesh
I bring ballads to other bodies I bring ballads bringing in the sheaves other shared bodies (I dream bookstore bottles and the bottle burrs bird the Book as old as fire and water)
(It is a labyrinth of madness and an impoverishing one, the madness of composing large books – getting out in five hundred pages an idea that can be perfectly related orally in five minutes… The better way to go about it is to pretend those books already exist, and offer a summary, a commentary on them…)
My books only begin in the imaginary my Books exists imaginary and only the woman remains real Only the woman remains remains real My Book begins ghost hag language God ghost language possesses ben body and my body ghosts all summer in the sound sea (God ghost of Ghost Hosts possess my body she lights the lights legion) (Ghost God ghost of ghost hosts jello gallows / Eva Hesse’s expanded expulsion expansion)
Let him who seeks continue seeking until he finds. When eh finds, he will be amazed. And when he becomes amazed, he will rule. And once he was ruled, he will attain.
I do not attain rest I cannot find rest but I seek writing and I wrestle the writing archangel
I repeat Book apocalypse / as soon as one no longer knows who writes or speaks, the text becomes apocalyptic
I can’t tell if the writing is good or bad but I continue to work the writing logia and legion / legion locusts apocalyptic texts
I do not attain rest but work writing rhizome and writing repetition (I utter logia fucked up syntax / compact apocalypses)
Syntax spur spark letter: first and last letter logotype and grapheme Syntax sand landscape licorice apocalypse / candy land stations of the cross I lace licorice cassette tape lamb laughter and I lamb laugh syntax slow row I row that awful rowing toward god, unable to grieve or make vision from my grief (How do I write my grief? You might not be able to write it yet, says Asia. It’s something that you are still processing. You can write it: just don’t be surprised if it is too raw or too intense, says Asia)
I prophesy a holy spirit syntax: ghost row ramp syntax large room I write lamp room syntax rhizome secret room (I seek secret room mantle apocalypses)
I Improvise A Christ-Haunted Dippermouth Blues
Content Warning: suicidal ideation near the end of the piece
I improvise a Christ-haunted dippermouth blues I improvise a blue Christ-haunted chairs-as-architecture: her house heads hunters House head hunters haunts deep funk and earth blues bar the lost boys homoerotica (one thing about living in Santa Clara I could never stomach: all the damn vampires) I listen to the song Cry Little Sister by Gerald McMahon and the lyrics strike evocative echo canyon candle:
Last fire will rise behind those eyes Black horse will rock, blonde boys don’t cry
Immortal fears, that voice so clear Through broken walls, that scream I hear…
I steal “last fire will rise behind those eyes”
She lights the lights last fire and I keep the fire hot Yahweh of Hosts Leave last fire unfinished eye flashes flash flesh haunted pornography (SEX SLAVES IN PRISON Amazing revelations about prison guards forcing teenage girls into prostitution and pornography!)
Fire exploits fire unfinished bodies: I paint bodies storm blood batarang / rectangular fire syntax Fire exploits fire flesh explosion / bodies blight black iron prison
I steal last fire will rise behind those eyes and my eyes earn worm the fire My eyes eat the eyes eager fire: my eyes eat the eyes eagle fire and I sometimes spot a bald eagle flying over the estuary my eyes eat her eyes Christina cannibal and Jesus blazes the fire benjamin basin below many waters and original waters Between original waters my eyes tent the tabernacle My eyes tent Taryn Tabernacle / holy ghost fire as last fire Holy ghost aether permeates old folks gathering / river camp revival Holy ghost aether participates play play paraclete play participates holy ghost Holy ghost aether threads panthalassa glow grow pangaea gather gods I gather gods grappa ghost golgotha I gather god golgotha god gethsemane additional blood ben hinnom Additional blood with beginning created Elohim eloi eloi lema sabachthani
I improvise a Christ-haunted dippermouth blues Blues bang my body book birds and birds bring grain gods the gesture of the Book I gesture jump blues scripture and I prophesy timeless Torah (there is no earlier or later in Torah) (there is no earlier or later Taryn but eternal Taryn and eventual Taryn)
I did not see the Bible: I dreamed it I dream haunted blues death equals god / death equals equals
I did not see the Bible: I reamed it and I travel the same thoughts as before only they seem strewn with roses I traverse thoughts threaded through fiery eyes and camels through needles I strum the roses blue guitar guillotine and decapitated heads sprout petals and leaves
I realize the rose pink rosin rose the other who is very near I realize roses and you like to carry my heart in a bag that's broken (my bag body between body bags repeats roses without knowing) Bodies ben hinnom repeats cloud of unknowing and conlang apophatic Conlang coagulates apophatic roses in the cool of evening Conlang quick quilt color: crane color colossus cellulose acetate I trace crane color quicksand and I trace trill texts texts tremolo (I taste tremolo wide vibration vision) I taste trace and return Yahweh traced retraced tonic I center tonic trace acentered atonal air traces aether (pantonality opens tent the portal)
I improvise a Christ-haunted dippermouth blues and my blue body displaces blur guillotine torah guts (there is no earlier or later in the Torah) I improvise temporary time trace time fucked up syntax (outside present inside never becomes pure present presence presently Yahweh) Last fire will rise behind those eyes and I eye outside Yahweh present inside never becomes blood body worm birth human horror (MY ANUS IS BLEEDING… MY ANUS… IS BLEEDING!) I live in the backroom outside always part of the inside bedroom and room works inside outside internal organs
Inside or outside, I prophesy the end of the world, unique each time, quick and hell Quick and hell, I dream the Bible complete in the nautilus shell I experiment the vision the Bible blue dream and blue guillotine compressed into a human skull I dream ben hinnom big blue barn beetles and blastoise body without organs Quick and hell, I prophesy trace erase kingdom of the skies aether / interrupt erratic orbit earth Orbit prime time twin primes pink rose constellations Trace tortoise binary stars and the tortoise recalls the drone of the holy
The tortoise recalls the drone of holy, numbers created in the dreams of the twin whirlwinds Numbers nude resonate obsidian song illuminated by the sawmill, the green sawtooth ocelot Numbers knot naked tortoise trucks tumble dice and the throw of the dice never abolishes chance I take my chance with the sawtooth tortoise and ocelot polyhedron and the faces feature freedom suite I capture drone holy numbers and polyhedra waves hedonistic and libertine freedom / my flesh flows beyond its fetters My flesh flows liquid eye fire and the fire rises beyond fetters to feathers I feather free from fetters to letters between Book below many waters
Tortoise tempts teeter-totter trains / trains trace sabertooth cats Christina (Trains trip tank controls Taryn sabermatrics) (The world, unfortunately is real, but Taryn as Tortoise buzzes bodies more real than real / more human than human)
I improvise a Christ-haunted dippermouth blues and the ghost blues banister Taryn Tundra
Taryn tundra tip un top Taryn three inch heels
Tune tent Taryn tundra I never saw so many tigers Taryn tundra tent legato glissando ghosts as if death were never death enough but holy spirit sprung rhythm I spill holy spirit death gasp nothing but blue sound tundra and Christ realizes in horror no separation from God Christ on the cross cries Eloi Eloi lema sabachtani and realizes that awe-full horror: no separation and no division from this absolutely monstrous and terrible god No separation from God but only divine suffocating fullness, an antikenosis where death is never death enough (close to dying like Ali in Thrilla in Manila) (Albert Ayler plays ghosts Pose no dreams but post ghost stations)
I improvise a Christ-haunted dippermouth blues and incarnations insulate icons or meteoric iron I dream the incarnation inside ink ink trace sprung rhythm (Deconstruction dreams the Messiah) Deconstruction dreams and draws messianic and I had been avoiding the beach I grieve bare blues beach snow
Your emotions aren’t you, says Asia. You can’t just react badly to your own emotions, lash out to a friend and then say it can’t be fixed and that you are the problem and everything will be fine if you weren’t there. You can’t control your emotions but you can control what you do with them and how you respond. Lots of people have strong emotions and not so healthy ways that they respond to them but that doesn't mean that they should all just off themselves, says Asia. I want to off myself though, I say. I’m having a hard time controlling my emotions and I’m not sure how. You aren’t the source of these emotions either, she says. You are literally grieving the absence of a friend. It’s not a moral failing to grieve. I feel like I am a worse friend to you, I say. I feel I am not being good to you. I felt like we were very good before the thing with Christina happened and now it just feels like a mess and I can’t hold it together anymore. Do you feel similarly about the status of our friendship? No, it says Asia. It's the same as it was. I feel that you might have more unstable feelings and that doesn’t really change anything, she says. What is it about our friendship that is not changing, despite my unstable feelings? Everything else, she says. The friendship in general, how I feel about it… I don't know how to explain it, she says. This may be a stretch, I say, but people talk about mystical experiences with god or nature, and they talk about how they can’t explain it and it’s beyond language. Maybe your inability to explain it is analogous to our friendship being a kind of quasi-mystical impossible to explain in language, I say. After all this time you don't know how I feel about things? says Asia. I feel like I do know but I am having a hard time making it concrete. I am afraid of being wrong about things and I wanted to ask you. Tell me what you think and I’ll tell you if you’re wrong, says Asia. You love me unconditionally like Christ or Christina – I don’t know how else to say it. Yes, says Asia.
I improvise a Christ-haunted dippermouth blues Blues bends apocalypses: as soon as one no longer knows who writes or speaks, the text becomes apocalyptic
I Have A Vision Of Sun Ra Having A Vision
I have a vision of Sun Ra having a vision:
My whole body changed into something else. I could see through myself. And I went up… I wasn’t in human form… I landed on a planet that’s identified as Saturn…
I see the sun sea space I see sea space the sun exclusively loves the night Sun strays star sea adultery and I see night luminous desert noumena I strive for my vision of sun My horns crag moon crescent crushed red into sun My horns hint red corner couple sun transformer The human head transforms into a solar disc coupled with ring rays ray radial
I see sun stem strange son of man and the human one slags horn ore Human one snaps stage sail various suns
Sun sleeps soup snow I strand sun weave El is a sound of joy
Sun strobes cat horror his caligula Sun stabs cat cut horror hiss harp but my body stringed from floor to ceiling and strings play turkey in the straw I adapt different hymns to Lightnin’ Hopkins licks and hymn fragments copy sun fire
My horns hobble horror hodgepodge chorales and martian canals, and my horns evoke hunting calls and wild women hunt Wild hnt distract hand horror hexed hell and I ride hell cain hawks hitmen
My body survives sun transformation but I resemble a severely maimed map (surviving fragment of the Piri Reiss map showing the Central and south American Coast. The appended note says “the map of the Western lands drawn by Columbus”)
I transpose and project Western Lands into saturn stage and sun ship and their maps trace myths son of man and human one
I only map fragments I map only fragments I only map world, worlds, word: all fragments, all fractals I manipulate soil samples and sound sample stage from the mathematical paper ‘How long is the coast of Britain? Statistical self-similarity and fractional dimension’ by Benoit Mandelbrot
I map only ones one onto one only I map only functions onto flesh human one only / my whole body changed into something else I match maps fragment and fragments fill hymns coastline melodies I match map fragments to myth fragments and their coastlines chime chords / body bell bursts
I play sun approximately aporia approximate coastline measurement I stage active transformation and approximately one-third of the map survives My tail fells two-third of stars and I survive in third torsos I survive thirds topless torsos photographed rules of thirds I dissect body thirds thread other body thirds graphite grids I map spare bodies to cold cutlets I map bodies clean cut cleaner / close-up street magic photographed close-up photography I survive third torsos and half-heads and I map imaginary intersections between serial killer cat owners and high school diploma hoarders I approximate one-third human body remains: remain one-third human stripped skeleton and I chop up one-third of the stars into strange stew angels and archangel nephilim
I stack bodies into thirds, human triads (Triads trafficked drugs and human bodies in Kowloon Walled City until the 1970s)
I twist approximate third turns toon twisters Loony tunes map lateral labyrinths and I draw the western coasts of europe and africa on a one-to-one scale (I map only one-to-one human fragments and body one-thirds ones) (I like big pieces of paper so I can fold the paper in half more than seven times) I fold maps into paper airplanes: I fold maps Pyramids of Giza and Stonehenge
I have a vision of Sun Ra having a vision:
I could see through myself. And I went up… I wasn’t in human form…
I see thorough through tape drape transparent I see skew body a long screw and my body skips not human but the brick body of the light / light tangent trace body multiple maps (The map’s historical importance lies in its demonstration of the extent of exploration of the New World by approximately 1510, and in its claim to have used a map by Christopher Columbus, otherwise lost, as a source)
I wasn’t in human form but I mutated marsh or merge marquisette super metroid I molt from plot form latex fiberglass plastics I molt moss march maximum melodies (musically and maybe some other ways too. And then maybe I’ll be able to write, build melodies, think from melodies. Then I might be able to do some arranging for another horn too)
I arrange my whole body changes into something else I arrange bodies thirds tusk theater and tusk trades stages three stooges thirds
I arrange several transitions I arrange transition stage space and interstitial space
Saturn Seizes Me With Visions of Crucifixion
Content Warning: discussion of suicide and depression
I have a vision of Sun Ra having a vision:
My whole body changed into something else I could see through myself. And I went up… I wasn't in human form… I landed on a planet that’s identified as Saturn… They teleported me and I was down stage with them. They wanted to talk with me. They had one little antennae over each ear. They talked to me. They told me to stop [attending college] because there was going to be trouble in school... The world was going into complete chaos… I would speak [through music] and the world would listen. That’s what they told me.
I have a vision of Sun Ra having a vision and our visions overlap: visions veers vision vertical Visor doubles desert vision night train and building theme
I see Sun Ra in desert dream and we fuck up syntax serpents left acid logos Taryn rotates Saturn desert visions and she prophesies Sun Ra equations / eliminative materialist stations of the cross She approximates acid amphitheater amplified logos wild (I amplify acid logos holy spirit syllables)
I shorten my syllables speed spar space I syllable shorter lattice logia: lipstick logia repeats short bar braids raid rhizome Ben hinnom raids rhizome hymns and I hymn sin host lament I lament host hostage harsh wash wide death and death drives me wilderness
In wild I waste desert melody I hammer death hymn desert an expansive labyrinth for suicides I hammer death hymn hiss listless towards night train my own death (But suicides have a special language, writes Anne Sexton. Like carpenters they want to know WHICH TOOLS. They never ask WHY BUILD)
I see Sun Ra in a desert dream and I scour the desert for sharpened stones: his saturn starlings stare saints murder-suicides At times wild, I contemplate tools for suicide: death side nonsense again last supper Christ as carpenter surrenders to crucifixion (Taryn Tekon blame it on the tetons) Last supper suicides steer steward desert antler rave red Antlers aria acid syntax and aporia syntax consecutive suicides / antler rare earth magnet maul magma suicides
I see Sun Ra in desert dream towards death double death towards
Death as a doe bites door hinge desert death and I open death door human horns and human antlers I experiment train theme towards death and toward suicides have a special language (suicides slide Sun Ra syntax and syntax Saturn melancholy) Night train tokes lined-up suicide bodies tool melody long languages)
(Suicides have already betrayed my body) I betray my body book language I betray body night train ghost glossolalia lateral laughter lamina I lick human lamina lateral loose bone lock keystone I kiss keystone karst krystal khora / my cryptic Christina suicide my suicide a parody of saint martyrdom
I hammer death hymn syntax death towards bodies ben hinnom Hinnom lament body dead mall marrow towards narrow death lithium Lithium lops off a human ear lithic flakes / flesh corn flakes (The dead know what they’re doing when they leave this world behind When the here and the here after momentarily align See the need to speed into the lead suddenly decline The dead know what they’re doing when they leave this world behind) I want to leave and dead and join the congregation of the seven sermons to the dead I leave numerous dead burden of the valley of vision / dead dumah toward desert dead
Towards death wall drawing distance Towards death between distances desert night train Death between drop delphiniums long deserts larkspur
I visit death discontinuous / discontinuous mourning
Here’s how I play: I play desert death I play desert toward death seven sermons to the dead Seven sermons play pavement way saturn vision stereo antennae Death plays not prediction but parking lot hot cake catastrophe (I wouldn’t mind if you took me in my sleep tonight I wouldn’t even put up a fight I wouldn’t even care if you took it all away today I’m sure I wouldn’t even miss the pain) In parking lot I prophesy my own death
I would like to end my own life, I say. I’m not going to recover from Christina. Are you telling me you are going to kill yourself or that you want to kill yourself? says Asia. You once promised me you’d never have me committed for mental illness, do you remember that? OK, forget I asked, says Asia. Fuck you, I thought I could trust you, I say. I never said I was going to have you committed asshole, says Asia. I asked because one means I lose a friend and one is jut a possibility. You accused before I dropped it. I dropped it because of how you reacted when I asked. You know what, never mind, I’m going to get ready for work, she says. Me saying ‘fuck you’ was uncalled for and I’m sorry, I say. I would like to talk to you if you’re able. I don’t want to leave you angry with me. I have a plan in mind to kill myself to answer your question. I wish I could express to you the hurt that I feel. I don’t feel capable of surviving without Christina, I say. You went straight to saying that the question showed that I would have you committed when I promised not to, says Asia. That’s fair. I was scared. I see how I was accusing you. I don't know what to say, says Asia. I guess if you can wait a bit I can send you your cookies, she says. I just don't want to be accused of things. I don't know what you want from me right now. I would like to talk to you, I say. I am still very upset right now and I’m finding it difficult to navigate these conversations. You’re upset because I accused you? Yes, and it’s an upsetting topic in general. Give me time and space, she says.
I play pink desert waves pavement way Play not prediction but parking lot shot hot crater lake ampules (But I know I’ve to to live my life and roll around on the ground and feel the strike and realize along the way that I’m nothing more than a grain of salt in the salt of the earth and everything is grace) Play protest parking lot push riot Parking lot riot raw rhizome eruption beth bodies Bodies bare bedroom bridal chambers: between bedrooms revolver chamber camera I chamber castle haste bodies towards Towards chamber bodies death Chamber sabers haste detached torsos in halter tops Chamber carbon chop silicon dismembered bodies I borrow bodies from bee colonies blistered saw slices / saw is family
Towards death snicker-snack syntax Towards death strike through desert vorpal blade body vision
I have a vorpal blade vision of Sun Ra having a vorpal blade vision
I have a vision of Sun Ra having a vision:
My whole body changed into something else I could see through myself. And I went up… I wasn't in human form… I landed on a planet that’s identified as Saturn… They teleported me and I was down stage with them. They wanted to talk with me. They had one little antennae over each ear. They talked to me. They told me to stop [attending college] because there was going to be trouble in school... The world was going into complete chaos… I would speak [through music] and the world would listen. That’s what they told me.
They wanted to talk with me They talked to me That’s what they told me
She talks tom e topsoil transfusion She talks to me rintrah roars fire shake rhizome and I risk the fire: I risk fire moving furniture futuromania and slow I see saturn mania Slow saturn sea swarms manic manic stage rogue waves
She wanted to talk to me She talked to me That’s what she told me
My body changes into charge saturn sea Body charge sharp salt see stage sea: sea steak stretch stage and stage stacks salt step pyramid
My body charges stations of the cross across saturn sea I step into sea crucifixions a drowning desert and desert dressed in snow: snow sleeps sap the stage of my charged body
I speak saturn visions the crescent below the cross I pray saturn sight and its glyph grapples melancholy my discontinuous mourning (What I find utterly terrifying is mourning’s discontinuous character, writes Roland Barthes) I mourn a discontinuous saturn / and Saturn is the first and last gate, and there everything will be united
I speak a saturn theurgy and my body charges the cauldron spiced bone and electricity I speak saturn sea and saturn sabbath, and the sea sway secret messiah sabbatai sevi (a sabbath delayed and a sabbath sustained) I mourn in the sign of a discontinuous saturn and a sign cut stage horizontally
You can be upset with me, I say. You unconditionally love me like Christina unconditionally loved me. You’re always going to want me to live no matter what happens or how I feel, and you’re always going to choose to be my friend no matter how I feel or rough things get or upset with me you are, I say. I wasn't mad, says Asia. I’m just sensitive about the accusation right now because then I feel like I messed up or that you have a low opinion of me. It makes me feel I can’t say anything without it being taken in a bad way and this is already a difficult conversation to navigate, she says. I don’t have a low opinion of you, I say. You haven't messed up. I appreciate you choosing to trust me, says Asia. Jut understand that is something that I’m sensitive about right now, she says.
I have a vision of Karlheinz Stockhausen having a vision:
Other snippets of vitally important information then came to me through a couple revelatory dreams. Crazy dreams, from where it emerged that not only did I come from Sirius itself, but that in fact, I completed my musical education there…
I see seize sleep Saturn and Sirius sabbath melodies I sleep sight snippets saturn sea melodies and her hymn hosts bone rhythm (the bones are Saturn's portion because they are cold and dry and the mainstay of the body, and the cold and dry Saturn stays in madness)
Saturn and Sirius snippets seize me cold machines and dry machines and the fourth commandment concerning the sabbath corresponds to Saturn (The sabbath and saturn correspond to Sabbatai Sevi)
I confess the crescent of star decans I graph the planets and stars and the orbit open my body overlapping reacher reapers solar blood patterns
I confess the circulation of orbits operate human ellipses / circuits circulate saturn stage crickets Crickets click stations of the cross counterpoint
The Child of Humanity unravels procedures of counterpoint I orbit counterpoint pinpoint ring pitch particulars Counterpoint orbits star dreams and pinpricks porcupine pitch pitch black human body (Human body in dark desert projects pitch black pole position sonic the hedgehog protein) Black pitch projects black painting counterpoint: child of humanity counterpoint action painting Action painting pigments prophesy the acts of the apostles
Pitch applies thick pink pint screwball pink laser Counterpoint applies thick pink and I create as I speak Screwball pink laser spreads pink aerosol ubik Pink laser beam bombs my brain beach blonde and I make an incision or intersection between musical pitch and the spectrum of pigments I speak the spectrum into existence and the continuum cups chymica crystal krystal counterpoint I continue counterpoint punctum combined combinatorial with free improvisation and free atonality
I feel I need more music and more rhythm I feel I need more mysticisms and holy spirits Give me gospels and holy ghost musics (more flexibility more freedom more rhythm)
Saturn syntax star John Coltrane transition Strict saturn ring Jon Coltrane transition transition Transitions often function as a moment of transformation / new musical material Transition position material math myth wash transition syntax Sun Ra syntax sly sheets of sound swim transition syntax Sheets of sound sum star syntax slut transition syntax: star string child of humanity Sound sheets shatter single slapstick syntax syntax bitchslap bitcoin bootstrap paradox Sheets of sound sun monster montage collision of shots sheets of sound syntax
I start from one point and I go as far as possible: point unravels an aporia counterpoint pockets I play quay queer prayer palms, psalms, camera celluloids Cellulose strands sheet coasts whale wharf word Wharf word woman warp transition warble whittle son of man Wharf swarf surf swell swamp and I swell several transitions: I swell funk flesh stankonia euphoria I swell transition play dissonant polyphony
How are you feeling? I say. Not good, says Asia. I’m just feeling a lot of things, some of which are second hand emotions from other people’s experiences, and it hurts so much it makes me feel defective because it can't be normal to be this soft. It can't be normal to feel this much. How do I make it in this world with a big gaping wound all the time? says Asia. It’s OK to feel a lot and to feel soft, I say. It can be detrimental and painful but I don’t think it’s inherently bad to feel a lot. I don’t think it makes you weak to feel a lot, I say. My coteacher is going through a divorce and her husband is being such an asshole to her, says Asia. It’s borderline dehumanizing, like he is trying to tear her down. I’m really starting to believe that most men don’t see women as humans. Like as long as they can get something out of them, they are cool but as soon as that isn’t the case anymore, the woman gets dropped like a bag of rocks. I am so thankful for my partner but it is so disheartening that this is the norm, she says. Yeah, I say. I feel like that’s patriarchy and human nature under capital and patriarchy in general. View relationships as transactions and to be exploited. It is disheartening to see the aftermath. It’s OK to feel a lot. It can be difficult at times but I don’t think it makes you weak or not a strong person. I feel you are a very strong person, I say. Thank you, she says. The world feels very heavy sometimes, too heavy. Like I’m going to be crushed, she says. I would be lying if I said the state of the world doesn't encourage my feelings about my own demise, I say. That's fair, she says. I try to add kindness to this world. I don't think we are meant to hold the world up. I think we have to hold each other up and maybe together we can manage, she says.
I Seek The Night Train
Jesus says, Let one seeks not stop seeking until he finds. Whenever one finds, one will be troubled. When one is troubled, one will marvel and will reign overall.
I seek a wilderness and its wild reveals field train Its wild conceals train spaceship and I species space I species space the speculum that doesn’t shine and I continue to seek this is where time becomes space
I seek a strange space stereo stations of the cross
I seek and I do not find but I step wild pockets temporary time
I seek night train syntax and the communion of saints
Saints shoot street photography Saints shoot chutes and ladder street photography black-and-white mercy street I shoot straight left leviathan angels and angels choir black organ mercy street
I seek syntax saints night trains and train continues street strophic / street soap significant curves and surfaces Syntax strobes saint surfaces surface night train spirals Surface salt spiral stereo desert, the continuing train sand stretto developing variations
I vary night train rotations by the sonata cell and cells slip saint rotations Night train shifts desert slip inland empire
Taryn night train rotates salt permutations and saint combinations, and church surfaces aporia / approximate acids
Taryn night train rotates tic-tac-toe additive train tessellations
Taryn field rotates spaceship not separations but intersections It appears in the same perspective as the night train but this transforms into a building: ben adam and ben hinnom The building beguiles as tower of babel and my body bricks black body without organs / ouroboros brutalism
I split night train into three parts and three themes: Taryn night train topologies topos tapestry triangle archangels Taryn topos theme reaffirms theme: the first theme based on the superimposition of two shifting rhythmic patterns, one changing and one fixed
I experiment with theme and themes play: themes play changing rhythms, shifting rhythms, combine rhythms I contemplate and experiment with Olivier Messiaen’s shifting rhythmic repetition Messiaen plays additive rhythms, non-retrogradable (palindromic) rhythms, and his rhythmic personae (three rhythmic groups are in action, says Olivier Messiaen. The first augments (this the attacking character); the second diminish (this is the character who is attacked); the third never changes (this is the character who stands aside)) I listen to more Olivier Messiaen and his modes of limited transposition impress minimalist train theme theater and happening
Theme travels night train taryn text and her text tones Sun Ra Arkestra Yahweh of Hosts ghosts Theme ghost slow shows continuous snow Continuous snow contaminated discontinuous snow and snow void sifting sifted from refuse settling snow
Theme hosts ghost lights sabbath film lanterns Theme hosts ghost snow winter music leviathan / serpent leviathan Serpent theme trace salt ghost theatrics I act theme theater acts of the apostles all historical ghosts I act theme apostate and host ghost heresies I travel ghost themes sabbatai sevi salt / travails and travels messianic pangs or ghost trains Ghost train tape night train and the doe bites doorway other open eye
Taryn night train inhabits downtown theater of the absurd Taryn night night tinkers thumb piano theater and stage stabs strange aporia against: against ben hinnom body without organs I play theme against any standardized approach but playing without memory / I experiment nonidiomatic improvisation I improvise with and against night train and god theme ghosts: I improvise impossible ink immortal row oak ink oar My ink enters ark unfinished and although I never complete the ark, I continue to perform the ark work
I play the night train theme and experiment I experiment night train here’s how I play: I start from one point and go as far as possible
I play theme Christ as pelican and Christ as archaic human skeleton I play pelican plastic time strange space morro bay / these are the breaks break it up break it up break it up I break up the bay beat may grey ghost gods I break up beat ghost god gospel sayings and say the sword between kingdom of the skies I skip stone skies silver night train tannin
I play Taryn Tannin night train leviathan I play sayings gospel and holy ghost drives me into wilderness let him who seeks cease not to seek until he finds
I play pink pigment passages passages action painting impaling Night train impales theme bay of blood / twitch of the death nerve bay of pigs (I was planning to paint my house anyway; writing on the walls was just something I would do) I play paint pink walls: wall write well hell in a cell I write a cell well wall woman within Wall writes skating rink rhizome witches
Towards Theme
Towards theme Through to theme traffic television: I tour television thermal tetragrammaton glitch mix rhizome I tour tone towards theme wild and through theme to desert, Taryn tenors theater turnaround
Towards theme I travel theme thought experiment: I speak to Descartes evil genius or Maxwell’s demon (I play a game of skill with molecules)
Towards theme, her theme interrupts and seizes my brain brine knock knock jokes (Knock knock. Who’s there? Luke. Luke Who? Luke through the peep hole and find out.) I travel theme abrupt tourism but the amp says I’m fucked I travel theme as Taryn and I listen to The Theme (Take 1) by the Miles Davis quintet I improvise theme false starts and zebra-striped street heroin but the map says I’m fucked No matter: I fuck the map and continue crash bash bricoleur rhizomes
I accept theme transition transition first epistle to Timothy I transition theme labyrinth spiral labyrinth (Taryn traps various segments of my body monopole laboratories) Taryn theme tap turbine textiles textile turmoil I type theme tinfoil syntax: tip syntax free jazz textures
I texture free jazz textile ran into the flame beat out the train / einstein on the beach train theme I texture future free jazz trains rain rampage
Towards a repetition of the theme (theme thunder taryn and theme taryn triceratops) steps door hinge blow gun (Knock knock. Who’s there? Cow says. Cow says who? No, cow says moo!) (Can you tell me specifically what positive differences I had on your life? I ask Taryn. Funny jokes, stories, no judgment about silly stuff like cows and the hunchback, she says)
Towards a Taryn repetition and repetition of Taryn: doubled stations of the cross car large color field canvases
Taryn tightens theme staccato and she sticks aporia ben hinnom (they all lower me to the soil stick him they all lower me to the ground stick him)
Taryn testifies theme toccata staccato glossolalia Taryn speaks theme fiery tongues and erotic tongues / pornographic jazz textures
Theme thunders Taryn El Roi rapt rhizome
Theme thistle whistles El Elyon witch windows I watch windows veer weird vision long and winding road (road repeats rhizome the melody prayed in a higher register) I improvise melody earth el saturn records and she presses copious amount of records from Sun Ra and his Solar Myth Arkestra
I throttle theme ark traces and gore genealogies: Ark of Noah names and renames mappa mundi son of man (the map says we’re fucked) and I eat ark insect apartments I wrap the sap of my body in ark maps and the waters surround non-euclidean hell hounds
Theme thumps human skulls titanium white Theme legend trips haunted tectonics / Taryn attack trap set impossible earth polyrhythms
Theme thrusts human tissue transformed shadow figures Theme trades my shadow thin turpentine turnpike divides
I record this theme repeatedly because theme sticks my thought tar muck blown glass black but I try to temper theme aperiodic tile timeless I tend time with theme and I know something between time here: here theme trades blade timed cannons Theme threads tendrils / thread medicine syntax Map fuck syntax and tome theme free jazz communion rapid earth eucharist
Theme troubles me Theme troubles nobody knows the trouble I’ve seen nobody knows my sorrow
I would like to send you some metacommentary from the book, I say to Asia.
I sometimes feel embarrassed about the conversations I choose to record because my conversations simplify and come off as naive I can’t hide behind an occultation of piled up symbols, sigils, and metaphors The conversations feel so different from the rest of my writing and I haven’t successfully integrated it completely with the rest of the Book (does it need to be integrated with the rest of the Book? Does it even need to be cohesive with the rest of the Book? Or can be like John Cage’s music and Merce Cunningham’s choreography and exist separately together? I choose all these and none of these: multiplicities and rhizomic functionalities) I must allow for embarrassment and foolishness because they too prophesy
...
Something I didn't mention is I fear simplifying or portraying our friendship incorrectly, I say. Maybe I will write about that in the future. It’s interesting that you view other than the conversations as “hiding behind piled up symbols and metaphors” says Asia. Is that why you maximize? I think our conversations reveal and the rest of the Book conceals in mystery in a way, I say. I think the rest of the Book indeed is shrouded in heavy metaphor for various reasons, but one reason is it is not embarrassing and openly foolish. I think the conversations are the opposite of hiding behind piled up symbols and metaphor. They are naked and open, I say. Shouldn’t all your writing be open even if it isn’t an excerpt from your personal life? says Asia. Could you tell me what you mean by open? As in not concealing you or how you feel. I feel a complicated relationship with it, I say. I feel everything I write in the Book is me. The difficult anarchic patch quilt and the conversations are all me but there’s different levels of accessibility. I often feel more comfortable expressing myself in the experimental language that pushes towards the anarchic kingdom. I find it more difficult to express myself plainly and making it poetry… Guillermo Del Toro says this:
"People say, you know, ‘I like your Spanish movies more than I like your English-language movies because they are not as personal,’ and I go ‘Fuck, you're wrong!’ Hellboy is as personal to me as Pan's Labyrinth. They're tonally different, and yes, of course you can like one more than the other—the other one may seem banal or whatever it is that you don't like. But it really is part of the same movie. You make one movie. Hitchcock did one movie, all his life. "
I feel similarly but I do feel like there are differences in the parts and they express different ways of saying the same thing. The Book is One Book, many different ways. I'm trying to express all those ways with equal technique and poetry. I feel I haven't gotten to that point yet with the conversations and metacommentary but I do feel the other stuff is just as personal, just as Ben and Asia. I just lack the technique to make the conversations and metacommentary as POETRY but I'm working on it. Makes sense, says Asia.
I write One Book One Theme: Taryn thousands photograph graphomania I record One Book One Theme: Taryn turboprop trickster her tightrope to my toothache Theme transforms trumpet tricksters thousands togethers (Theme thunders Taryn El Roi riff ray rhizome) Theme transfers thousands train engine orphans: ran into the train beat out the flame I beat out the flame einstein on the beach train theme (train / trial / field with spaceship)
Rain into the train beat out the flames train trial field with spaceship Taryn time than train ensemble with solo voice and choir joining at the end Taryn tool train theme trial table network / taryn train theme field with spaceship
I rain nude run night train theme theme developing variations
I write one Book one theme the explanation of the parable in secret It appears in the same perspective as the night train but this time transforms into a building building ben hinnom babel brutalism
Three parts and three themes triage Taryn archangel trinities
Here’s how I play: I write one book one theme I play the theme and I start from one point and go as far as possible
Untitled Body Poem
Body revolts body ben adam body without organs and body ben between broods rood revelation
Body revolts body ben adam venous return and body without organs breeds visions visions my body full cicadas and locusts
Ben adam produces body coupled to body porous production and ben body without organs produces an apophatic pornography, a nude molt transmigration of souls
Ben adam produces son of man machine revolt every sound of a machine running, and beneath my organs, subterranean insect exoskeletons
I molt bodies bolted shed loathsome worms and larvae and body worm tod god organizes ben body
Worm word tod god juliets ben body revolt a rhizome revelation and body produces production smooth body new after molting
I live worm tod body my undifferentiated desert body produces pus olive oil gethsemane and grasshopper gethsemane revolts smooth skull Golgotha
Body revolts body molt crucifixions and I swing wing molt cross cicadas new smooth bodies
Vision and Mysticism 