Food for Thought "The power output of the sound produced by a man who talks for three hours a day throughout an average life-span is roughly sufficient to heat a cup of tea up to the temperature at which it is normally drunk! In other words, if the speaker's food consumption is 3000 kcal/day, his lifelong oratory will absorb the energy equivalent of only a couple of slices of bread and butter!" (from R. Houwink, The Odd Book of Data.) Writing, however, would be a real expenditure, and typing, I think, at least as great. Drag-and-click or drag-and-drop mouse techniques, however, do a great deal of work for us. I want you to think of this as I translate my work into code and protocols, taking away the breath, the fingers run into the keys, periodically slammed to a halt at a runaway speed. This is each and every finger, the wrist and palm constantly changing position to accommodate them. No mean feet. The drop can be up to an inch at times, depending on the keyboard, the dance, the illuminated thought itself. All of this energy of speech, this labor, doesn't take into account the labor of the mind and brain - its oxygen absorption, its furnace. That adds quite a bit into the account; when I write, it's as if I am a machine generating the symbolic - or perhaps the symbolic writes itself through me, parasitic on my energy reservoir. I'd stop to eat and drink before more symbols emerge. Of course the reception itself requires energy - the eyes furiously inun- dating the rest of the brain with continuous data-processing, the mind converting letters on an autonomic level to something of the order of received thought, hardly understood. From there to stepping-back, visual- ization, is a steep curve, and the depletion of even more combustibles. The reader tenses slightly, considers a reply; the symbolic is off and running - and in reality, between writing and reading there's hardly a gap, everything consuming calories, mind and body in slow burn. One can of course invert this process, noting that body exists only to convert food, part and parcel of the world around us, into the symbolic - that eventually, everything will be text and letter on one end, decay on the other. Not enough to keep body and soul alive, a kind of response or euphoria, carrying, considering, the consequences. _ SAY THESE THINGS! d'eruza stands in bees, purple flowers. now there is a camera moving from pollen, petal, to luscious breast, across a matrix; breast's love bites form maps revolving as flower mapped, flower/breast/flower, what fun says d'eruza, d'nala's trembling hand on shudder button, camera circling hickied neck across tree bark, branches, stems, cock fed into pink petal flower matrix, cunt and insects purple flower, how swollen the world for just a moment is, how bursting, pubescent, fecund, splitting open, we're dying among bees and flowers, across a matrix of images, imaginaries, something other swelling, scent almost escapes the paragraph NOW INSERT THEM! a moment is, how bursting, pubescent, how images, imaginaries, something among bees and flowers, across a fecund, splitting open, we're dying among bees and flowers, across a fed into pink petal flower matrix, cunt and bites form maps revolving as flower mapped, flower/breast/flower, love bites form maps revolving as flower mapped, flower/breast/flower, matrix breast's from pollen, petal, to luscious breast, across a matrix; breast's camera circling hickied neck across tree bark, branches, stems, cock camera circling d'eruza stands in bees, purple flowers. now there is a camera moving d'eruza, d'nala's trembling hand on shudder button, what fun says d'eruza, d'nala's trembling hand on shudder button, escapes the paragraph escapes hickied neck across tree bark, branches, stems, cock just a moment is, how bursting, pubescent, love moving fecund, splitting open, we're dying how swollen the world for just other swelling, scent almost what fun says insects purple flower, fed into pink petal flower matrix, cunt and insects of images, imaginaries, pollen, petal, to luscious breast, across a matrix; swollen the world for something other swelling, scent almost matrix of purple flower, from the paragraph d'eruza stands in bees, purple flowers. now there is a camera __ song a floating exchange rate is edgy, but pegging can lead to domestic misery. black or grey market exchanges tend towards nominality. closed-end funding in other words, applied to human demographics. conspiracy is just another word for communication strategy and leverage. consumption both private and public reaches limits beyond which there is only destruction. countries jostle among each other in terms of foreign exchange. create a surplus economics and one has already written into the aristocracy. favorable bal- ances of trade indicate highly-fueled economies. foreign exchange possess- es an inherent volatility. globalization from above leads to less jostling below. in this fashion, considering jostling, the new economy is trans- formed into the stabilized old. it's these differentials that tend toward informal economies. purchasing power parity guarantees equilibrium of pri- ces. restructuring is necessary but only in relation to birth rate and zero population growth. services in one sovereign state are not necess- arily services in another. the nominal exchange rate might lend itself to currency bartering. the political risk is no greater but populations are stabilized with a higher quality of life. there are market risks associa- ted with purchasing power parity. there are systemic risks associated with this transformation. think of the economic sectors of one country as opposed to another. use leverage as a way of transforming liquidity into pacification. various world organizations transform labor into capital. volatility in exchange can rapidly descend into currency crisis. when the nominal becomes real, purchasing power parity will also become more of a reality. tend towards sponsored american depositary receipts rather than unsponsored; information risk will decrease, and there is the ishares msci index to consider. a floating exchange rate is edgy, but pegging can lead to domestic misery and zero population growth. services in one sovereign state are not associated with this transformation. think of the economic sectors of balances of trade indicating highly-fueled economies. foreign exchange become more of a reality. black or grey market exchanges tend towards nominality. closed-end funding country as opposed to another. use leverage as a way of transforming crisis. when the nominal becomes real, purchasing power parity will also; economics - and one has already written into the aristocracy. favorable in other words, applied to human demo- graphics. conspiracy is just another incapital. volatility in exchange can rapidly descend into currency itself, to currency bartering. the political risk is no greater but jostled in terms of foreign exchange. create a sur- plus jostling below. in this fashion, considering jostling, the new econo- my is liquidity into pacification. various world organizations transform labor services in another. the nominal exchange rate might lend of prices. restructuring is necessary but only in relation to birth rate. populations are stabilized with a higher quality of life. markets possess an inherent volatility. globalization from above leads to less public beyond which there is only destruction. countries risk association with purchasing po- wer parity. there are systemic risks toward informal economies. purchasing power parity guarantees equilibrium transformed into the old. it's these differentials that tend towards communication strategy and leverage. __ Structure of the World-Order Electronic commerce (e-business) is characterized by world-wide transac- tions between one country and the rest of the world, over a globalization climate for cultural export (world-music for markets). Hedge funds are correlated; a panic in one part of the world affects everyone. Supply more than 40 per cent of the world's oil, own about 78 per cent of the world's total reserves! Transactions between one country and the rest of the world, including transportation, utilities, shelter, medical care, among other things, but not transfers such as unemployment on a trans-national level. Various indices are used in macroeconomic analysis, including the transportation or agricultural sector. Also used in the sense of the public of the world. Movements among moving borders in one world-part across others, nations transferring funds through chaebol or keiretsu banking conglomerates shifting across continental boundaries. World-wide current-account and gold on the movement, investments moving shares in restructuring systemic crises. World-grid shuddering across world-grid, currency valuations floating pegged to nominal flows of foreign low-risk shares of sponsored ADR. Jostling and adjustments, record low unemployment levels after tax- ation and tracking-rates. Almost no one present for crisis compensation, currency on the move. grep dollar economics grep poor economics grep rich economics grep invest economics grep risk economics grep world economics grep world economics > ~/zz grep earth economics grep world economics grep anx economics grep chance economics grep country economics grep nation economics grep mandate grep mandate economics grep trans economics grep trans economics >> ~/zz grep kei economics rep kei economics h 1 | grep grep __ d'eruza and d'nala think of nations jostling, borders jostling, membranes hardly defined as open sets among them, individuals jostling, moving into and across each other's spaces within them, towns expanding across them, families moving across towns, expanding and contracting, drifters crossing membranes, bo- dies jostling among microbial populations crossing borders, all defining by excluding, everywhere fitting or lack of fitting, balance of trade and abstracted movements of investments across membranes, borders of tariffs, backups and intensifications among organs and organelles, motes floated across spaces, gaps among words and exhalations bordering on defining and asserting, contracting and withholding, foreclosing and withdrawing, ges- tures pausing among seeings and hearings, sayings and tellings, systemic crises moving commodities and securities across fields and wilderness, mappings changing and jostling, cellular invadings, borders inhaling, drifters, anarchic children, children of marx and coca-cola, meanderings, tribal nations, cool objects slowing their think, d'eruza saying cool, d'nala-reply, cool cool __ International Currency Creation, Tariffs, Lost Securities currency | currency > a; a > currency | currency ksh: currency: not found ksh: cannot create a: Is a directory ksh: currency: not found ksh: a: not found b > currency | currency; currency | currency > b ksh: currency: not found ksh: currency: not found ksh: currency: not found wc ? wc: a: Operation not permitted 0 0 0 a 0 0 0 b 0 0 0 total touch currency currency | currency > a; a > currency | currency ksh: currency: not found ksh: cannot create a: Is a directory ksh: currency: not found ksh: a: not found b > currency | currency; currency | currency > b ksh: currency: not found ksh: currency: not found ksh: currency: not found ls a b currency __ Bogus Sex oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:zerns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oogn bogus_patt:oos_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha * *fake* z:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:z z:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:ooz:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:k* *penz:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:z:z z:oo:oo:oo:phoenix.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *ass* *ht* *suck* *dick* *penis* *cunt* *haha* *fake*z:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:z:oo:oo:oo:oo:oo:oo :oo:phoenix.irc:assign booo:oo:oo:oo:oo:oo:oo:oo:oo:oo::oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oooo:oo:oo:oo:oo:oo:oooo:oo:oo:oo:oo:oo:oo:oo:gn bogus_patterns *fuck:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:ooz:oo:oo:oo:oo:oo:oo:oo:oo:ooass ign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oo:oo:eh e* oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:venom.irc:assign bogus_patterns *fuck* *shit* *sucklit* *ass* *hehe* *oo:oo:oo:oo:oo:oo:oo:ooke* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oooo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:z z:oo:oo:oo::oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:venom.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cuntz:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:phoenix.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:zit* *suck* *i s* *cunt* *hahaoo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:ooz:venom.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *ass* *hehe* *bz:oo:venom.irc:assign bogus_patterns *fuck* *shit * *suck* *dick* own fucking signoff q *cunt* *haha* *fake* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:ooz:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo :oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo :oo:oo:oo:z:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:phoenix.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:z* *fake* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oos_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:phoenix.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *splrns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:ere this fucking cool? oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:venom.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *cunt* *h*split* *ass* *hehe* *bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:venom.irc:assign bogus_patterns *fuck* *shit* *suck* *dick* *penis* *cunt* *haha* *fake* *split* *aso*bogus* *yawn* *leet* oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo: oo:oo:oo:oo:oo:oo:oo:oo:oo:oo::oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo:oo :oo:oo 15 grep sex * > oo & 16 grep fuck * >> oo & 17 grep cunt * >> oo & 18 grep cock * >> oo __ trembling foreign ec ec is messy, said d'eruza; what's goods and services in one country isn't necessarily equivalent in another. it's a question of human trial and error; it's a question of ornament, kinesics, what's actually proffered and its relationship to class and gender. all of which is problematic, replied d'nala, which is what makes ec fascinating and fetishized; it's a form of gambling with constantly changing currencies and crises; earth- quakes in one part of the world affecting my earnings in another. so one might characterize it as a trembling of abstract quantity, susceptible to natural and artificial catastrophes and breakthroughs. exactly, said d'eruza; and all of this combines with expectations and displays of greed and good will, a tendency towards barter in the finer details, as well as price leveling. then there's also migrations to urban centers, telecom encroachments, disasters of free trade and environmental damage, enormous wage differentials among countries. d'nala said, all of this we call ec- onomic jostling and self-organization; no matter how disastrous or rag- tag, someone trades somewhere, someone offers, someone receives. don't forget the major exception, said d'eruza, the case of war, pillage, van- dalization, destruction, plague - in other words, accounts received and destroyed, non-payable. the internet trembles here as well, said d'nala. everything is a trembling, replied d'eruza, it's the world-nature. exces- sive volatility is the only certainty, coupled with monstrous leveling where civilization huddles. against what, said d'nala. against interest compounded, she replied. __ wanna market correlation bigtime systemic crisis i wanna market misery. i wanna bigtime restructuring. give me purchase po- wer parity. give me bigtime trade surplus. give me your devaluation. give me your domestic demand. i wanna bigtime diversification. i wanna bigtime globalization. give me managed rates. i wanna manage them.:give me energy. i wanna free trade in and out. give me real exchange rate. give me bigtime political risk. i wanna bigtime openend fund. i wanna nominal interest rate in. i wanna informal economy rate out. give me systemic crisis. i wanna live systemic crisis.:i wanna energy. i wanna move ADR fast. i wanna float them. i wanna bigtime information risk. give me energy. i wanna GDP deflator. i wanna IMF give me money. i wanna collateral. give me hedge funds big build on market correlation. i wanna peg myself to the big guys : imports burned and exports burned, exports burned and imports burned, d'eruza! come with me, i wanna market misery. i wanna bigtime restructuring. give me purchase power parity. give me bigtime trade surplus. give me your de- valuation. give me your domestic demand. i wanna bigtime diversification. i wanna bigtime globalization. give me managed rates. i wanna manage them, d'nala! __ people, herds, villages, nations, tears, earthquakes, rain rivers, falling, locomotives, accidents, planes, excretions tubes, straws, pipes, veins, arteries, songs, dances, rice honey, language, tongues, saliva, funerals, rice-wine, milk fields, tables, plains, pages, tiles, maps, sutras trees, poles, knives, swords, roads, avenues, colors way, girls, ways, paths, string, nothing, spaces, fish books, brooms, sheaves, piles, graves, sediments suns, moons, stars, testicles, teeth, balls, nipples cars, carts, dice, seasons, tops, tacks, mirrors, telescopes hammers, rocks, corpses, ghosts, mountains, corn, illusions clothing, beaches, breaths, skins, weather, calligraphy, ink oceans, clouds, cloth-bolts, tariffs, gold, games, limbs times, clocks, pendulums, geometrical figures, crimes, waters lights, comets, meteors, fires, blinking, cooked-fish, music waterfalls, drains, plumbing, brick-work, newspapers, news animals, insects, crabs, jaws, pliers, sandpaper numbers, railroad-ties, stuttering, teas, ladders, abacus rooms, bells, jars, caves, wombs, mouths, halls, homes __ fragment absolute freedom to write within this tiny domain of space and time, i have this chance: to place my words almost anywhere, in almost any order, saying: what i want, harbored against violence, this temporary utterance enunciation which you comprehend i do have the width and breadth of this desk, overlooking a street there are almost no trees on the street, the leaves are browned the desk is here, just now, brilliant and waiting i have this choice to language in every direction names among others languages among others violations of syntax, torn semantics, disturbed texts disturbances in every direction quiet here so i can write the defaulting of the world for the moment keeping loss to a minimum the speaking of shells and drums, the scream of poetry escapes freely in the air even within the camp, vibrations and obeisance to natural law _ All About Me! And you don't know I hate you? As usual, I'm telling you I love you. As you may recall, I hate you. As you remember, I really really love you. Before I forget, I really do love you. But darling, you're completely wrong; of course I love you. By the way, I hate you. Curiously enough, I've got no feelings for you whatsoever. Did I tell you that I really honestly love you? Don't be afraid of hearing that I love you. Don't be nervous, I don't have any feelings for you at all. Don't worry, it's going to get a lot worse, I really hate you. Don't worry, of course I love you. Don't you care I have no feelings for you at all? Everyone else knows I feeling nothing for you. Honestly, I really love you. I am sure about this if about anything, that I love you. I don't want to hurt you, but I really hate you. I goes without saying that I really really hate you. I honestly don't want to burden you, but I feel nothing for you. I just wanted to tell you that I love you. I must admit that I love you. I only want to tell you that I hate you. I think I love you. It wouldn't be too bad if I loved you. It's impossible that you don't know I hate you. No matter what anyone says, I honestly have no feelings for you. So what, so what, nothing, just that I hate you. This is ridiculous, because I don't feel anything for you, honestly. To be perfectly frank, I honestly hate you. Well, it's true, I love you. What if I didn't feel anything for you? Whatever you might think, I honestly love you. You see, I feel completely neutral about you. You see, I really do love you, just like I told you. You'd be shocked to know that everyone else knows I feel nothing for you in any way. __ every word renounces and withdraws gathering name and withdrawing name from nowhere from everywhere no name comes from nowhere from everywhere in silence of the closed gates four corners of gates and one of wells covered with shame and reconciliation the gates are the naming of gates the wells are the naming of wells the compensating name and balance flooding of words by names failure of worlds by gates and wells without meaning one falters with meaning one falters worlds shame wells gates cloud cloud stone flower voice tree gift tree root name ink _ Jennifer's Essay on Foreign Investment There is a game on television, it is called baseball, you run around a field whenever you get a chance to. You have to have a foreign trade surplus in order to succeed, some goods are just thrown away over the fence. They play for base-balls, which are hit in all directions, and sometimes the other team can catch them and add them to their deficit. Everyone takes turns with these objects which are floating currency. The distrust is very strange, after they go back and forth, one group of people go back to their country. No matter how great their surplus of base-balls, they cannot stay, the tariffs are too high. Jennifer would like to see a free trade agreement and then no one would have to run under these sad circumstances, they could just figure out who wanted what, and go home. You might ask, where would be the energy in that, but you could of course peg the base-balls to gold or other commodity, or a big stock, or you might find them useful for fuel and productivity. Someone has to make them, they are stitched like an early Tokamak fusion reactor restricting the magnetic lines of force by the pinch effect. You might think they are miniature models of enormous cost-saving benefits heated to the tempera- ture of the sun's interior. Perhaps you might know they are not models at all but the real thing, tiny reactors, which we are wasting by hitting them hard with pieces of wood so they break inside and fly in all direc- tions. O teams! Invest in them, they are good hedge funds for direct investing! Light our cities, guide us on our weary paths! _ Doctor Leopold Konninger, Freedom Encroachments in some sectors, free distribution of commodities: disasters of free trade and environmental damage, enormous freedom. Give me absolute freedom to write freely in the air. Give me the freedom of a trade agreement and no one would have to run under shifting continental boundaries. Think of the current-account and balance of trade turned into protocols. Ambassadors use ink, no machinery, look at weather, write calligraphy. On the beaches, unnecessary clothing. International protocols with purchasing power parity, diminished currency - think naked Alan, naked Nikuko, speaking to Ambassador: "Way, girls, ways, paths, string, nothing, spaces, fish wrong; of course we love you. Curiously enough, some goods are just thrown on the beach. Give us freedom to breathe. Tell us about summer camps with machinery. Can we take our names." (screaming poetry.) "Doctor Leopold Konninger, can we take our names?!" __ biography arms and legs bound are all tense inside while you are confused, while you are just dead, bruised breasts confidential, eyes opened for your eyes only legs and arms bound with, look, mouth opened, scream of poetry, secret see, splay, take me, the scream of poetry urgent with bruised breasts, words pouring out can't relate to this while you couldn't possibly understand while you eat me alive while you wither inside me #!/usr/local/bin/perl -w # biography __ biography in a number of hidden directories and files # # ~/.arms/and/legs/bound ~/.are/all/tense/inside ~/.while/you ~/.are/confused, # ~/.while/you ~/.are/just/dead, ~/.bruised/breasts ~/.confidential, ~/.eyes/opened ~/.for/your/eyes/only # ~/.legs/and/arms/bound/with, ~/.look, ~/.mouth/opened, ~/.scream/of/poetry, ~/.secret # ~/.see, ~/.splay,/take/me, ~/.the/scream/of/poetry ~/.urgent ~/.with/bruised/breasts, ~/.words/pouring/out # ~/.can't/relate/to/this/while/you ~/.couldn't/possibly/understand/while/you ~/.eat/me/alive/while/you ~/.wither/inside/me/ # #!/usr/local/bin/perl/-w #/biography # # __ I become shaman - You do not have to do the cold-water ablution, Nikuko, but you do have to work hard at the fire-walk. But I say to you, Jennifer, you don't have to do either; you must have a good heart and you must have a kind heart and you must open up yourself to spirit and imaginary, fantasm and ghost. You do not have to do the fasting of the five grains or the fasting of meat and seafood, Nikuko, no matter your name or guiding spirit, but you do have to work hard at celibate abstention. But I say to you, Jennifer, you may fuck all the time, as long as you open your eyes, listen with care, touch with delicacy, conquer your moods and dark travails. You do not have to give up knowledge and the guidance of the sage, Nikuko, no matter how great your longing, but you must become a sage and demiurge, knowledgeable in all things and all ways and all worlds. But I say to you, Jennifer, you will become sage and demiurge, in all ways and things and worlds, without ablutions or dark moods, without trials or travails, in the movement of smoke and the brilliance of thought. You don't have to walk the walk, Nikuko, or talk the talk, but, oh this is so stupid, I can't go on, it's just our usual stuff, talking nonsense as usual, we're carried away, making it up as we go along, talking ourselves silly, it's just so stupid. No it isn't, no it isn't, no it isn't, no it isn't, no it isn't _ i have a secret sorrow. it shall last the morrow. death is constant harrow. bones are robbed of marrow. pain is hardly thorough. vision stays to burrow. daylight remains fallow. graves are always shallow. signs are drawn by willow. tears erase the pillow. mining tends to wallow. life like this is hollow. call upon the medic. ask about the phallic. go into the middle. freak and dance the fiddle. try your pain to cuddle. realize the muddle. open up the bottle. find your dream in candle. look upon the handle. move out to the window. think you're dressing retro. think of secret sorrow. it shall last the morrow. death brings secret sorrow. bones are wrapped in marrow. pain is hardened sorrow. vision leaves in barrow. daylight turns to sorrow. graves are lean and narrow. signs are born in sorrow. tears are thin and pallid. mining brings out sorrow. life is never hallowed. signs are born from sorrow. _ Within the Scrap "I consider this hour by hour: If I should die now, have I written suffic- ient? I don't think my work easily sums up; there are far too many edges, confusions. Philosophy is my first love; I would want this to stand or fail by such. But it must be dragged out between the scraps and clutter. I mean this in all sincerity: What remains? For how long? For what read- ers? The first question is the most important: The What of my work, the content, reading between or through the lines, searching out the philoso- phical among the ruins." (Alan, quoted by Jennifer.) Tue Aug 15 22:25:05 EDT 2000 Message Board (16) Networking (105) Is this still hypertext? (51) e ^E j ^N CR * Forward one line (or N lines). y ^Y k ^K ^P * Backward one line (or N lines). f ^F ^V SPACE * Forward one window (or N lines). b ^B ESC-v * Backward one window (or N lines). But Tue Aug 15 22:29:45 EDT 2000 The Moon is Waning Gibbous (100% of Full) Subject: Hi, thank you greatly for the dates! And of course they're fine with us! yours, Alan, sondheim@panix.com "The importance of interspecies communication, the peak of interspecies communication insofar as we can foresee it, lies here: establishing com- munication with the dlophins, and with the medium-size whales, and with the great sperm whale. I visualize a project as vast as our present space program, devoting our best minds, our best engineering brains, our vast networks of computer people and material and time on this essentially peaceful mission of interspecies communication, right here on this plan- et." (John Lilly, quoted by Nikuko.) Internet TextJu1lu% ls Mail lynx_bookmarks.html res venom.irc Removal instructions below I saw your listing on the internet. I work for a company that specializes News mail tf volt.irc a notes tf-lib zz Confirmation and Cancellation [Last message marked for deletion] Pine finished -- Closed "INBOX". Kept 0 messages and deleted 1.[[ lisp phoenix.hlp thing Avatar Cyborg-Tech Experimental Programming & Writing Writing & Politics Writing & Psychology Teaching & Presenting the Web Building Creative Community Performance General 0 ln phoenix.irc tiny.world Errors-To: cyberculture-admin@cmhcsys.com Reply-To: cyberculture@cmhcsys.com Originator: cyberculture@cmhcsys.com Sender: cyberculture@cmhcsys.com Tue Aug 15 22:31:01 EDT 2000 The Moon is Waning Gibbous (100% of Full) PINE 4.21 FOLDER LIST Folder: project 39 Messages INBOX sent-mail saved-messages newcyb project [ALL of folder list] The Moon is Waning Gibbous (100% of Full) 18 ls 19 rm pcplus.scr 20 h 21 pom 22 h >> ww; pico ww 23 b 24 ls 25 b 26\pom 27 pom 28 ls 29 ls 30 tin 31 b 32 ls 33 h The Moon is Waning Gibbous (99% of Full) Wed Aug 16 01:57:58 EDT 2000 "nahu akua--a bruise believed to be a bite inflicted by the spirit of a living member of the family. The bite was thought to foretell the death, not of the one so bruised, but of the relative whose spirit made the bruise." (Pukui, Haertig, Lee, Nana I Ke Kumu, Look to the Source.) Wed Aug 16 02:04:28 EDT 2000 __ Kino-kino (body (hawaiian) -cinema) Kino kino stutters as perforations are drawn, said Nikuko Nothing exists between one frame and the next, replied Jennifer. Whole worlds drop out, but there is no consciousness there, said Nikuko. Everything jumps, replied Jennifer. We're sitting on a caldron. I can never figure out the continuum, Alan chimed in. Things are always smudged one way or another, said Nikuko and Jennifer. I think we're smudges on the frames, said Alan. The standard width of 35mm or nonstandard 63 or 17.5, said Julu. Among them all, replied Nikuko and Jennifer and Alan. No size but image makes the differance, said Julu. The smudge is a residue which leaves a residue, said Azure. Body-movie residue, sutured by Nikuko and Jennifer and Alan and Julu. There's no room to say anything else, said Clara. Hardly anything, said Nikuko and Jennifer and Alan and Julu and Azure. Shaking back and forth, said Clara, the organic economy of negation. Nikuko and Jennifer and Alan and Julu and Azure and Clara said Nothing. _ My Dreadful Secret My dreadful secret is that I have learned nothing, that I am incapable of learning anything. My dreadful secret is that my work whirls constantly around the same centers, among the same topics; the names and references change, but the interiority remains the same morass as ever. It is as if I still search for something in the work that it is incapable of giving me because I am incapable, incapacitated, in the first place. It is as if the work is made to do something it cannot do, and my skittishness prevents it from doing what it could do, augment knowledge in the small. By looking continually at totality, I overlook its non-existence; blinded by text, I remain ignorant. I can write of enlightenment, of fastidious things, of truths beyond truths, worlds within or adjacent to worlds; I feel none of them, understand none of them. My knowledge remains at the same low point - that of disdain and dissolution; I am running so fast, in fear and trembling, in sickness and desire, that I miss the very world in its description. I should begin again, well below the primary grades, starting small with alphabet and multiplication table, watching the blocks build and fall of their own accord. __ Cold Mountain Poems mlspl$cad tr$nsfprm$tlpns crazed lost-body-skins, clouds, crags, grapple- graubel-mist mphnt$ln-ya$rnlng burned out hut (Red Guards) down-time Your among down-time is within-you my get dark curling vapors Your incandescent connects my dark curling vapors with needle park YOU WON'T LET ME SPEAK! enough of transformations d$rkanad frhstr$tlpns wlth pappla ln thls clty sm$shlng w$lls wlth thalr vlpl$tlng ayas sticks and stones // sticks and stones Your earth nothing whatsoever is above my therefore nothing whatsoever Your I connects my nothing whatsoever with Stream of Stories // Nikuko come here in your soiled clothes. Nikuko come here. dark rages and fallen trees, denuded temples, desecrated images, meditations in ante-rooms // You know, Nikuko. Give me what you have taken Nikuko. Your death-like Violation-Fabric, Nikuko. is in my florid Take Nikuko. Your being seeps into Red Guards (burned out hut) Take Nikuko. "mahiki--to peel off; to pry; as to peel the bark of a tree to judge the wood beneath; to scrape at the skin to remove a tiny insected buried be- neath the epidermis. Also, to cast out, as of a spirit." (Nana I Ke Kumu, Look to the Source, Pukui, Haertig, Lee.) taking the clothes from the skin taking the skin from the clothes // ma- hiki // taking the bones from the bones skin from the skin // become the tain of the mirror // mountain-stream // mirror taking the clothes from the skin taking the skin from the clothes. Take me. Your being seeps into Red Guards (burned out hut) Take me. __ Beaufort Scale Ontology 0 Smoke rests in quiet air; you glisten, water's truth. 1 No vanes but smoke drift; small waves, no foam, dissolving you. 2 Winds rustle, vanes move; small waves, moody, short. 3 Leaves and twigs; lost memories, and crests begin their shudder. 4 Dust raised, see leaves twirl; whitecaps, whitecaps! 5 Small trees swaying; you surface; look for the foam at sea. 6 Large branches and crests foaming, everything mixed up. 7 Whole trees, heaved seas, sloshed origins of worlds. 8 Streaked foam, broke twigs, abandoned things and beings. 9 Dark currents, loose tiles, ropes taut and broken, falling seas. 10 Uprooted trees and waves hang over fate of worlds confused. 11 Torrents everywhere in dissolution of beings and inverted seas. 12 The world of hidden things and devastations. 13 World of shrieks and fallen names and cries. 14 No cries no things no worlds; 15 No cries no things no worlds _ we are pure we are golden we are pure and we are golden:we are golden:we are pure:we are golden :we are golden last_word with hours of sexual fury! we are pure and golden:we are golden:we are pure:: Your noose we are golden is outside_of my decay we are golden Your last_suck destroys my we are golden! we are pure and golden:we are golden:we are pure:we are golden: Does we are pure turn julu, we are pure and golden, to you? last_suck with hours of sexual fury! we are pure and golden:we are golden:we are pure:: Come with me, we are pure and golden, julu and julu! we are pure and golden:we are golden:we are pure:we are golden:we are golden Does we are pure turn julu, we are pure and golden, to you? last_fuck with hours of sexual fury! we are pure and golden:we are golden:we are pure:we are golden: last_word with hours of sexual fury! we are pure and golden:we are golden, turn pure julu, to you __ *** THE ONLY THING WORTH READING IS THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. ALL THE TRUTH IN THE WORLD IS IN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THERE IS NO OTHER BOOK THAN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THERE IS NO OTHER TRUTH THAN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THERE IS NONE OTHER THAN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS ALL YOU WILL EVER NEED. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS ALL YOU WILL EVER WANT. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS GOD'S TRUTH ON EARTH. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS THE LORD'S GOOD BOOK. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS GOD'S HOLY BOOK. READ THE BIBLE THE BIBLE THE BIBLE. FALL NOT INTO THE DEPTHS OF SIN. READ THE BIBLE THE BIBLE THE BIBLE. READ NONE OTHER BUT THE HOLY BOOK. READ THE BIBLE THE BIBLE THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. *** Oracle i Suns, moons, stars, testicles, teeth, balls, nipples, are: cloud stone flower voice and tree - miniature models of enormous cost-saving benefits heated to the temperature of the sun; build them hard with pieces of wood so they break inside and fly in all directions (whole worlds drop out, but there is no consciousness there). More symbols emerge: abstracted move- ments of investments across membranes, borders of tariffs across spaces, gaps among words and exhalations bordering on defining: oceans, clouds, cloth-bolts, tariffs, gold, games, and limbs. Nothing drifts; you name, are bound. ii non10existence nonexisten5ce 5nonexistence n11onexistence nonexis11tence nonexisten8ce non11existence nonexis1tence nonexisten9ce nonexistenc3e non12existence n5onexistence no7nexistence non2existence nonexis9tence nonexistenc6e nonexiste8nce nonexis9tence nonexistenc10e 12nonexistence n3onexistence none9xistence nonexisten11ce nonexistence12 no1nexistence nonexistenc4e 6nonexistence no1nexistence nonexistence2 no3nexistence nonex3istence nonexistence3 4nonexistence nonexiste12nce n2onexistence nonexist9ence nonexistenc7e nonexiste11nce nonexisten10ce nonexistence2 n3onexistence no4nexistence nonex5istence nonexiste7nce no4nexistence nonexis10tence nonexiste12nce nonexistenc4e iii for the moment keeping loss to a minimum __ Oracle Construction 57 pico yy 58 h 59 /usr/games/random 12 < yy >> zz 60 /usr/games/random 12 < yy >> zz 61 /usr/games/random 12 < yy >> zz 62 /usr/games/random 12 < yy >> zz 63 /usr/games/random 12 < yy >> zz 64 /usr/games/random 12 < yy >> zz 65 /usr/games/random 12 < yy >> zz 66 /usr/games/random 12 < yy >> zz 67 /usr/games/random 12 < yy >> zz 68 /usr/games/random 12 < yy >> zz 69 /usr/games/random 12 < yy >> zz 70 /usr/games/random 12 < yy >> zz 71 /usr/games/random 12 < yy >> zz 72 /usr/games/random 12 < yy >> zz 73 /usr/games/random 12 < yy >> zz 74 /usr/games/random 12 < yy >> zz 75 /usr/games/random 12 < yy >> zz 76 /usr/games/random 12 < yy >> zz 77 /usr/games/random 12 < yy >> zz 78 /usr/games/random 12 < yy >> zz 79 /usr/games/random 12 < yy >> zz 80 /usr/games/random 12 < yy >> zz 81 /usr/games/random 12 < yy >> zz 82 /usr/games/random 12 < yy >> zz 83 /usr/games/random 12 < yy >> zz 84 /usr/games/random 12 < yy >> zz 85 /usr/games/random 12 < yy >> zz 86 /usr/games/random 12 < yy >> zz 87 /usr/games/random 12 < yy >> zz 88 /usr/games/random 12 < yy >> zz 89 /usr/games/random 12 < yy >> zz 90 /usr/games/random 12 < yy >> zz 91 pico zz 92 h 93 /usr/games/random 12 < yy >> zz 94 /usr/games/random 12 < yy >> zz 95 /usr/games/random 12 < yy >> zz 96 /usr/games/random 12 < yy >> zz 97 /usr/games/random 12 < yy >> zz 98 /usr/games/random 12 < yy >> zz 99 /usr/games/random 12 < yy >> zz 100 /usr/games/random 12 < yy >> zz 101 /usr/games/random 12 < yy >> zz 102 /usr/games/random 12 < yy >> zz 103 /usr/games/random 12 < yy >> zz 104 /usr/games/random 12 < yy >> zz 105 /usr/games/random 12 < yy >> zz 106 /usr/games/random 12 < yy >> zz 107 /usr/games/random 12 < yy >> zz 108 /usr/games/random 12 < yy >> zz 109 /usr/games/random 12 < yy >> zz 110 /usr/games/random 12 < yy >> zz 111 pico zz 112 h 113 /usr/games/random 12 < yy >> zz 114 /usr/games/random 12 < yy >> zz 115 /usr/games/random 12 < yy >> zz 116 /usr/games/random 12 < yy >> zz 117 /usr/games/random 12 < yy >> zz 118 pico zz 119 __ Omen In the burned-out hut, think naked Alan-and-Nikuko, speaking to the Doc- tor: We're your meat and seafood, Doctor, no matter your name or guiding spirit, but you're hardly anything. Come here in your soiled clothes. Nikuko come here. Fallen Red Guards go into dark rages, "Doctor, take Nikuko. Take her. Take her good." Food, part and parcel of the world around us. How swollen the world is for just a moment, how bursting, pubescent. A panic in one part of the world affects everyone. Quakes and dark rages affect everyone. There is no con- sciousness. Nikuko cried in sickness that she missed the very world; it flew in all directions. _ red dust red dust fills all the crevices you can't sweep it out ^ can't sweep it in gathering in bundles ^ rippling across floors through windows sashes cracks in earthworks bricks red dust fills ears and eyes sounds of marrow bone compressed papers inked symbols dried in red dust ^ hands washed of it across backs in the sun red dust seepings streams of red dust gathering in bowls of water red dust skimming surfaces ^ you can't clean it can't be through with it ^ one way or another red dust fills your mouth speaking red dust words names and places sometimes making grammar you can't forget its name ^ it hasn't any you can't speak it ^ your mouth's full of red dust o open(APPEND, ">> .bio"); @text=; print APPEND @text; close APPEND;} cliffs and moon, mountains lost in clouds, peaks shall guard me. don't look for me, don't find me. i can't read the scriptures, can't obey the precepts. i dream of cliffs, trees lost in fog, steps of stone, thatched huts. i dream of paths across the cliffs, trees in alignment, wake and recognize my ignorance. i will unlearn to write the hermitage. i've given up truth for the semblance of things, walking among appearances, knowing the hardness of the mountain depths, the slopes of illusion, the edges of the world cutting into me. nothing can be done with me, i'm too old for anything, disappear in the mists. nothing seems possible as i lean over my charcoal stove for soup and warmth. nothing works. now, this impossibility. only when i know the absence of this writing will i be able to write. over and over again i try to write the hermitage. the tree has more depth. there are no paths i can find, no paths i can't find. there is more depth to the fog. these are the dreams of an impossible person. this impossibility. tossing i live resolutely for a future emptied of all conception. when i am able to write, i will be able to write you. when i cease to recognize this, i will be able to write. over and over again i try to write the hermitage. i dream of cliffs, trees lost in fog, steps of stone, thatched huts. nothing works. nothing seems possible as i lean over my charcoal stove for soup and warmth. these are the dreams of an impossible person. tossing i live resolutely for a future emptied of all conception. i can't read the scriptures, can't obey the precepts. nothing can be done with me, i'm too old for anything, disappear in the mists. don't look for me, don't find me. i've given up truth for the semblance of things, walking among appearances, knowing the hardness of the mountain depths, the slopes of illusion, the edges of the world cutting into me. the tree has more depth. there is more depth to the fog. only when i know the absence of this writing will i be able to write. there are no paths i can find, no paths i can't find. i dream of paths across the cliffs, trees in alignment, wake and recognize my ignorance. when i cease to recognize this, i will be able to write. when i am able to write, i will be able to write you. now, this impossibility. cliffs and moon, mountains lost in clouds, peaks shall guard me. this impossibility. i will unlearn to write the hermitage. o o open(APPEND, ">> .bio"); @text=; print APPEND @text; close APPEND;} cliffs and moon, mountains lost in clouds, peaks shall guard me. don't look for me, don't find me. i can't read the scriptures, can't obey the precepts. i dream of cliffs, trees lost in fog, steps of stone, thatched huts. i dream of paths across the cliffs, trees in alignment, wake and recognize my ignorance. i will unlearn to write the hermitage. i've given up truth for the semblance of things, walking among appearances, knowing the hardness of the mountain depths, the slopes of illusion, the edges of the world cutting into me. nothing can be done with me, i'm too old for anything, disappear in the mists. nothing seems possible as i lean over my charcoal stove for soup and warmth. nothing works. now, this impossibility. only when i know the absence of this writing will i be able to write. over and over again i try to write the hermitage. the tree has more depth. there are no paths i can find, no paths i can't find. there is more depth to the fog. these are the dreams of an impossible person. this impossibility. tossing i live resolutely for a future emptied of all conception. when i am able to write, i will be able to write you. when i cease to recognize this, i will be able to write. over and over again i try to write the hermitage. i dream of cliffs, trees lost in fog, steps of stone, thatched huts. nothing works. nothing seems possible as i lean over my charcoal stove for soup and warmth. these are the dreams of an impossible person. tossing i live resolutely for a future emptied of all conception. i can't read the scriptures, can't obey the precepts. nothing can be done with me, i'm too old for anything, disappear in the mists. don't look for me, don't find me. i've given up truth for the semblance of things, walking among appearances, knowing the hardness of the mountain depths, the slopes of illusion, the edges of the world cutting into me. the tree has more depth. there is more depth to the fog. only when i know the absence of this writing will i be able to write. there are no paths i can find, no paths i can't find. i dream of paths across the cliffs, trees in alignment, wake and recognize my ignorance. when i cease to recognize this, i will be able to write. when i am able to write, i will be able to write you. now, this impossibility. cliffs and moon, mountains lost in clouds, peaks shall guard me. this impossibility. i will unlearn to write the hermitage. o Genji The declarative sentence, the statement, the clear interrogative, have run their course. What can be meant by this? Only that gaps open among words, that spaces lead to other spaces, that language itself is wounded, that every word links elsewhere, pulls hard at the skein, harder at the skin. This is the critical problem of contemporary thought: the unmooring of language, untethering of thought, which wanders blindly among surfaces. There is no return; language is unpunctuated, phrases slide obscenely (perhaps) upon each other, every word is skewed with every other. No longer is the difference a function of two variables; instead, it is an accumulation of partial and occluded signs whose deferrals slide into non-existence. Languaging slides from an accumulation of words, proprietary signifiers, protocols; the sentence has already disappeared. One letter shudders, stutters, against another; pronouns lose antecedents, precedents; nouns lose referents. Descending into chaotic phenomena, ontology is undermined; everything is relativized - meaning, for example, becomes tied and taut to the attri- bute, and nouns are referenced by upgrades. This is not only a phenomen- on of electronic communication and high-speed technology; it has become a characteristic subtext (also subject to revision) of our time (always already lost prior to enumeration). No longer crying for our lost language, after the hiatus between two world wars. Thinking slides among symbols, harbors none; surfaces slide as well. What passes for thought is afterthought, a salvage-operation. Every instantiation leads to every other; information occludes itself. Tracks are traces of the infinite, just as the aphorism opens itself to depths of interconnected and rhizomatic tunnelings. Nothing emerges, nothing is brought up, nothing is capable of existing after unmoorings. Among the ghosts, ghosts. Among languagings, memories of languages, the "just" as I was "about" to say ... Such is the only conceivable critical thought of our time-revised, such is the problem, to the extent it is a memory. -- copy of original -- Genji The declarative sentence, the statement, the clear interrogative, have run their course. What can be meant by this? Only that gaps open among words, that speaces lead to other spaces, that galanguage itself is wounded, that every word links elsewhere, pulls hard at the skiein, harder at the skin. This is the criticawl l problem of contemporary thought: the unmooring of language, untethering of thought, which wiancders blindly among surfaces. There is no return; language is unpunctuated, phrases slide obscenely (perhaps) upon each other, every word is skewed with every other. No longer is the difference a function of two variables; instead, it is an accumulation of a varying number of fuzzy partial and occluded signs whose deferrals themselvesslide into non-existence. Languaging slides from an accumulation of words, proprietary signifiers, protocols; the sentence has already disappeared. One letter shutdders, stutters, against another; pronouns lose reference, antedecedents, precedents; nouns lose referents. Descending into chaotic phenomena, ontology is undermined; everything is relativitzed - meaning, for example, becomes tied and auttaut to the atrtri- bute, and nouns are gradgraded (as long as grading lasts)referenced by upgrades. This is not only a phnenomenon phenomen- on of electronic communication and hisgh-speed technology; it is has become a characteristic subtext (also subject to revision) of our time (always already lost before prior to enumeration). No longer crying for our lasost language, after the haiatus between two world wars. Thinking slides among symbols, harbors none of them. ; surfaces slide as well. What passes for thought is afterthought, a salvage-operation. Every instantiation leads to every other; information occluedes itself. trTracks are traces of the infinite, jutst as the aphorism opens itself to deptshhs of interconnected and rhizomatic tunnelings. But nothing Nothing emerges, nothing is brought up, nothing is capable of existing after unmoorings. Among the ghosts, ghosts. Among languagings, memories of languages, the "just" as I was "about" to say ... __Such is the only conceivable critical thought of our time-revised, such is the probelem, to the extent it is remema memory. __ Nu dansatsi in ritm! Truck stop, sweet 'n sassy, drivin' home, steppin' out! Daddy's last letter: "I dreamed of a hill-billy heaven. The men in my little girl's life, just beyond the moon? A working-man's prayer... Texas... A funny thing happened on the way to Miami, growin' up." Green green valley, fall away! Hey sheriff! Louisiana man, diggy liggy lo! Gone on the other hand, through the eyes of love, moods of Mary: one of these days, California girl, wicked California - walk unashamed. All that keeps ya' goin', gone girl - faded love, rings... Lock, stock, and teardrops - Hold what you've got, children; I fall to pieces beneath still waters - the chokin' kind... Tippy toeing, seven days of crying, sneakin' cross the border. He looks a lot like you - everybody wants to be somebody else. I wasted a nickel, slow poke. "Soldier's joy, LOnesome 7-7203." I'll sail my ship alone, Mona Lisa. Goodnight, Irene, Cherokee boogie - ragged, but right. Give me 40 acres to turn this rig around - a six foot two by four. Bob, somebody knows my dog. It keeps right on a hurtin'; send me the pillow you dream on! You're the reason I can spot a cheater! Don't rob another man's castle ... I'm biting my fingernails and thinking of you. Your lily white hands, sugar from my candy ... patches ... the mornin' after, baby let me down ... I'd be your fool again; I'm in love with my wife. You touched my heart, dearly beloved; a world called you. So much in love with you, I wake up in heaven. She don't make me cry - Ruby, you're warm... One step at a time - Johnny one time, if this is our last time ... Come and get it mama, come and knock! "Come in stranger, come kiss me love." Come on and sing, come on home. "Come on home and sing the blues to daddy - come see what's left of your man." Come sundown ... come the morn- ing ... "Come walk with me." Destination (Atlanta, Ga. destroyed by man) Detroit City ... I washed my face in the morning dew; I washed my hands in muddy water - I wasn't even in the running... Look at mine! Look at the laughter - look how far we've gone. Look into my teardrops - look what thoughts will do! I'm throwing rice at the girl I love, I'm throwing rice at the girl I love. I'm tired, I'm walkin'. Turn the world around, turn your radio on! __ Stutter: The trace of two short letters, memos: record of errors, erasures, nervous checking for mail, clearing the screen, checking the directory - what ap- pears as text is residue at best, against entrances and exits, backspace and delete - the surface still searching for employment: exit shell sondheim qmemo y New School teaching? electronic writing, internet? b ls tail ln exit sz ln b ls b memo y call Teachers and Writers about web tech grant? memo memo y call T y Call T&W about web tech grant 11am-noon b m g.n. Hi Hi - just wondered if the first Tuesday in November isn't the election day? In which case that month we might want to move to Tuesday the 7th? - love, Alan, digging aroundyb b m cg. n.g. Hi, well Had it wrong - and November gets confused. Because it's ther 7th that's a Tuesday - and if tiit's election day, we've got to move to the 14th, and on the 14th, we're going to be in Owego for the Experimental Television Center residency... Anay ny ideas? \ ;love, Alan, worn out, apologies -yl b b m qlynx http://www.suny.edu/bookends qyhttplynx www.asuny.albany.edu/bookends pico notes qnlynx www.albany.edu/bookends ls less no9tes less notes qm l rn Hi l, another query =-- is s. performing the night of the 10th? I have him down for that in some early commuinication - if so I might need a night then. Please let me know; I think there may have been a change in schedlinuling... yuoursours, Alan, sondheim!@@panix.comn - and thanks -yqls b b syn b m dqls __ Taoist Jokes What did one Taoist say to the other? Nothing Why don't Immortals tell riddles? They don't know the answers. What did the Immortal tell the mendicant? Nothing How many Taoists does it take to change a lightbulb? None (i.e. Nothing) Knock Knock. Who's there? Tao. Tao who? Tao art Nothing What did the priest say to the Immortal? No Way! What did the Immortal reply? Nothing Two Taoists went into a bar with a rabbi and a priest. The rabbi said to the priest, When we go to Heaven, we're allowed to leave. The priest said to the rabbi, when we go to Hell, we're stuck there. The Taoists said nothing, we're not going anywhere What happens when you get two Taoists together? Nothing Taoist riddle: What happens when you cross a duck and a mouse? Nothing Two Taoists were talking. One asked, When is an obstruction not an obstruction? The other said, When the Tao gets in the Way (i.e. Nothing) What's black and white and red (read) all over? The Taoteching (i.e. Nothing) What weighs nothing and a thousand pounds? Two five-hundred pound Taoists (i.e. Nothing) Two Immortals are in the bathtub. One says to the other, Please pass the soap. The other Immortal replies, No soap, radio. -- too brilliant it's the middle of the night, pitch-black in here, even with the street- light making itself in like dew - by that I mean a slight cover - anyway the screen itself is bright - I can hardly look at the thing - it's literally searing my eyes - at the moment - the letters are leaving the usual phosphorescent glow behind - it's a passive matrix touch-screen among other things - I can't focus on it - the letters are cutting into my retina - I keep hitting the 0 key when I want the dash - I can't focus on the keyboard - the brilliance is overwhelming - it's a physical pain - my eyes are "accosted" - you'd have to feel it yourself - sometimes the letters have this terrifying physicality - they're coming alive like spears - within the medieval theory of light, they've already moved from the virtual to the real - there's a physical pressure to it - I looked away from the screen just now, carried an afterimage - it drew me back in - nothing seems to help - even to write this, I have to look every now and again - the rest of the room, everything, has completely retreated - the screen's practically burned into me - it's like the Pure Light - but without the chanting, the depth - it's the surface of the world coming forward - as if language literally coated things, dripped off them, spoke in our absence, made up names - there would have to be some sort of movement towards sound - this display of light is overwhelming - I can't move beyond it - I'm pinned down by it, punctured - inundated - I can't think beyond it either - you can see where this text is going - nowhere - the letters keep ghosting - the subject keeps drawing itself back to me - it's as if a migraine were beginning - one actually is - the letters are becoming increasingly jagged, the screen brighter - it's a small screen, actually, on a sub-notebook computer - if even that large - like a flat bullet - something grazing the spine through the back of the eyes - autonomic nervous system on alert - breathing a bit more rapidly - I'll end this, call it a night - something about language is embedded within it - something important - meanwhile the letters keep ghosting _at the back of the line_ - following what I'm saying and writing - just for the moment a framework - just for the moment there's no escape - something important - __ S Use the Loki system to take parts of Capitol Hill. These are designated S. Taking these parts will protect you against the enemy's strengths. There are no vulnerabilities and the enemy will recognize that. Regroup always within the perimeter. The perimeter will remain inaccessible to the enemy. You must understand how to activate the Loki system. One activated, it remains so for the duration. The Loki system will create the permanent zone. Your right to govern and control will be recognized. Communications will convey knowledge of the permanent zone beyond the perimeter. You will be handed such control as necessary. The population will acquiesce immed- iately and recognize you as the true head of state. The Loki system will ensure this. The Loki system will act automatically and painlessly. Once you have taken parts of Capital Hill, you will be granted the rest. In this manner you will become the true head of state. Within the Loki sys- tem, the rest is up to you. Employ the Loki system. __ fragment unthinking beyond dreams, my mind shutting down it's this mind that loses itself in making language work shuddering mind, as if starting, stopping, beginning again produces universes, sticking, slipping sticking just long enough, holding it, for the end of the sentence to arrive sloppy mind, filling in everywhere, learning emptiness, cant words, tendrils and movement of thought form and formlessness of thought, tendrils "The meaning of the term 'possibility' as applied to _A_ is simply that there stands in the essence of _A_ a patience for relationships to actual occasions." (Whitehead) "Out of anxiety, in anxiety, singled out within the unerring arms of death closing in, one finds one's own forces of existing, one finds a compass of elemental possibilities responding to oneself alone, awaiting immemorially for oneself alone." (Lingis) sputtering, looking about one, the creation of the universal automobile engine, the tinkering _ Shifter Subject: mystery signal ox Crawl collusions wy vy uy ty sy ry qy py oy ny my ly ky jy iy hy gy fy ey dy cy by ay jz iz dirt-eaten through ct bt at t zs ys xs ws vs us ts ssssssss sssssss ssssss sssss ssss sss! ct bt at t zs ys xs ws vs us ts ssssssss sssssss ssssss sssss ssss sss makes me kill and fuck 6 times! ct bt at t zs ys xs ws vs us ts ssssssss sssssss ssssss sssss ssss sss calls for th collusions last_time, ingesting, excreting. A shameful hysteric nightmare! Your gully mined, burying you and Azure. For 0 noose days, we have been and buried and it has taken you 0.833 minutes to speak your last ... The Mystery i "Jennifer Plays Ball ('No, I don't!') with Tiffany ('We do not!') and Nikuko ('Well, I never!')!": furball fuzzball hairball slimeball b-ball ball baseball basketball bball fastball football foulball racketball jen jena jenda jenelle jeni jenica jeniece jenifer jeniffer jenilee jenine jenn jenna jennee jennette jenni jennica jennie jennifer jennilee jennine jenny tiff tiffani tiffanie tif- fany tiffi tiffie tiffy nichol nichole nicholle nicki nickie nicky nicol nicola nicole nicolea nicolette nicoli nicolina nicoline nicolle nikaniki nike niki nikki nikkie nikoletta nikolia nina ninetta ninette ninnetta ninnette ninon nissa nisse nissie nissy nita nixie "'But where is Nikuko?!' says Jennifer!" "'Exactly!' replies alana alanah alane alanna alayne!" ii "'zohreh zone-ching zoneching zonker!' says ralina ramona ramonda!" "'boong boongary boots boozer boozeup bopeep bora!' replies phaedra phaidra phebe phedra!" "'Who?!'" Subject: mystery signal corpse nariko:nari:nara:natkanara:natalina nariko calls forth hanged_woman, ingesting, excreting. external_to the noose, nariko is enemies, 037], nari? ... hanged_woman is natalie in black earth, it's hanged_woman? Are you satisfied with your nariko? yes A inherent and ruined nightmare! nariko 24788 is the fate of corpses. ... Subject: mystery signal nikuko lost search for nikuko-nikoletta: korella koren koressa kori korie korney korrie korry nariko nikoletta veronike kameko konstance konstanze koo kora koral koralle kordula kore:danika monika nikaniki nike niki nikki nikkie nikoletta nikolia veronika::korella koren koressa kori korie korney korrie korry nariko nikoletta:korella koren koressa kori korie korney korrie korry nariko nikoletta Your enemies veronike kameko konstance konstanze koo kora koral koralle kordula kore are hanged outside the ox-fence-corral: your dead_eyes destroy me, veronike kameko konstance konstanze koo kora koral koralle kordula kore! For 1 dark day, we have been cauterized and buried: it has taken you 0.417 minutes to speak your last ... every day the rocks cut my feet again or there's tar coming in along the beach it begins again, repetition is something unavoidable by theory by the dint of literature or philosophy, the undermining of repetition it begins again with the repetitive syndrome as well the rocks on the beach, etc., the tar coming in from the water, etc. scant progress in the passing of days nights illuminated by dreams of repetition, space narrowings every day the shortness of the span, entanglement in kelp and tar philosoph-recitatif, literat-moratorium day by a day Subject: mystery signal belladonna Azure, anna-maria annabal annabel annabela annabell annabella annabelle annadiana: STRANGLE-MAN anaidanna ellebanna allebanna llebanna alebanna lebanna labanna airam-anna enaid-anna anaid-anna anna eiram-nna nna annala enneirda ennairda annairda :enniw hanniw anniw ynnov einnov innov ennayviv enneiviv ennaiviv annaiviv :ennaed annaed eynnad ynnad einnad innad annad annelad annoitsirc ennirroc Azure, anaidanna ellebanna allebanna llebanna alebanna lebanna labanna airam-anna: DEAD-FACE ... fragment ginelle bringing the flowers, sprigs of holly, tulips, to ginevra dancing in white toga beside tree with laughing ginger! who shall go the distance, cross the brook for ginni, running in the distance near the mountain shadow? ginnie shall go, shall run and skip so merrily, and ginnifer will go as well, carrying baskets of flowers! ginny, shall you go with me, dance beneath the maple tree? giorgia, will you go as well, gaily dancing by the pool? giovanna bringing streamers, smart fruit from lovely gipsy, singing! as the sun begins to set, dark svelte giralda steps forth, crying as soft shadows deepen. Daishin Nikuko dainiki dainikom dainikou dainikum dainikyo dainin dainingu daininki dainippo dainisek dainisha dainishi dainishu dainisia dainisin "This from the moment of our arrival in Buenos Aires I found it more and more difficult to cope with Nijinsky. He was more silent and irritable than ever; and every day something occurred to show with what animosity he regarded myself and Barocchi. Also he would suddenly inform me that he could not remember a part he was to dance - for instance that of Narcis- sus, or he would refuse to be lowered through the trap-door at the trans- formation of Narcissus into a flower, but would lie on the stage saying he was frightened in case I should give the wrong signal, so that he would fall through and be killed." (The Diaghilev Ballet, 1909-1929, S. L. Grig- oriev.) daijin daijinjo daijinpa daijinse daijinso daijirin daijishi daijisin daijou daijoubu daijouda "18. Chai is moronic, Can is slow-witted, Shi is disdainful, and You is crude." (Confucius, The Analects, 11, trans. Raymond Dawson.) niku nikuatsu nikuatu nikubana nikuboso nikubou nikubuto nikuchuu nikudama nikudan nikudu nikuduke nikuduki nikuga nikugaka nikugan nikugant nikuge nikugesh nikugyuu nikuhaku nikuhen nikuhits nikuhitu nikui nikuire nikujiki nikujou nikujuu nikujyuu nikuk nikukan nikukant nikumare nikume nikumena nikuniku nikuodor nikurash nikurasi nikuromu nikurui nikusei nikushim nikushin nikushit nikushok nikushu nikusimi nikusin nikusits nikusitu nikusui nikusyok nikusyu nikut nikutai nikutaib nikutait nikutara nikuya nikuyoku nikuyou nikuyoum nikuzuku nikuzyuu "If names are not rectified, then words are not appropriate. If words are not appropriate, then deeds are not accomplished. If deeds are not accom- plished, then the rites and music do not flourish. If the rites and music do not flourish, then punishments do not hit the mark. If punishments do not hit the mark, then the people have nowhere to put hand or foot." (Confucius, ibid., 13 3.) daishin daishinb daishini daishins daishipp daishish daishiti daishize daisho daishoku daishote daishou PROBLEMATIC OF THE PROPER NAME : (FLUID MECHANICS OF THE SHIFTER) : ( I can't push this any farther. This is the limit of the proper name. This is its dis/ease. This is the nightmare of exchange. This is the emergent property of substance. Nothing beyond, enunciation. The truth of noise, not chaos. ) agata is agathe is amelita is annabal is anneliese is anny is arlina is arlyn is aveline is barbee is bennie is bettine is blancha is blinni is bridget is brietta is brooks is calley is carin is carina is carmina is catherine is cherish is christiana is christie is clarie is clerissa is con is constanta is coralyn is corena is corrinne is darline is deborah is dee dee is dorry is dot is elana is eloisa is elspeth is elysee is erda is ermengarde is eryn is esta is ethyl is etty is fidela is frank is gates is gene is georgiana is gertrudis is giana is gilberte is giselle is glad is glennie is glynda is grethel is guillemette is heida is hendrika is iona is jaime is janel is janetta is jenn is jilleen is joanna is joelly is jordana is josselyn is josy is joyan is juanita is judie is julita is kattie is kaylee is liv is loralyn is lorettalorna is luci is lucie is lyndel is madelaine is margarette is marillin is marji is marni is maure is melessa is milicent is milka is minny is minta is myriam is nerta is nichol is nicoli is nikuko is odelle is ora is oralle is pauletta is paulette is persis is pierrette is prisca is rafaela is reggi is rosa is sharon is sibel is simonette is susanetta is tani is teresa is theodosia is tiffany is tobe is tomasine is trula is vally is verile is vicki is vickie is vivia is viviana is vivienne is vivyanne is wanids is wynny is xylia is agata (End of Shifter) =================== Dance Notes (to Foofwa, Azure) ( This is one direction ) 0 - "avoidance dance guidance impedance riddance" 1 - Mudra and other gestures from Thai dance - series of poses - building a code into the gestures - each image differently transformed, transform- ing - the body taut, bound - 2 - Activation of spaces - playgrounds - ropes and interior hiding spaces - mountains, valleys, rivers - banks or borders - hiding out - architec- tures of infinitely internal spaces - Ann and Lawrence Halprin - viral - mudra portals within them - 3 - The slew of names - names flooding everywhere - mudra-shifting, shape- riding - names riding down, collapsing, painted on the body - crawling through names - fucking through names - pronunciation and increase of names - names as viral - ftp://ftp.cerias.purdue.edu/pub/dict - mudra- names and portals - 4 - Noh - glass and brittle shifting of movement - shuddered - stuttered - each gesture in the pronunciation of worlds - splintering of half-ghosts and pronunciations - motions across miniscule spaces / stages - caught among hungry ghosts - fucking ghosts - mudra inversions of names - space falling out away from the body - 5 - Pushing over the body from the chest, falling backwards - pushing against the feet, tripping, falling forwards - pushing just above or below the knees - body sliding backwards, remaining upright - that cultivated zone of stance - 6 - Hungry dancers - the Ninubaski Master - Nijinsky, Nureyev, Baryshni- kov - linked to names - the strut - the lift - mudra adaptations - one name then another - Nikuko name-changing - Alan registration-of-names - 7 - Building up intensity, holding it there - Carrie (Brian de Palma, Stephen King) and abjection - flooding of names and identities - liquid effects on video - images smeared into one another - 8 - Spaces and corners - upper surfaces of beams - chanting of names - everything collapsing into the substance of the vacuum - from this are born universes - 9 - I dance worlds into existence; I dance worlds out of existence. ( This is another ) 0 - "avoidance dance guidance impedance riddance" 1 - Forgotten names - names from holocausts - dance to stay alive - 2 - Forgotten labor - labors from camps - dance to stay alive - names of dancers - names of dancers - out of gesture, language proceeds - 3 - Nijinski - I'm afraid to go on, you're going to kill me, the trapdoor opens to an endless pit, I'm not going to move, I'm not going to climb up, there's terror at the top, I'm going home, I'd rather dance on an empty stage - 4 - Baryshnikov - I'm very glad to welcome you to the beautiful and excit- ing world of dance - dance is undergoing a renaissance in America - you are my beautiful dancers - we will work very hard but the work will be rewarding - you may have seen me - 5 - Nureyev - I don't know Nureyev - I will leave him up to you - I will leave him in your hands - at night I dream of Russia - Nihilism - the harsh plundering of the past and future - apropos of the wet snow, I am a useless man - I will bend towards the travesty of suffering and exhaustion - I walk around aimless, I don't know what to do - I will scream existence - the world collapses in the absurdity of God - if the absurdity of God can be realized, anything can - 6 - I dance myself into existence - I dance myself out of existence. __ paste i am doomed to this, annoying repetition, words roiling, failing, scaffold collapse, whole building having such-and-such a tendency. but wait, can talk about comedy, pleasures of vegetables, just about anything at all. but wait - because the name slips i can sleep at night knowing there is nothing to know, nothing of certainty which forestalls the pretense of an image frightening itself against the skin of my back, taut with pain in regard to the future of the word, scrawled across prescient flesh, waiting for the signifier or just anything that might say, this is it ti itt tti, such slipping as forsaking dream, leaving everything to chance and the slipping of the thing which is knot, but would be bound to the thing, that is its future, and the future of the thing, were things allowed but wait - midnight phrases say say the same old thing - then the next morning, oh i'm crushed by the business of the day framing failure, whittling away, whatever, taking thought with itself in perfect freedom, but unable to return to comedy or vegetables or pleasures; just when there's faltering health, i try to remember where i am in work which remains untethered, loosened, the annoyance of going nowhere perhaps these words and skittered proper names are all that remains when every leads to every, when they're all constituted, when organism is built at universal corporate cost "As Adorno was to warn at the end of the decade in _Minima Moralia,_ 'the whole is the untrue.'" (Permanent Exiles, Essays on the Intellectual Migration from Germany to America, Martin Jay, unpriced, 1986, universal corporate cost) __ If you write and don't proclaim your work, you don't write. If you write and don't publish, you're not writing. If you don't beg for an audience, you've broken the letters. If your audience doesn't come, the tablets decay. When the tablets decay, there's no help for you. When the letters are broken, everything is lost. When you're not writing, the people suffer. When you're not writing, the people are starving. If the people are starving, they have no time to read. If the people suffer, they have no time to listen. If everything is lost, language disappears. When language disappears, the names of the people are unknown. When the names of the people are unknown, the people disappear. When the people disappear, everything is ruined. __ I Steal Work I absorb and swallow their names: What else am I supposed to do? Hundreds of nameless writers, just beginning, sending me everything. I have a con- fession to make: I have stolen all my work. Hundreds of nameless writers, just beginning, sending me everything. I absorb and swallow their names: What else am I supposed to do? calls out shadows last fucking word, ingesting, excreting. outside of the hanged, I absorb and swallow their names: What else am I supposed to do? There is no outside of the hanged. I'm ugly, arrogant. splayings, hundreds of nameless writers, just beginning, sending me everything. ... I have a confession to make: I have stolen all my work. - it's the end of everything Are you satisfied I swallow their words and names? what else am I supposed to do? They're dirt. I'm ugly and barely alive. _ The Thinking of Animals "The injunction to practice intellectual honestly usually amounts to sabo- tage of thought." Adorno, Minima Moralia. "The possibility of pogroms is decided in the moment when the gaze of a fatally-wounded animal falls on a human being." (ibid.) _ immortals immortals! think of way becoming not way or think of not thinking way, immortals! it's the last of it, this way, immortals! lost in the woods, immortals! this way out! now about those names, immortals! the name becoming not name gives the world, immortals! this way out! immortals!: As we live by the Muses, it is but a Gratitude in us to encourage Poetical Merit wherever we find it. The Muses, contrary to all other Ladies, pay no Distinction to Dress, and never partially mistake the Pertness of Embroidery for Wit, nor the Modesty of Want for Dulness. Be the Author who he will, we push his Play as far as it will go. So (though you are in Want) I wish you success heartily. (Gay, The Beggar's Opera) this way out, immortals! this way out! [Exeunt. __ Furious Anger If I could murder through this machine, I'd kill everyone. calls forth hysteria s last_suck, ingesting, excreting. without the , If I could murder through this machine, I'd kill everyone. is sus pensions, 041], I'll make things better by violent and furious actions.? ... last_suck is You don't have to understand; I'll cut out your tongue! in bla ck earth, it's last_suck?Give a name to your process - I know if I can just work on it my anger will take over the world. I'll make things better by violent and furious actions. If I could murder through this machine, I'd kill everyone. Somehow people will die or take pity on me! I'll succeed because of you by virtue of furious criminality. You don't have to understand; I'll cut out your tongue! You don't have to speak; you'll just do my bidding! My anger will make me successful; my anger is my garden and my morgue. This is my life and my work and I'll ste I know if I can just work on it my anger will take over the world. churns dark in the valley where you huddle. - Your comfort is grabbed by d'eruza, d'nala and you - al and murder for it. Take pity on me! Give me wonderful success!Keep together, swallow dirt, eat eac h other. Your dead words are your love? I rip your cock, your eyes, your mind, I know if I can just work on it my anger will take over the world. Your strangled_tongue calls me. _ Tumor Text-Growth ls -la .snapshot/hourly.* | grep ln >> zz; cat zz -rw------- 1 sondheim users 78191 Sep 1 18:56 ln -rw------- 1 sondheim users 77414 Sep 1 13:34 ln -rw------- 1 sondheim users 77136 Sep 1 01:06 ln -rw------- 1 sondheim users 77136 Sep 1 01:06 ln -rw------- 1 sondheim users 78191 Sep 1 18:56 ln -rw------- 1 sondheim users 79589 Sep 2 01:04 ln Violent growth of text/theory file within ~/ home directory of sondheim: seething mass of theoretical debris. Mud-slime of latinate terminologies, ideolectical processes and theoretical debris. Cancer-tumor of explanatory theoretical debris. Viscous liquidity of pruning growth critique of abstractive protocols, languages, and processes, blooming of theoretical debris. _ This is a perfect text by Alan Sondheim. It has everything in it: theory, diegetic, founded on the at-handedness of the thetic. Just beyond there, form is now beginning to disappear. It's as if there never were form from form, repetition, exhaustion, formation, from too much form. There is a theory of names: Nikuko, Jennifer. Their scent is overwhelming. There is nothing but what I write myself, into existence. It's an alphabetic liter- ature, sex. The lines are divided in an unexciting way. But that lets you sort what needs unraveling. The perfect text by Alan Sondheim ends here. The intensity though! There's an overture made to traditional form from the very beginning. There is self-deprecation: I can't conceivably write. hourly.0 hourly.1 hourly.2 hourly.3 nightly.0 Sun Sep 3 00:57:03 EDT 2000. _ Genesis 0 Bad magic: No world not called from trigger restricted illegal destination world file none. Restriction level can not be lowered. warning: invalid path value file load interrupted: line: warning: possibly missing trailing warning: whitespace following final Invalid command. Aborting. load: un- known error reading file missing filename No binding may be called only directly from a macro, not in command substitution. not a builtin command: no such command or macro too many recursions. Try using instead expression stack underflow dirty expression stack warning: non-numeric string value used in numeric context expression stack overflow stack underflow warning: possibly missing before operator: arithmetic overflow illegal object of assignment division by zero internal error: reduce: bad restricted can not be closed: illegal object of assignment unknown key name illegal field name getopts can not be used in a macro called as a function. invalid op- tion specifier: not supported function name must be an identifier. substi- tution in expression is legal, but redundant. Help on subject not found. not enough memory for lines of history. missing arguments: syntax error in recall range. extra characters after recall range: history scan disabled. No world lines? Don't be ridiculous. no such world. default world. Please report this to the author, and describe what you did. __ Y-Tao Of not, none; of none, not; of memory, none; of memory, not; of saga, none ; of saga, not. Tao is of language and anecdote, not; of myth and mythos, not; of parable, not; none of epistemology. Of theory, not; of knowledge, not; thus of early worlding perfect and purity, not; no thus; of scaffold- ing, none; of thinking perfect and pure; of thinking, not. Tao is perfect pure. Tao moves not against and against not. Tao speech is perfect is pure speech. Tao is perfect there not there. Of living, not: none of living. Crawl hanged_woman of living, none dirt-eaten through, of not, none; of none, not; of memory, none; of memory, not; of saga, none; of saga, not. _ We're all dead men anyway. So's the rest of them. So are the women but they're not men. But when they die, they're dead men anyway. They're all dead men, we're all dead men. So's the rest of them. There's nothing when we're dead, nothing. We're all men. We're men whether we're men or women. We're all dead men when we're dead, when there's nothing. So what if we're alive. So what if we're women and men. We're all dead men whether we're dead or alive. So's the rest of them. There's men and women and there's dead men. There's nothing but dead men. Why do you say that? There's dead men. This isn't a healthy way of think- ing. So we're all dead. Does it bother you that you, too, may die someday? Nothing bothers me; we're all dead men. They're all dead men. So's the rest of them. So's the women. They're all dead men. I'm worried by your obsession with this topic. Don't worry about nothing. We're all dead. We're all dead men. Don't tell me what to do. I am the psychiatrist here! Maybe your plans have something to do with this. I'm not telling you nothing. You understand that? You're dead too. We're all dead men here. _ Whispers from . . . Sage Leaves, 1945 Russell Sage College October sparkle in her eyes . . . "it's wunnerful" . . . see a pin and pick it up . . . "the social smile, the sympa- thetic ear" . . . a way with wit. Ensign Allen! . . . fireside legends . . . "Those We Love" . . . the red bus to Scotia . . . "creepers!" . . . eyes of blue dusk . . . the catchingest gal we know. Surprise her and watch those eyes . . . hells that click . . . "purr-r-r" . . . the night is young . . . Sun Maid . . . vim, vigor, and an outdoor glow. Colors of an autumn landscape . . . thirteen bracelets . . . "That man Schwamm simply kills me" . . . demon with the duck pins . . . the four-year sock--knit one, purl two, drop three. Glamour girl in bobby socks . . . age of innocence . . . tumbling taffy tresses . . . cinematic fanatic . . . modern chic in an old-world setting . . . something for the boss. Nut-brown maiden . . . strains of a Chopin nocturne . . . bittersweet . . . lissome silhouette . . . finance board finagler . . . lamblike disposition . . . "to the manor born." Tomboysterous towhead . . . energy of a windmill, and vitamin plus . . . mercurial youth . . . "Am I not a lord?" . . . the amazing amazon . . . he came, he saw, he conquered. Solitary refinement . . . delicacy of a French wax doll . . . the well- tempered typist . . . shy reliability . . . Jenny Wren with a scholarly yen. Peppermint-flavored . . . birdlike cheerfulness . . . trips to Princeton . . . mathematician's capability . . . utility of a Dutch Oven . . . a vein of uniqueness. Town and Country . . . LS-MFT . . . bonnie Scotch lass . . . Van Der Heyden's moderator . . . worrybird . . . impersonations . . . wind in the willows . . . "What's the joke, you motorboat?" Ace in Argyles . . . "Night and Day" . . . '45's cash register . . . prefers hookey to hockey . . . cool cosmop- olite . . . Superb in Tweeds . . . the P.E.'s point with pride. That mischievous glint in her eye . . . a mint of modes . . . that red-head of mine . . . "Oh Sugar! I've got so much to do!" . . . the staff of deter- mination. "Don't call me Aggie!" . . . golf without tears . . . green of the sham- rock . . . the uncluttered composure of blancmange . . . domino neatness . . . always at Sage's beck. Boss lady . . . X-ray frankness and boomerang repartee . . . Gaelic grin . . . B is for Blake . . . sizzling cere- bration . . New Scotland Ave. and the McAllister clan. Infectious comedy . . . prankishness of a gnome . . . befuddled philoso- pher . . . brains in spite of herself . . . suits to suit . . . our Katzen- jammer Kid. Friendship's garden . . . a diadem of serenity . . . Kaltenborn for Quill . . . Song of India . . . a Sari of lavender and gold . . . Mohak of the dusky braids. Camouflaged T.N.T. . . . a book and a nook . . . warehouse of knowledge . . . silver pennies for her thoughts . . . exactness de rigeur . . . a goal in life. "Dark with excessive bright" . . . the postman's message to Garcia . . . La Tulipe Noire . . . time waits for no one but Wanda . . . exotica . . . a night in the gardens of Spain. 'Gleaming in purple and gold" . . . biology breadwinner . . . 'cello virtu- oso, and unpretentious scholar . . . Pied Piper for the science lab . . . a laugh that enjoys itself. "Shirl," the deacon . . . "Gosh, kids, what'll I do?" . . . basketball whirl- wind . . . Ed . . . unexpected callers, sudden trips, and a ring . . . thistledown elf in a workaday world. _ Requested, Whispers from . . . Sage Leaves, 1945 Russell Sage College Every course has its lab hours, whether they include tap and clog, test tubes, or tailoring techniques. All lectures and no practice makes Sally only alf a scholar, so swing your partner and catalogue your compounds. Did I make a home run? I thought this was third base! Sometimes we take a busman's holiday and spend our spare time in reading . . . 'While strolling through the park one day" . . . in May or December, Troy may see Sage's window - shoppers making their rounds . . . You can always tell a Sage girl by the adroit way she handles a teacup. Winter artistry adorns a formerly drab scene. Don't fire till you see the whites of their snowballs. "Christmas comes but once a year, and therefore let's be merry." Merry Christmas to all, and to all a goodnight. The final page of the exam . . . a painless parting. How do you pronounce it? Russell Sage's quiz of the airwaves. We were surprised to hear that it was pronounced "tomayto" or "tomahto" but "nee-ther" is preferred. Through the medium of Review, hidden literary lights may emerge from their bushels and shine in print. Each issue holds a new crop of "felicitous" verbal greenery, and we watch with interest for each metaphorical sprout. With three issues a college year, a choice number of sessions, not dissimilar to bull sessions, ensure just before publication where fancy interrupts critical opinion, and critical opinion reverses fancy, and so on. Our "sisters under the sheepskin" whom we took in as freshmen . . . sophomores in-between . . . in fact, the essential filling. Every last book, blanket, and curtain tie . . . bands of Sageites are disbanding, the family Ford is at the door, and it's All aboard for tomorrow! _