No tunes, just a sonic storming of the heavens, the sound of longing unbound

Push sound     Push sound prayer sound prayer search serpent: sow serpents take the horn out of your mouth but I mouth horn constant     My mouth machines blue bull horns liturgy of the hours     You have to use some imagination to hear the song inside of it

No tunes but turn touch Taryn twice   touch twice trace taste Taryn   Taryn theme tower twist trick tempo     No tunes I count tempo

Push pure sound performance art     Push sound pulse impulse play performance     Push sound seer process prophecy and I pursue prophecy sound scripture sound poetry     Sound prayer search serpents: sow serpent now sound and I sound horned moon     I sound lunar horns take the horn out of your mouth but I do not take the horn out of my mouth     I mouth sound motion water mechanics mechanical bull mixed multitudes     I mix sound sound mixture ben begins the beach     I sound mix sounds sign jazz improvised gospel and I let the sound blend body body bow blood sound     Sound bow bay of blood ben beach blonde and sound steeps lunar horn horned steppe

I do not take the horn out of my mouth but mouth mixture mixtures top soil tetragrammaton

I do not take the horn out of my mouth but I mouth moon hell high mine sea     Sea slow sword sound mouth tenor saxophone serpent paw print tone row     My mouth machine mines moorland moor mother moon     My mouth moon mirror silver bull horn hell liturgy of the hours     I hear hours cave mouth and moon mouth map ship imagination ink sons

Push sound cross klang     Cross klang autoclave collage collage chymistry     Cross collage car chymistry coin-operated arcade machines / push sound Ms. Pac-Man

Push sound cross klang     Cross klang hang bang classic quartet     I quick klang classic quartet first great quintet second great quintet     Cross klang sang rain sheets of sound rain     Sheets of sound spell sprawl calls bird bell yardbird yahweh / yahweh klang reed waters water redshift     Waters redshift rhizome room roma cross     I roam cross as camera or human photograph and I photograph accidental bodies

(Boulevard du Temple, Paris, 3rd arrondissement, Daguerreotype. Made in 1838 by inventor Louis Daguerre, this is believed to be the earliest photograph showing a living person. It is a view of a busy street, but because the exposure lasted for 4 to 5 minutes the moving traffic left no trace. Only the two men near the bottom left corner, one apparently having his boots polished by the other, stayed in one place long enough to be visible. As with most daguerreotypes, the image is a mirror image.)

I sound cross as accidental cameras and incident bodies: bodied ink flesh sink bone bowl

Sound human body blow overtones / heart harmonics klang camera harmolodics

Klang defanged chain gang mustangs     Klang chain gang cross ape out sine wave oscillator     Beat ‘em up top down perspective aporia desert desert drift / drift camera exposure naked     I drift gnarled camera rack body much wrench exposed ben naked

Cross klang clean it’s about that time     Cross klang clean camera capture call it anything     Camera drift desert directions directions     Desert clang cross orangutan boomerang     Klang catch hang claustrophobic cloisters cloud cross changes     Cloud cross collects con man tone clusters / catwoman tenor saxophone phantom camera     Cross klang cloud clock edit splice midwife     Midwife myriad cross klang sound matrix: material sound sessions on the corner     I sound session on the corner hi-hat pulse big fun     Cross klang boomerang overhang hag strum and drang     Cross camera draws desert drag plains mustangs

Also, I had an idea for your blog, says Asia.  In the future, if you publish your book, it’s not going to look like your blog at all.  So you should think about your blog as a place where you post book fodder or book seeds but the blog is not the book.  I say all this to say that you should expand your idea of the book and the blog.  I also think that people might enjoy it if you posted a few essays about your writing process and your own personal struggles with your writing and your sense of identity, says Asia.

Everything is purged from this painting but art: no ideas have entered this work (Everything is purged from this writing including art; no ideas have entered this book) (Everything is purged from this writing except the apparitions of the names of various women: Krystal, Christina, Taryn, Asia…) (Everything is purged from this writing except Asia; her ides envelope the work)

Yeah, you’re right: I should think about the blog more flexibly.  I told you about the artist Tehching Hsieh before.  He did year long pieces during the 1970s and 1980s – like for a year, he did not allow himself to enter a building effectively making him homeless, one year he spent tied to artist Linda Montano, one year he punched a time clock every hour… What he did is extensively document these performances.  I saw a video recently on his work.  For his time clock piece, he took a photograph every single time he did punch the clock.  And he had friends come and document it and make it official.  So even though the performance part was ephemera, the documentation and commentary on the piece still exists.  I think your point about the blog is it’s not equivalent to the Book – it can be something different too, it can be a documentation and commentary and exploration of the Book too.  Let me know if I’m interpreting you incorrectly.  Yeah, that sounds like what I’m trying to say, says Asia.  OK, I am curious about this then – what if I write an essay for the blog, but then incorporate it into the Book later as part of the Book?  Would you approve of that kind of ambiguity and flexibility?  Yeah, why not? Says Asia.  Though you should know that it might lead you to editing less of your other writing and you might need to come to terms with that, says Asia.

The piece I referred to in the above conversation:  One Year Performance 1980 to 1981  (Statement.  I, SAM HSIEH, plan to do a one year performance piece.  I shall punch a time clock in my studio every hour on the hour for one year.  I shall immediately leave my time clock room, each time after I punch the Time Clock.  The performance shall begin on April 11. 1980 at 7 PM and continue until April 11, 1981 at 6 PM…)

I write time taryn everything     Time taryn theater traffic trillium time     Time time taryn alternating static time rhizome telegram trim     Tireless taryn time tips teaspoons spin snore taxonomy / Cornelius Cardew Treatise     I tear time from text: the text which spirals counterpoise witch erotic (Any man could have her… But only the hardest was a match for SWEET GEORGIA   She was ready, willing, and even hotter than the sun.  She made play boys into play things!)

Text Taryn spirals counterclockwise cloud texts klang     Klang push sound puns and palindromes / repetitive patterns of sounds that lead to scatological or obscene associations: to pulsating human activity

I eliminate ideas aisles inset insects apophatic acupuncture     I deconstruct ideas eyeballs antlers unerased apophatic (pale face said to the eyeball kid she just go clank and boom and steam)

Klang clank crank     Klang crank crank klang crank crank blood bang boomerangs     Klang clank crank copulate crosses and crucifixions     Crucifixions crank flank prank April Fool’s Day fakeout endings and parody slashers / slashers foreshadow my self-aware postmodernism     Book parodies Book my bodys lashed film strip slasher striptease     Clank clownfish tank escapade aquarium tank turrets: turret taryn tor mer stripper poles     Crank outflanks snowbank ship shoelace solar windows     Window body boat bone clank and boom and steam     I scream steam stimmung cicada dada desert

Window body boom bloom witch broom blind book     Book boom broom bloom music mushroom musics     Book boom funeral doom door doppelganger god gods bell witch     I ring bell witch boombox boardroom legumes ledger lights     Boombox experiment perfume     boombox experiment taproot rhema rhizome     I experiment excess boombox waiting room (everybody’s moving moving moving please don’t leave me to remain in the waiting room)     I experiment emergency root dynamics stream steam she’s such a scream     She steam blood scream extreme jet pulse body propulsion     Blood pulses ben body slashes boombox screams

I’m trying to approach my writing more flexibly, I say.  I’m trying to count pages less in my “official” final draft notebook and more just try to count making progress and brainstorming… I’m trying to change it to be about the whole creative process, not just final output.  I’m lad to hear that, says Asia.  You were too rigid.  That’s why I said to put emphasis on the process.  The process keeps going and going, she says.  Yeah, you're right, I say.  It just takes a long time to train my brain you know.  I understand, says Asia.

I desert idea igor stravinsky les noces / nocturne frankenstein’s bride     Frankenstein’s bride paints brush black bold strokes stroke my brain ischemic devoid ideas iguanodon

I scream steam morpheme morphine and grapheme graphite more myth / mainstream whipped cream wet dream

The aspect I find most challenging about the Book: transitions     to transition from one stanza to the next, one section to the next, and utilize the connections and associations effectively and completely     I study the word and the language of scream: I attempt to explore every permutation, combination, and association with scream     What John Coltrane said: they’re long because all the soloists try to explore all the avenues that the tune offers… They try to use all their resources that the tune offers… Everybody has quite a bit to work on…     I have quite a bit to work on     I explore all the possibilities of scream or clank or clang, and use the word to create new language     Once I explore and create new language – the challenge then – TRANSITION     I write troublesome transition from language to another language (I think of the second superstring revolution:  In the early 1990s, Edward Witten and others found strong evidence that the different superstring theories were different limits of an 11-dimensional theory that became known as M-Theory… The different versions of superstring theory were unified by new equivalences… These were known as S-duality, T-duality, and U-duality, mirror symmetry, and conifold transitions…) (I too would like to find creative and insightful transitions and translations and mappings between languages – not anywhere near as rigorous, but I hope still surprising, provocative, and evocative – give me that monstrous moonshine transitions and connections)

Instead of looking at things, look between things

I look lattice ladybug matrix     Look last house on the left dagger taryn lapdance     Christina through the looking glass glow sand camera cross human photograph / I have always been very interested in photography… I have looked at far more photographs than I have paintings     I photograph afar body glass transition through a glass darkly

I look process sound no transition but volumes     My interest in the instrument: a sound-making device, not a note-making device

I look Christina through the looking glass bell body     Ben and Christina BELLS TOGETHER     Bells together bell witch window towers towers tone cluster towers     I look between fingers and toes: empty space then transition     I chop off fingers and toes with a heavy cleaver / clever clearer cross garlic cloves empty space     Body always spaces space a starward space open star wars     Star wars strut space storm trooper implode cyclops ideas idiot wind benjamin     Idiot wind katzenjammer kid benjamin we’re idiots babe it’s a wonder we still know how to breathe

She’s such a scream stabs habit blood on the tracks     Blood clanks book body iron immense in marginal emendation run amok 

Do you think the language in the Book is beautiful? I say.  Sometimes, yeah, says Asia.  What makes it beautiful to you?  How it sounds or the association it creates.  Do you I should try so you feel it’s beautiful all the time?  I guess so.  Is that really what you're going for all the time? says Asia.  That’s why I wanted your feedback on it.  Asked my friend Violet too.  (Do you think I write beautiful sentences? I ask Violet.  I wouldn’t say you write sentences but I think you write beautifully, says Violet.  How would you describe my basic unit of length then?  I don’t know if it fits into a category, she says.  It just goes until it stops)  I feel like making every line beautiful would contradict things that you are trying to do, says Asia.

I want to write the beautiful line all the time     I want to write the walls of my skull bend backwards and in like labyrinth all the time     Labyrinth looks ladybug marginal emendation run amok     I inlay two cone copies of the Book into longer sheets to make room for all the revisions     My scrawling alterations cover all the generous white space and insert the marginalia into three different locations into the original text