What do you feel, tell me what do you feel
when the birds get lost in red
and you’re steadied against a wall, your pants
split and hair disheveled as if you’d just
killed a president.
What do you feel in the reddening hour,
in the agitprop hour, boots sinking
into the snow of an avenue
…
Poor Grammar: Etheridge Knight "To Make a Poem in Prison" 
“To Make a Poem in Prison”
It is hard
To make a poem in prison.
The air lends itself not
to the singer.
The seasons by unseen
And speak no fresh fires.
Soft words are rare, and drunk drunk
Against the clang of keys;
Wide eyes stare fat zeros
And…
Bluets performed by The Living Earth Show (by Luis Escareno)
Bluets is a multi-media piece by composer Luis Escareño based on the book of the same name by Maggie Nelson. The piece was written for the guitar and percussion duo The Living Earth Show (Travis Andrews and Andrew Meyerson).
The publisher describes the book as, “a lyrical, philosophical and often explicit exploration of personal suffering and the limitations of vision and love as refracted through the color blue.” The book is organized as a series of numbered vignettes from 1 to 240.
The piece itself condenses pieces of the story into a monologue. The vignettes unfold via a processed pre-recorded narrator and text. When performed live the performers play along a fixed media track (a combination of the narrator and processed sounds) and a video (a series of images and text) that is projected onto a screen or wall. The piece is divided into 6 movements that serve as musical vignettes. It is worth noting that the music is written as an emotional reaction from a reader’s perspective (more specifically the composer’s) and is not directly a reflection of the narrator’s actions or emotions.
The audio was recorded live on March 30th at the Center for New Music in San Francisco, CA.
Music Performed by The Living Earth Show
Narrated by Sarah James
Text used with Permission of Maggie Nelson (Author) and Wave Books (Publisher).
A warm thanks to Maggie Nelson, Wave Books, Heidi Broadhead, Andrew Meyerson, Travis Andrews, Sarah James, Christian Mesa, Dan Becker, Roxana Waterman, Danny Clay, and Matthew Siegel.
For more information about the composer please visit:
luisescareno.com
Farid Matuk | My Daughter a New Rule in Algebra! Five from Three and One Remains!! Or the Three Mexican Prisoners, Having but One Leg Between Them All!
Kicky we say suffers the sameness
arches her little body as the lines of fish
say anything a one-legged three
Mexican body can still dance
put its feet up on the dais on the table
stink up the hall of my legislature can cakewalk
oil fat salt ride hard the air ride
their intent into our car outside
the drive-thru
Kicky coos and spits lines up over the sets
of potential turns the sets of possible
intents her numbers of legs of glands
of gums of waters of hard edges
I know I’m rich by how little hunger
stops me working
everybody can draw
says the artist
California oak fungus in the wind keep checking
the hole to find the hole
(Source: ahsahtapress.org)
“Hardly anyone was writing about sex the way I knew we were doing it, and feeling it, and sometimes fucking each other up and over. Sex and the body are what make us dangerous—no one would care if we were writing platonic letters to each other about maple leaves.”
Amy King interviews Erica Doyle about Proxy in Boog City 79: “Holy Erotic Psychologic Linguistic Twister: R. Erica Doyle’s Proxy Takes Stage”. March 2013
via http://www.belladonnaseries.org/proxy.html
Cave Canem at The New School: r. erica doyle, Bertram, Bianca Spriggs and Marcus Wicker (by thenewschoolnyc)
![afieryflyingroule:
“A poem by Cid Corman. He typed it out on the front of the first aerogram (his preferred method of overseas communication) I received from him in 1999, thus setting the stage.” [ Joseph Massey (via cris cheek) ]](http://25.media.tumblr.com/d639f11999edbcddc7fe83d11e1093ba/tumblr_mmec3ekhNJ1r6fnzoo1_500.jpg)
“A poem by Cid Corman. He typed it out on the front of the first aerogram (his preferred method of overseas communication) I received from him in 1999, thus setting the stage.” [ Joseph Massey (via cris cheek) ]
[PANK] :: 8.05 :: May 2013 :: Misanthrope :: Cindy King
I hate the sound of the human voice
as it bursts from the radio
at sunrise, when yellow holds its breath
and pretends again to be orange.
Daybreak: blood in the palm of morning,
prison-soap pink spilling onto the horizon
in the so-what of dawn.
I hate the sight of the human form
casting shadows on the grass at midday,
when sky blue becomes handicap in the anti-
freeze of the green afternoon. The full sun
streaming caution tape in the what-difference-
does-it-make of day.
I hate the scent of the human body
as it sweats in the subway. The earwax
of the setting sun, sunlight shines
through a prescription bottle
in the whatever of evening.
I hate the touch of the human hand
as it bids farewell. The suffocation
blue of sunset, when the moon rises
like grease cooling in a cast iron skillet
in the never-mind of twilight.
I hate the taste of the human heart
rising bitterly in my throat. Dusk
like a spike of black
ice growing from a stovepipe,
darkness, the dead eye of the stove.
In the biting, wordless, get-on-with-it of night,
love me.
How to Look at Art, Arts & Architecture, Ad Reinhardt, January 1947
— or as Fred Moten puts it:
The notion that crisis lies in the ever more brutal interdiction of our capacity to represent or be represented by the normal is as seductive, in its way, as the notion that such interdiction is the necessary response to our incapacity for such representation. Their joint power is held in the fact that whether abnormality is a function of external imposition or of internal malady it can only be understood as pathological. Such power is put in its accidental place, however, by the ones who see, who imaginatively misunderstand, the crisis as our constant disruption of the normal, whose honor is given in and protected by its representations, with the ante-representational generativity that it spurns and craves. This is the crisis that is always with us; this is the crisis that must be policed not just by the lethal physical brutality of the state and capital but also by the equally deadly production of a discourse that serially asserts that the crisis that has befallen us must overwhelm the crisis that we are; that crisis follows rather than prompts our incorporative exclusion.
(Source: lessadjectivesmoreverbs)
How to Look at Art, Arts & Architecture, Ad Reinhardt, January 1947
(Source: lessadjectivesmoreverbs, via thelongesttrainieversaw)
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