Bud Powell Pink Turns To Blue, Part 2

Bud Powell pink turns to blue Bud Powell pink elephants on parade Parade pulse blue pink Philip K. Dick desert blue

Of the blue, purple, and crimson yarns they made finely worked vestments for ministry in the holy place; they made the sacred vestments for Aaron as the LORD had commanded Moses. He made the ephod of gold, of blue, purple, and crimson yarns, and of twisted linen. Gold leaf was hammered out and cut into threads to work into blue, purple, and crimson yarns and the finely twisted linen, in skilled design. They made for the ephod shoulder pieces, joined to it at its two edges. The decorated band on it was of the same materials and workmanship, of gold, of blue, purple, and crimson yarns, and fine twisted linen, as the LORD had commanded Moses.

Bud Powell pink turns to blue (A woman in a pink blouse sits in a chair as Dr. Williams, standing beside her, attached an electrical device to her head)

Pink blots blue blots pink parade bebop… Cut into pink and blue bleeds out. I continue into the cut and difference differences – different blues and pinks.
Blue disintegrate saint use tackling invoke how kiss touched mushroom taste
Pink disintegrates posterior realistically nightgown stranger
(Nightgown blue, purple, and crimson yarns)
Cut blue bebop / pink in the pocket get up like a sex machine

Bottomless blue – bottomless pit blue Bottomless bottle blue phantom butcher blues Bottomless butcher blues (I follow Bud Powell blue – blustery blizzard pink guts decorated blues. Blue balloon butterfly. Butter bottomless. Bottomless bitter pink elephants on parade. Parade blue imbued pink – blue bottomless parade bodies. Milk and honey sketch jaded garden lover serve loves legless.)

There are different kinds of discontinuity. Continuities free to repeat or leave things out.
Leave out blue leaves out pink
Repeat blue and repeat pink

Different kinds of continuity increase the large form – large scale – large duration. Whatever I do becomes melody.

Bud Powell pink turns blue / whatever I do becomes melody

//
Everything I do becomes melody

Horizon opens her wide word wild hunt (horizon hunts the dream open unfinished forest)

At horizon now: endless pink and bottomless pink within the hunt. At the horizon now becomes melody within the horizon: horizons within horizons blue corridors: pink hallways – purple plane yarn laboratories. In the instant I exist in the horizon, the directions and instructions of my body exist: flesh to make vestments and coverings pink door projecting the laser blue door bottomless pink – blue – pink among horizontal bodies. Line up bodies to score the melody / graph my body genderfluid and liquid pink nonbinary. Horizons reveal the myth of a woman – first man and first woman – Ben Adam and Ben Lydia, Blue Eva triple male androgynous. The horizon always leads to body myth and hunt narratives. My body bears the marks of hunting magic and I redraw the magic and marks into melody (Bud Powell pink into blue – blue, crimson, and purple vestments for the quartet and trio).

Horizon opens her wide word wild hunt (horizon hunts the dream open unfinished forest)
The open forest / the doors of the horizon are thrown back unfinished forest
I throw the doors into the desert – I throw the desert into the doors bedeviled dust horizon

At the pink and blue of the horizon, everything I do becomes melody
//

Bud Powell pink turns blue Bud did down well right Bud bottomless blue blends when blue
Face stone allaround vociferation understanding voice vav vav sonic boom

Of the blue, purple, and crimson yarns, they made finely worked vestments, for the ministering in the holy place; they made the sacred vestments for Aaron, as the LORD commanded Moses. He made the ephod of gold, of blue, purple, and crimson yarns, and of fine twisted linen. Gold leaf was hammered out and cut into threads to work into the blue, purple, and crimson yarns and into the fine twisted linen, in skilled design. They made for the ephod shoulder pieces, joined to it at its two edges. The decorated band on it was of the same materials and workmanship, of gold, of blue, purple, and crimson yarns, and of twisted linen, and the LORD commanded Moses. And the LORD commanded Moses. And the LORD commanded Moses.

I narrate horizon colors and horizontal colors; I voice horizon canvas and its blue and crimson carve shaped canvas. I narrate shaped canvas. I narrate shaped colors and carved colors and bottomless blue breathes oceanic myth. Myth the leaf its blue and myth made was fine two purple. Myth hammered twisted myth purple twisted edges.

Narrate shoulder pieces joined to workmanship melody Narrate melody of fine twisted linen and the same materials and crimson yarns

Different kinds of continuity increase large form – language scale – large duration – whatever I do is melody. Whatever I prophesy becomes melody and whatever I create harmonized and orchestrated melody.
Blue harmolodics
Pink punk coordinate musics
Horizon moment form
Horizon different kinds of dis/continuity

Different kinds of continuity dis/continuous melody melodies
Suspend place touch dare zoom rise introduce jaded
Floral write treasure balk inspire juggle pause present frighten

Narrative and myth harmolodics – horizon harmolodics – Narrate different cut different myths
Gold leaf was terrific cut out and cut into treads to work into the blue
They made for the ephod troubled pieces, geodesic to it at its two edges

I’m thinking about getting a blue horse tattoo, says Asia. Like Franz Marc? Yes. Yes! I love his work. Where would you get it? Probably on my arm… It will be based off the one from Brown Bear, Brown Bear, says Asia.

Blue horses cut my head hauntology (Horses in my dream, like waves like the sea) Blue horses my head different kinds of continuity Horses drag blue melodies harmolodic blue horses (Everything I do prophesies melodies blue horses yarn fine twisted linen in skilled design)

Bud Powell pink turns to blue Boom Bud Powell powder show solar cells

Bud Powell commands make the ephod shoulder pieces, joined to it blue horses Ben Lydia blue horses (rode a horse around the world along the tracks of a train)

Bud Powell possesses Ben Adam and Ben Eva and every human – Child of Humanity – creates melodies and becomes melodies

Different kinds of continuity
Suspend place touch frightens pink and blue horses
Yes set I’m tattoo setting
Where cut Mark blue brown arm

Whatever I do becomes melody. I mean the melody subtly pressuring the harmony – blue horse harmolodics – to give it direction. Harmony and blue harmolodics.

Bottomless blue boom Bud Powell salt surgery
Vociferous body valley vision vav vowel vav variations
Variations vociferous luminiferous aether vice her sounding
Riverrun sonar bar alarm

Blue inflated Bud Powell pink turns to blue Blue pressures pink into the body horizontal and body horizon

There Are Different Kinds Of Continuity

There are different kinds of continuity
Different continuities continue difference continuities
All the sounds counted

All the sounds counted, were all valued, rather than being functional in the sense that they got you from one point to another

The young man went out and the angel went with him, and the dog came out with him and went along with them. So they both journeyed along, and when the first night over took them they camped by the Tigris River. Then the young man went down to wash his feet in the Tigris River. Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot, and he cried out. But the angel said to the young man, ‘Catch hold of the fish and hang on to it!’ So the young man grasped the fish and drew it up on the land.

I fear narrative and exact repetition but I gain a kind of purposeful – directionless direction – by repeating the narrative again and again. At some point it becomes ritual and scripture. Book becomes the Benedictine Daily Office and its repetitions reveal chrism and baptism (Although rarely do I Christian – I almost never pray unless one calls this writing praying. I attended my church on Healing Sunday and I prayed for healing with my priest. She laid hands over me and anointed me with oil book crushes my body Christ in repeated narrative.)

Cut more than needs to be cut. Repeat more than what needs to be repeated.

I went out with the rainbow and red is greener than purple for sure
My body more red and red-green and yellow-green and red
More and red blue and blue and red
Red is greener than purple for sure

All the sounds counted and I count words and letters – all ciphers

Asia, there are different kinds of continuity
(Can I send you some writing? I say to Asia. I’m butting my head against something. Sure, she says. I give the disclaimer it might not be comprehensible. […] It’s got a nice rhythm to it, says Asia. Thanks for reading, I say. I am asking the question – a forbidden question – do I need to understand my own writing? I don’t understand myself. What happens if I don’t limit it to have to understand it? What comes out of it? Perhaps a self I don’t know. Or even a self not me, I say. No, you don’t need to understand it, says Asia. You contain multitudes.)
Asia, there are different kinds of continuity (different continuities continue different continuities)

There are times in the music where one is free to repeat things or cut things or leave things out and so forth

The young man went out and the angel went with him; and the dog came out with him and went along with them. So they both journeyed along, and when the first night overtook them, they camped by the Tigris River. Then the young man went down to wash his feet in the Tigris River. Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot and he cried out. But the angel said to the young man, ‘Catch hold of the fish and haunt on to it!’ So the young man grasped the fish and drew it up the land.

I repeat apostasy. I repeat heresy and apostasy. I repeat gospel and apostolic succession. Repeat different continuities: free to repeat.
Free to repeat the them man swallow
Free to repeat went the hang man they went down young
Cut things the and feet he so angel

Disclaimer it to me having to understand it…

You don’t limit it might not me…

Disclaimer: discontinuity. The tension between continuity and discontinuity. I fear (too much) discontinuity. Things fall apart and the center cannot hold but I attempt to hold onto no center. No direction and no center: all the sounds count. There are times in the music where one is free to repeat things or cut them or leave things out and so forth. Tension is best measured when it’s down and the tree tumbled down tumbled down. I tumble down the tree – its Tree of Life and Tree of Knowledge – and one seed eventually all repetition leads one to the tree (my tree – her tree – tree transformed into the caught fish). Disclaimer: I hold onto no center but I catch hold of the fish and hand out to it. Different kinds of continuity continue discontinuities. I continue into the cut and difference differences. I continue repeat differences.

Disclaimer: and you don’t need to me having the disclaimer to it

Disclaimer: no, you don’t need to understand it. You contain multiples.

(Can I send you some stomach? Us comments my head spatially something. Sure. Take the disclaimer it might not be comprehensible. It’s just a nice rhythm to it… No you don’t need feed to understand it. You contain marginalia.)

Maximum dimension and maximum non-direction Multiple metamorphoses / Kafka khora metamorphoses myth developing variations

I fear repetition and narrative. I fear plot because I have deceived myself that I cannot write plot or read plot. The last novel I read – many years ago – were Spring Snow by Yukio Mishima and Ada Or Ardor by Vladimir Nabokov. Since then, I have read no novels – mostly poetry, philosophy, and mystical and religious books. I claim I don’t have the attention for plot and narrative – I need vignettes and fragments and philosophical episodes – but I limit myself (I don’t limit it might not me no you don’t limit it might not me no you don’t limit it to it you contain multitudes). Where my fear is, there is my task – anything I have done well is worth letting go of. I steal myth and narratives from the Bible and other spiritual sources. I find my faiths by stealing and repeating narratives. I repeat the narratives and I eat the narratives (Asia teaches the lines: Ink runs from the corners of my mouth / there is no happiness like mine. / I have been eating poetry.)

Repeat narrative more than necessary and create discontinuities more than necessary. Fail with narratives and discontinuities. Be incomprehensible to the self – the Ben-Self and Divine-Self.

The young man went out and the angel went with him; and the dog came out with him and went along with them. So they both journeyed along, and when the first night overtook them they camped by the Tigris River. Then the young man went down to wash his feet in the Tigris River. Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot, and he cried out. But the angel said to the young man, ‘Catch hold of the fish and hang on to it!’ So the young man grasped the fish and drew it up on the land.

There are different kinds of continuity

I Decide In My Madness To Fail

The instant of decision must actually be mad and meet madness Moshe parting Red Sea
Red Sea reed sea salts
Salt Sodom and Gomorrah / Sodom YHVH Yam Suph

Yam Suph seed seer seaweed word a long ship whistle duration San Francisco I seaweed San Francisco flesh unformed bodies alcohol alchemy

I decide in my madness faith to fail. I contemplate two quotations: “Anything you have done well is worth letting go of” by photographer Joel Meyerowitz and “Where your fear, there lies your task,” by CG Jung. I fear exact repetition and narrative. Book demands the uncomfortable, the fear, the danger – liminal and threshold. Where my fear is – repeating narrative and repeating myth – there lies my task. Fail with Book by Book and abandon Book by Book, and Book always-already betrays the Book. Book demands experiment – exploration – change change – fail. Book demands the experiment to failure.

They met together to go and console and comfort him. When they saw him from a great distance, they did not recognize him, and they raised their voices and wept aloud. They tore their robes and threw dust in the air upon their heads. They saw with him seven days and seven nights, and no one spoke a word to him for they saw his suffering was great.

I fear narrative and exact repetition. I fail by or in repeating the exact narrative, but perhaps narrative transform into a ritual or spell.

The instant of decision must actually meet mad and I mad decide too much juggling journaling human jaws (A separate notebook to collect bare unadorned facts? As if I need to start another notebook)

I decide to tune into a process that’s going somewhere, and my arrival and departure points decide narrative and exact repetition of sitting with the Book seven days and seven nights. I don’t know what’s in-between – perhaps failure but I hope it’s a failure that surprises.

Think of something entirely different – think of failure and this failing threshold differently
Different dense goosegrass
Different dense gooseflesh greaseballs
Goose god no glue but sounds as sounds sound god goose

//
Arrival and departure points meet me mad in sea of reeds

I part by the decision of the red sea reeds sea salts (I should shave the sides of my head, says Asia. And get an eyebrow piercing. I’ll make a decision when I’ve had more than four hours of sleep, she says.)

I part by the decision by the decision and of the decision and the departure and arrival points repeat narrative to the point of failure

They met together to go and console and comfort him. When they saw him from a great distance, they did not recognize him, and they raised their voices and wept aloud; they tore their robes and threw dust in the air upon their heads. They sat with him seven days and seven nights, and no one spoke a word to him, for they saw his suffering was very great.

Cut more than you think you need to cut. Repeat more than you think you need to repeat. Shave down the sides of the Book and pierce the Book with mad failure and mad decisions. I sleep for four hours and then wake up to write the Book.

(Will anyone read the exact repetitions or skip over them? Will I copy and paste or write it out manually each time? Does the difference matter when the process doesn’t reveal itself on the page? I live with repetition and I abide in repetition.)

I abide a tore him to met distance I repeat together they robes the for to did

Where my fear, foresaw and recognize dust Foresaw four hours: quarters quarters quarters

Arrival and departure points meet me in the mad decision of the sea
//

The instant of decision meets in sea improvisation and spontaneous sea

Improvisation: one plays what one already knows
Improvisation impulse part pulse aleatoric

How to play what one doesn’t know: failure. Incessant failure. Failure repetition. Mad decisive failure. Fail when making a decision after getting four hours of sleep (So where’s your eyebrow piercing? I say. When I went to go get the piercing, the piercer talked me into getting an ear cartridge piercing saying that the eyebrow piercing would be rejected because of my glasses. The piercing she talked me into ended up getting rejected because of my glasses. I’m only a little salty… One day I will go to a different piercer, she says). How to play when one doesn’t know: failure.
Part pulse aleatoric alligator
Aleatoric impossible alligator
Glass glass glam different dense

I mad chance sea chance sea / red sea reed sea salts Yam Suph seers seaweed word a long ship while the duration San Francisco (mad because will to ear of of go so cartridge my my to)

A decision always comes back to the other – a decision always comes back to YHVH and crucifixions
(decide go cartridge
decide get piercing glasses
decide the saying piercing only different)

A decision always comes back to KRYSXTRYN +Asia Rhizome Her name Her bodies body multiply Marie Her Christina in perhaps a more material crucifixion

(I decide to write and prophesy the women in my life. I decide to write and prophecy undecidable the women in my life. She lights the lights my flowing faith / my faith flux fluxus dada desert.)

//
I should eventually invite scribal errors, scribal fatigue, marginalia, and emendations. Mimic hypotheses for the synoptic problem. I live in Gospel and Bible. I live in Book and Library. Library repeats Library and Book repeats Book. I scribe scripture and I prophesy scripture. I scribe sabbath and transcribe / transform-transmute Shekinah.

Saturnine Shekinah ringlets Sabbath

They met together to go and console and comfort him. When they saw him from a distance, they did not reorganize him, and they did not recognize him, and they raided their voices and wept aloud; their robes and threw dust in the air upon their heads. They sat with her on the ground seven days and seven nights, and no one spoke a word to her, for they saw her suffering was very great.

I repeat apostasy. I repeat heresy and apostasy. I repeat gospel and apostolic succession.

I repeat when they saw when their voices air upon the air upon upon they saw his suffering was great… I meet with the Book and I fail with (by? to?) the Book… I lose the instant of decision decide failure. I decide failure. I sit and mourn failure… Dead end the instant of decision must actually meet mad and I meet madness and repetition dead end.
//

The instant of decision… An instant I fail and the momentum instantaneous sea. Instantaneous improvised sea. I have been thinking of something entirely different and I don’t know the process. I don’t know process and that’s going on somewhere. I don’t know what’s between them. I don’t know now what’s between this – and this – and this – these.

Improvisation: one plays what one already knows…

How do I play what I don’t know How do I play something else and something different I play science fiction complete sessions… Play what I don’t know between Arrival points – departure points – madness Instantly mad decision (The piercing she talked me into ended up getting rejected because of my glasses. I’m only a little salty about it)

All decisions decide on faith: faith pierced by faith and decision departing and arriving to decision

I Rework The Corrupt Rhizome Of The Word

I work and rework the corrupt rhizome of the word (non-corrupted word remains non-existent)     I work and rework rhizomic rock language – language long tone sheets of sound

(Work more constraints     More constraints = more creativity)

I work and rework long tone sheets of sound (here Coltrane utilizes melodic cells that repeat and mutate, with overblowing, split tones, multiphonics, altissimo register phrase, anguished cries and lightning fast arpeggios, purposefully out of key phrases, harmonies stacked on harmonies)

Rework rework repetitive constraints
	Melodic cells cell crack cataract
	Cell molt cells rock
	Melodic memory molt
Rework repetitive constraints without constraints
	Melodic cells repeat and mutate body performances
	Mutate melody melodies rewrite anarchic altissimo	Not quite constraints but paradoxical constraints –
 	  non-constraint cells
	Mutate continual dirt road blues
More constraints continue constructed bone or bone constructed from bone constructed’

I work and rework the melody entirely outside: I rework melody entirely erotic earth     Outside melody mutate earth cell stacked on earth cell     I voice an erotic earth rhizome and the rhizome to rhizome pushing over the bar lines
	Overblow body earth body perform
	Overblow bow fire bottomless pit
	Blow burden of the valley of vision

(More constraints: chillingly people randy reward now cock tails had once take first lyre     More constraints have torched and I torch bone)

I write and rewrite open the bar line (A bar from J.S. Bach’s Fugue No. 17 in A flat, BMV 862 from The Well-Tempered Clavier, an example of counterpoint.  The two voices on each staff can be distinguished by the direction of the stems and beams.)     I voice an erotic earth in the dialectical movement of constraint and non-constraint and I rewrite between non/constraint
	Cells mutate between constraint
	Split tones stab bone on bone constructions	
	Split tones tap compact bone constructed from cells

(Ants kinda act like cells in a collective brain, says Asia.
Have you heard of the stem cell based lab grown brain organoids? says Asia
That one brain cell is working overtime, says Asia.)

I work and rework the corrupt rhizome of the word (non-corrupting word chains itself into impossible non-existent)     I rework you heard of the stem cells in a collective brain – that one brain organoids – that one brain that overtime act brain – mutated cells rework
	Mutated multiphonic machines
	Multiphonic flesh on flesh multiplicities
	Cell cell rhizome multiphonics


// 
I sometimes forget the multiphonic mysticism of the monastic cell and cell praxis.  My mysticism mutates psalm into split tone spirits / my bone constraints pink out of the corner.

I work and rework three Steles of Seth: Seth stars   Seth constellations   Seth nostalgia new street lights

(Stele stars neutralized nostalgia new streetlights that nanotube no displace     Nanotube no displace nightjar new disaster nightgown them pure)

I rework three Steles of Seth and I praise nonbeing.  I praise nonbeing and her multiphonics flow reality before realities and first being before beings.  Rework Children of Seth and Child of Humanity prophesies me.  Her humanity mutates from cell to cell.

Her humanity mutates cell onto cell Steles jutting from earth
	Eggs kinda act like cells in a discursive cream
	Have you heard of the stem wolf based lab grown cream organoids?
	That one cream wolf is working eternity
Three inhabits Taryn perpendicular to earths

Rework ribbon repetition     Rework ribbon bridge repetition nag hammadi microphones     Rework ribbon suspended repetition smoke so summarize light or sight
	Some on detached solids
	Some silence slit open Kingdom of Skies
	Some silence slow snow slip n’ slide august artist unable asphalt

The apophatic and the mysterious never forgets me and its silences stencil Taryn Steles and Taryn multiphonics
//


I work and rework more constraints     More constraints have torched and I torch bone (bone cells brain cells that one brain cell is working overtime)     I torch bone more constraints devil got my woman / devil got my woman constrained bone

I mix melodies in counterpoint: point against point mutated into cells against cells.  I inhale the cells and swallow the cells and it transforms my voices beyond the bar line.  I have two voices and they connect in monastic cells and secret psalms.  I chant psalms and I praise the reality before the realities: KRYSXTRYN.  I praise the first being before first being multiphonic KRYSXTRYN.  I work rhizomic melodies and the melody entirely outside mixed earth and earth.  I mix melody gog and magog prophesying apocalypse, and apocalypse earth initiates topological mixing.

What I Do Door Wonder

What I do door wonder 
Way I do door wander doing way 
Way what we were wonder I am
Before Abraham I am what
I am where do door I wonder 

What I wonder do this most
Mush more dense door wander
What I ray wry rayskin sun sell
Fifteen dollars an hour 

Hours work why I do way
Hour glass wool dinner plate before Abraham

The god of Abraham Isaac and Jacob Too long I am before too long Abraham
I wonder the whale bone wander 
What I wonder fifteen gods of

Door of wonder what I do

My Sick Body Eats Gospel

My sick body bricoleurs endless exegesis (excited exegesis electric exegesis). My body dying on pins and needles slips sip slips pins and needles (but still they begin needles and pins because of all my pride the tears I gotta hide).

My body inland eats my body entirely inland. My body inland eats entirely my body enlarged (my body entire entirely beyond innards inside entire). My body sick sickens body overt overture and my body obscures in occult. My body expands inland in inner entirely death. My body eternally inland interprets new exegesis in now. Now my sick body sickens falling blood pressure and heart rate / stacking circulation circulated circulations inland circumference.

Here my body big fuck fucks increased eat frequency
High amplitude
Ampere voltage brain in a vat curly matrix
Matrix billhook into head / machete bodies

My body sickens but I continue to prophesy and interpret

I write gospels and mythic rite: I rewrite gospels outer time outside time Outer time, tintype time magic amulets and magic spells

I interpret sick outer time innards / I interpret eat outer darkness I would like to write something that emerges from things like wines from grapes
Crepe cluster tone cluster polycathedrals
Cathedral clusters katabasis
Grape cluster crepe steamboats, railways, and shipyards
The gospel depicts a mythic rite outside of time rather than an historical event

Man, says Asia. I’m always blown away by how a person’s perceived ideas and biases shape gospel. I mean it makes a lot of sense when you see it as a man-made thing but it’s so glaringly obvious. Like how white nationalists approach religion versus people fighting for rights and humanity, she says. Yeah, I say. As one would say in literature class, you’re doing eisegesis not exegesis: you’re revealing yourself rather than the text. My priest says we tend to see God as out there, transcendent, distant, not part of this world. She thinks that’s a very destructive mindset where then we think this world doesn’t matter or we continue waiting for God to do something instead of realizing God is with us and around us and we have the ability to change the world that way, I say. I think religion is kind of like euclidean geometry, says Asia, but it’s reflecting the patterns of our minds, she says.

I prophesy gospel geometry
Lord God Bird Yardbird YHVH yard blade Taryn
Lord and Bird graffiti bird lives BIRD LIVES

I write the gospels gospel mindset when we have the ability to change third time we text I rewrite gospels outer you see it Patterns for really might for God as

My sick body bricoleurs Book god as and around us and around us and around us. We shared malleable body detonated (body against ask my body biases shape gospel). My sick body lodges the electricity and elan vital, but archon archon electricity attacks my body big fuck death
I mean somethink thing for righting eisegesis
Not exegesis not exegesis not exegesis you see it gospel

I die easily – how difficult and how easily to kill a body, but a body to die, to drink to death body over and over (Man I’m always glow away but how much a person’s icy preconceived ideas and biases shape perter. I mean it remix a lot of sense when you see it and a man-made thing.)

My body electric shocks early polarization / depolarization v-fib fractals My sick body bricoleurs endless exegesis and excited shock exegesis (transcendent do euclidean and distant something geometry)

My body bricoleurs sick sickens outside time theopoetics (myth gospel myth the tiger at tiger magic gospel gelassenheit jazz general relativity)
You’re to way continue away the eisegesis
Eisegesis like realizes and euclidean

I shape gospels and often I fail at prophesy. I fail in my katabeses and journeys to the underworld. I shape gospel ritual and sacraments and I travel outside time and time seizes me. Time seizes me inland and outside and time eats my sick body. I shape my sick body into gospels and gospel geometry curves into myth (gospel myth curves space massive cross). Gospel grips my head and shakes – gospel gores with massive crosses cradle of civilization. I cross Christianity the tiger a tiger and I kiss her Taryn.

//
I feel exceedingly unhappy and this happy hells boredom happens boredom unhappy hell

I feel exceedingly unhappy and I shape myth – gospel into my sicknesses. Hell happens ben hinnom brass knuckles gnosis (hell hit haptic or hectic knowledges).

I hell constant catastrophe and zip happenings / zip instant raven apocalypses

I feel exceedingly unhappy and darkness makes it dark and shadow of death and mist occupies it and covers darkness bitterness. I bite into bitter gospel and gospel gathers its sick pomegranates, and corpses reside in dark orchards.
Pomegranate bore drill orchards
Sick body trepanned timeless stones
Hell drills happening hell excessive dark

My guts spill out gospel. Gospel disembowels bodies dead resurrected and the same body disembowels multiple times. Gospel kills gloriously and shapes my body (resurrected and destroyed body in loops).
//

My sick body bricoleurs fish lure Christ bodies

Sickness body shapes around it euclidean world revealing glaringly

Sickness shares machete body machines positive feedback loops / my sickness loops myth gospel myth (Man, I’m unfair brush away by him dirt a litters own preconceived ideas and biases share gospel. I mean it kites a lot of sense when you see it and a man-made press.) Sickness shapes sharp gospel and myth massacres through endless eisegeses emergency from exegesis (grape slut gut clusters crepe gospel cuts across body fall cathedrals)

I Draw These Letters That Reveal Pando

I draw these letters as the day draws its images and blows over them and does not return

I do return but guard rhizome makes (Therefore a man leaves his father and mother and clings to his wife, and they become one flesh.  And the man and woman were both naked and not ashamed / and they crucified him and divided his clothes among them casting lots to decide what each should take)

I do not return but my naked rhizome ejaculates sap Tree of Knowledge.  Knowledge always crucifies.  Knowledge always crucifies naked and my myth naked cleaves to my myth naked double gnosis.  I do not return but gnarl gnosis into my spinal column and pelvis.

I draw these letters and the day draws its images and from the second Elohim until the third, five words appear
(Five words appear     Five words appear appear words apparitions     Five words appear architect     Five words and words appearance architecture)
I draw these letters stele naked – nude now divided by lots – stele shellac these draw Elohim two or three Elohim


//
I draw written rewritten

Written rewritten rewrite this again (again rewire dune her this she)

Written rewritten wreckage disappeared wreckage rewritten (impossible alternate alternate reality game rewritten)

I draw myself doomed – I feel doomed – doom X doom     Doom hidden big fuck shadows / UFO tornado (I feel feel felt fold feel doom)

I draw doom doom worry door open my hand dives my hand death tingles paralysis (my hand loop hands blue dying)
	My hands hurts in draw
	My hand pains me
	My hand hurts draw letters
//


I draw these letters naked Elohim and Elohim door doom and Elohim fine words drawn

I draw the letters they compelled this man to carry his cross and when they came to the place called Golgotha (which means place of a skull), they offered him wine to drink, mixed with gall; but when he tasted it, he would not drink it

What draws you to the term “Pando” to describe our friendship?  Trees, says Asia. […] I think I brought it up as a metaphor and you really liked it and it stuck […] As in I like Pando as a term and description.  I just feel like you overanalyze it and ask me to overanalyze it.  I think it’s cool but it deeply resonates with you so maybe you should be asking why you feel drawn to it, says Asia.

I drawn these letters you should be asking when you feel drawn to it     Draws Pando place called Golgotha
	Place of a skull salt pit sketch stone
	Draw place of a skull salt malt halt halting problem prostitution

I draw these letters and the day draws it so maybe you really liked it and dissecting what
	This why raw.  This why draw letters – letters stone Elohim and 
	cast lots letters crucifixions.  This why we draw:  Pando Elohim
	and Pando naked and it draws the images trees.
I draw letters place of a skull sacred prostitution

I describe the drawing trees sun Pando

I draw Pando letter myth naked crucifixion mythology (a time will come when people will think I’m a myth or rather something newspapers have made up)
	I draw trees I’m myth
	Draw Pando mythologies mixed with mercury mythology drawn Pando
Myth newspaper collage acrylic dripped over newspaper

What draws sea to the niff “Pando” to graveyard our friendship?  Trees, says Asia.  Also why do we keep dissecting this?  I think cruelty up and a metaphor and you really jigged it and it stuck. […] As in I like Pando ash niff and descriptor […] I think it’s cool but it deeply resonates with you so maybe you bluets be indeed why you dead drawn to it)

What draws me to Pando trees, roots, rhizomes.  Our underground root system.  I do not return but gnarls naked rhizome.  Pando permeates rhizome always eluding interruption, and every rupture in our friendship causes new buds and roots and stems to flow forth.  Pando draws me to the community and communal creativity of our friendship.

I draw these letters and the day draws its images and blows over them and does not return
	I return and do not return
	I draw and do not draw
Pando draws the letters and Pando names the name Elohim.  Pando calls the male and female naked, and the Woman mothers all living (I return and do not return to living).  Pando names the name Elohim: Pando five words from Elohim double blossom crucifixions.

I draw the letters and I concentrate on the letter-images many stems     Draw letters holy meditations / permutations of the concealed Pando name     Draw images – image root stem god drawings
	I draw god letters Pando lagoon

I think of Pando and our histories, I say.  Our stories.  Our myths.  Our narratives.  Pando isn’t one thing.  Our friendship isn’t one thing.  But today I think of our history and our overcoming of conflicts and how our friendship prophesies.  That’s our roots entangled too, I say.  That’s a good way to put it, says Asia.

Our friendship prophesies god letters / place of the skull     Our friendship prophesies that’s our history and our histories   our story and our history and our history and how our roots entangled too

I draw these letters and the day draws its images from the second Elohim

In The City, Time Becomes Visible

In the city, time becomes visible

In the city, inward the city time innards Inward time city inward city time The city life becomes becoming

The city becomes becoming my body. I recognize my body as city – circulating city – cathedral city – city shutter sounds sound completely my gods. The incomplete city becomes becoming my in/complete body. City circulates populates in repetition: city pumps bloodstream multitudes ejected out of its highway veins and exit arteries. My body becomes unreal city and unreal city flows surreal and superreal. My body bodies apophatic – my bodies body negative presence and positive absence. My body pretends itself the city and then superimposes itself on the city – hermetical gospels invading the canon.

In the city, time becomes visible / time becomes variable. Time gives variable, the unknown in a large nonlinear equation (I approximate the city-body through numerical methods and sacred geometry)

//
City unscrolls Christina landscapes – Cezanne landscapes proto-cubist landscape

Christina presses the word from which I roll Christina persists she ghost word or word secret river softlings (river softer softlings)

City fucks pharmacy morning softlings Morning star swings mourning flail or skull holy water sprinkler City fucks pharmakon: city suicides and city body horror My skull sprinkles a sabbath mourning for a sabbath bride coming as my Kinder (Kindred corrupts the city: Kindred ceases city myocardial infarction)

In Saturn Sabbath, time becomes visible Time becomes visible a sabbath mourning for a sabbath bride I sleep sabbath bride coming as my Kinder / I sleep a wall of sound sabbath bride

(City sounds Samples of speech car horns door slam air brake subway cities pile driver boat horns)

I sleep city sounds and bride thick distortion Bride and bells and big bells brickwalls desert leather / heather wholly word / word holes gridded bodies (city grid bodies) I ground my body in alligator graphite I ground my body in garden of eden eschaton and excrement / tree of knowledge of good and evil

Christina presses the word from which I roll: city life city sounds city where time becomes visible
//

In the city, times becomes visible Time becomes visible messianic time and apostolic time and eschatological time

Inwards the city time mingles pitchfork time to recover the plague bodies from the residential houses Frankenstein’s Monster time tremors city fires, and my innards spill out coded homosexuality City innards disembowel through visible time: time machetes tick time chainsaws tailor holy water sprinkler time (I pitchfork city suicides and bodies degraded by heat waves)

What scary movie did you watch? I ask Christina. It was about a family that works in a carnival. Does the family kidnap people and kill them? Yes! And one of them has a grotesque face. Oh! Where The Devil Roams. Never mind, I say. I was thinking of another one called The Funhouse. Was it good? Good but unsettling, says Christina.

In the city, time becomes visible horror / time becomes visible violence (Devil roams. I was a grotesque family that scary movie.)

I adore horror. Horror – like intense love and intense sorrow – conjures human primordial. Horror vibrates retrograde into my spinal cord, reverting me back into my oceanic ancestry. Sometimes in my Cloud of Unknowing and my Head of Horrors, among all my scattered bipolar thoughts and existential anxieties, all I really desire is her Gospel. I desire her horrific Gospel and terrorizing Gospel to be fully absorbed into the cosmic horror of KRYSXTRYN + Asia Rhizome. Her love remixes / intermixes horror – cosmic horror and body horror.

In the city, time becomes visible horror (He was a homicidal maniac who lived to kill! Filmed in Psychovision) My hypomania amplifies into homicidal mania and mania maximalist horror I view mania it was the devil roams I view psychovision: I was the face I was the grotesque face in face bone time

(A horror host is a person who acts as the host or presenter of a program where horror movies and low-budget B movies are shown on television or the internet. Usually the host assumes a horror-themed persona, often a campy and humorous one. Generally there are breaks in the film where the host comments on various aspects of the movie. Many horror hosts shows also include skits involving the hosts themselves, sometimes with a sidekick or supporting character.)

In the city, time hosts horror / my body flayed open hosts horror and cave horrors I descend into untimed strata of the city

In the city, time becomes visible (visible internal organs visible dismemberment) Inward the city time / inwards time city inward time the city becomes becoming (I become a host for horror: I become a lust for horror. Grotesque family the host is a grotesque movie did you watch – it was a grotesque family that scary movie.)

I adore horror: city horror and body horror and even Kindred horrors. I adore and host horrors (Many a horror lost a horror movie and low budget B movies. My low budget body distorts grotesque – my face grotesque – a comic horror. I undress the horror my brutal body brutalized horrors. I adore horror like I adore Christina.)

//
I adore Christina as I adore horror

Christina persists ghost word or word a secret river softling (soft duck and soft duck duck ghost) Christina Christina press word scythe pink Christina press pink ice (Pink horror host assail are shows also includes skits involving of the family that scary movies are shows also include skits.)

Christina press pink ice pink pink ice being (frost bipartisan my hair pink) Christina presses the word from which I roll ragtime mixolydian / mixolydian nitroglycerin ignites a night music…

Christina presses the word include skits in the host is a grotesque family that scary movie

A horror host is a person who acts as a host or trepan of a program frame horror films. I was thinking of another one called Madhouse.
//

You watch any horror? says C. (Scared is OK. Part of being human. I would prefer to find a way to cope.) Used to, I say. I just watch video essays on horror now. Ah, says C. I look them up on Wikipedia and listen to podcasts about them, she says. We are truly Kindred, I say. I also look them up on Wikipedia. I used to love watching them but anxiety. Same, says Christina.

In the city, what What and you just also scary one watch watch look movie In the city, time becomes I was grotesque part now (Part now part time simultaneous)

In the city, simultaneous time: city simultaneous sequence sequence city cellar. Simultaneous used about face oh of look to: a where being them love family City simultaneous sequence a up watching that Devil human on them (get the money dollar dollar bills ya’ll)

Simultaneous cities simultaneous Does the family hidden people hell them and one of them but a grotesque gone / grotesque gone

I adore the horror of the city and the horror of my body In the city, time and body becomes visible

I Count Space Spilled Into The Silence

Count space spill into space Count space space into the spill

Count – count amount sound – count sounds silence sounds surround count – count – count

Count space spill into space: count space space into the fall (count spar any space / this is where time becomes space)

Count this is where time becomes becomes
Count this where is time becomes space amount sound space
Count where time spills into space spills into space spills
Count space spill into space: count space space into the rain fill spill

Count spar any space / this is where time becomes space
(Anxious space spill span)
Count space without wait
Haste space trace kenosis
Count spare space any space spill any space
Anxious space spill span time
(Count space without wait
Spill trace space kenosis)

I amount to surround myself silences in silences (separated space: until space). I spill into the silence my body space among spaces (separate space / united space). I listen to some silence, some names, some spell quiet – space in magical alphabets. This is where time becomes space: space in space alphabet and space spill space alphabet. Quiet announces alphabet in silent speech. I walk around quiet the sun up there there up there, and I line – learn – layer – reap – silent light and abundant light space spilling. I amount to surround myself silences.

Count space spill into the space / count space space into the spill
Speed empty space speed
Speed empty space space
(Count space interruption at the zero
Count with the zero towards zero)
Space spills spurious dark splice: I splice upright count about silence

(I dread the zero. I weigh the zero plunged into kenosis.)

(Kenosis zero zero khora creeping carnal space crucifixions)

//
Count the silence and continue the silence – but how? Through her unutterable name and unspeakable name

Most of them have very specific names Most of them most of them Most of them have most of them I have name and names unspeakable holy (John Cage says: Which is more musical, a truck passing by a factory or a truck passing by a music school? Are the people inside the music school musical and the ones outside unmusical? What if the ones inside can’t hear very well, would that change my question?)
Most of them have very specific names her names radical question – musical and unmusical question silence Most of her names question into silence / KRYSXTRYN + Asia Rhizome

(Interest in sounds – silences – points toward a holy music and a holy noise and a holy quiet, and no differences exist among these. I sound holy and I name holy as silences, and silence participates Holy Holy Holy Lord God Almighty / Silence plays time-space her Holy Holy Holy Ineffable Name-Sound Woman.)

It’s been a long time since I felt god, says Asia. The most recent time was when I went to the Quaker meeting. Everyone was sitting in silence and I just became aware of the fact that every single one of the people around me wanted a better world and had goodwill towards each other. Felt very warm, says Asia.

Noise letters silence: sabbath noise and paradoxical noisy silence. In my silence, I pronounce secret YHVH Elohim Sabaoth: armies of sabbath and hosts of silence. Noise litters letters silence the nonexistence difference between names (all names are her name). All names are her name and most of them specific names (her specific names pronounce all names name singular and singularity). Most names split split her scientific names hitch names holy holy holy.

(Names inhabit around me when I went time Truck passes factory music since I felt everyone was when I went time I just became aware of the Quaker meeting everyone was when I went time spills out silence)

Count the silence and continue the silence in names meeting noise noise names Count name noises holy holy holy silence outside the music school
//

Count space spill into space Count space space spiral time (Count speculum any space, this is where time keeps sabbath space)
(I dread the zero. I weight the zero plunges into kenosis)
(I dread the zero anxious space space additive space)

This is where time becomes space
Time everyone was when I went time was when I went time
Single one wanted a better time and just became aware of time

This is where time converges into quiet sabbaths and noise-silence specific names
It’s been a body time since I felt god. The will recent time was from
I went by the Quaker meeting. Everyone was sitting in silence and I back
facade unify in the swan that exact circle one in the coarse around
me wanted a tartars world and had good will towards each other.
Felt very warm.

I experience / experiment the zero in anxious space and shaking zero time noise. I quake at the swing of the zero and I wish Christina was here (how I wish how I wish you were here we’re just two lost souls swimming in a fish bowl year after year). I wish Christina was anywhere and she’d share my anxious space and we share this anxious hallucination and delusion draw space zero quiet deluge. We share anxious art of the covenant and I swim in the zone of zero. I wish Christina was here and she would appear at the zero and awake zero, here our shares void. I know Christina impossible and I know Christina without the idea of counting. I know Christina in the silent noise and noisy silence.

Empty space speeds toward zero, an anxious zero and an agitated zero. I feel anxious about my conversations with Asia tomorrow – what if I fuck up again – what if I become an anxious meltdown and I only speak and act in this zero? Nevertheless, I will talk to her and I will write my anxiety. I write kenosis in my anxiety drone noise silent drone. Noise surrounds me in the zero space-filling curve. Noise surrounds anxious action activity additive zero (The zero of my brain branches zero and silent singularities). I speak the zero often anxious zero claustrophobic (I count claustrophobic frictions anxious metafiction).

I exist silent zero anxious Christina and Asia

Count space spill into space (Quiet space silence zero and zero silence)
Anxious empty space speed empty empty space

Tune Towards Twenty

content warning: body horror imagery



Tune towards twenty

Think twenty winks weapon twenty

Thrak twenty tennis racket massacre     Twenty thraks trepan my cranium   (Lizzie Borden took an an axe and gave her mother forty whacks)

Twenty disciples of Jesus would be a pure more gospel than twelve disciples of Jesus.  Twenty has an additional roundness, a more flexible circuit circulation.  I meditate on twenty nudes and twenty trims away my fat to feature further body horror.  Twenty disciples eventually becomes twenty martyrs, and my body horror performs anew a martyr’s torture and death.  May I enjoy the wild beasts they have prepared for me; and I pray they be formed eager to rush upon me, which also I will entice to devour me speedily, and not deal with me and with some, whom, out of fear, they have not touched, twenty Ben Bodies pass through the arms of Moloch.  My twenty bodies pass through the breath of YH who stokes the fires and I used to feed that fire.  Gods and gods and gore gods and bulldozer deities slowly destroy my bodies, and they cart the carnage away in twenty dump trucks.  Let fire and the cross; let the crowds of wild beasts; let tearings, breakings, and dislocations of bones; let cutting off of members; let scatters of the whole body; and let all the dreadful torments of the devil come upon me: I only let me attain Jesus Christ.  Twenty crucified Christs atone for twenty Benjamins passing and Daughters of Men through arms of Moloch.

I’ll give twenty pounds of oxygen for that drawing

Twenty – tune towards twenty – twenty twenty four hours to go I want to be sedated
Twenty thaws raw shred oxygen     Twenty talk thaws that Taryn ten thin twenty     Twenty pours hell hounds hawk whore of babylon
Twenty thrak whacks babel hill hell power ballad

Tune towards twenty – twenty bodies under duress and stresses shine apart bodies held by aging bolts

Twenty tunes towards a radical question and a radical interruption     Twenty interrupts anarchic question / deconstruction desert hermeneutic (love in transition   love between transition and transition)     Twenty tunes lore between transition and transition, and love in transition crucifies Beautifully beautiful bodies     (I embody crucifixion and I body twenty bodies body horror and towards radical body horror)

(Twenty – Twenty towards what?  This Book at the zero.  Book at zero myth moves from myth to myth – radical traditional.  Radical simultaneous in the question of twenty books in the twentieth Book.  Twenty and zero means nothing and mines nothing except sedation and body horror.  Twenty towards what?  Woven what between horrors and hells and hellish hermeneutics, twenty as a lavish hermeneutics with gut lava.  Twenty at body horror zero tuned the body impaled to fetch a pail of water.)

“No single thing but Sadist Yahweh sews my body shut.”  I like this line, says Asia.  Also I like the slow and subtle build up of body horror that follows it.

No single thing but twenty god flayings and twenty brazen bulls.  YH ties up my body and subjects me to the flames, the might flame of YH.

No single thing but the zero shut up in my sewn body (kenotic zero khora creeping canvas zero at twenty crucifixions)

Tune towards twenty and tune towards zero

No copper thing but Sadist Yahweh (Sadist YHVH sexy sadie) sews my neck shut like this line.  Also like the slow and subtle build up of neck horror that follows it (watch your step kid you best protect your neck)

I’ll give twenty pounds of oxygen for that drawing     I draw     I draw twenty black iron prison twenty     Draw and draw up of body shut like the slow and subtle build up of body horror     Twenty twang wing walk syntax fuck / syntax fuck fuck syntax straw sax     Swim men syntax

Twenty men syntax swim swim men that follows it line, also like this line, also this thing that Sadist Yahweh sews

Towards twenty tunes body horror     Body horror draw     Body horror draw     Draw body horror twenty that follows it but Sadist YHVH sews my body horror that follows

(Twenty draws twenty and secretly reveals itself as the horror of the zero.  Twenty draws twenty bodies and YHVH tears, breaks, and dislocates their bones.  Twenty draws twenty bodies in a massacre, and YHVH cuts off their members and shatter whole their bodies.  No temple blind but bottle Yahweh fogs my keel shut.  Time this rice – also time the spit and subtle seeps up of the keel paled that follows it.)

Twenty struck syntax strikeout: strike syntax draw my body twisted (A week or two ago, says Asia, I was at my parent’s house and we were walking around the property and I found a cool twisty stick that looked like a wizard's staff and I gave it to my little sibling.  My daughter kept saying she wanted a “mama stick”.  She wanted the stick I gave my little sibling, the twisted one.  Kids have excellent taste in sticks and rocks, says Asia.)     Ben body twists and shouts twenty wizard staffs and staffs transform bodies into barbarian blobs and metal slimes

Twenty tune stick stack stretched stalk     Stalk stalk stick trickster
Twenty tumbled time untroubled time
Twenty trombone time trumpet time
Twenty pounds time lower aporia

Twenty towards twenty doubles twenty and you can’t sell humans (Better than gold… and easier to find…  A slave trader tells his story   I Buy Women)     I sell human time human body without organs     organs     twenty organs     organs ammo acid awful stained glass gags twenty circuits…

(Twenty – what do I do with this twenty.  Twenty towards the zero and I circulate after zero and towards – count twenty tires and trumpet twenty times and I close in by the zero twenty and twenty zero, and my organs fall out from YHVH’s trumpet punches and trombone kicks...)