MENTAL HEA\LTH
FEEL IT SLIP RIGHT ON DOWN RIGHT ON DOWN (FEEL IT) cg c c
UNDER THE CARPET\\_ _ WHAT D'YA SAY? DIDN'T HEAR YOU SIR

city is shrapnel

14 visual texts from this blog. Click the link to go to the next text.

Thank you AnnaBloom, Sheila Murphy and others for their comments.

Comments appreciated (no spam thanks!)


CLICK TO BEGIN

from THE DAYLIGHT SECTIONS (17)

fresh slush new
york city barb
and I walk
marathonly through herds
of shoppers walk
around them and
their bulk, sliver
parallel to passing
metal passing noise
the city quite
staccato plus quite
brass in tone
motion is thought
and present tense
tames whatis
not really wrong
breathe in out
barb celebrates with
me daylight in
its least common
denominator with that
breathing that fuels
morning after morning

NEW NOW NEED FLEXIBLE MORALITY A TRUTH INCONSEQUENTIAL T TT TOUCH FUCK NEW NO NOW RECHERCHE VICTORIANA ARISTROCRATIC PAN A A PAIN NIGGLE NOUS NEW NEU NEUROS EROS PSYCHODRAMATIC FLESH DREAM IN BOD\ES MERGING PSYCHE ANIMAL INSTINCTIVE HUMAN SOME CERTAIN SOME

FEEL SO REAL

I'T PAINT A
PICTURE WITH A THOUSAND WORDS NOT TO SLIP INTO NEOLOGISMS LOGOS ITEMIZE YOUR COFFEE UN CHANGE

4 ALL THE WORDS
WE STUMBLE
BILL

ON FACEA
EXTEMPOR TEMPORA
MEANT IN CHANGE A COMPLIMENTORY PILL PHILLIP AND ANDROMEDA CONSANGUINE
LANGUID EPITHETHERY WORDS THEY COME FLEET AND FALL LIKE DANCERS IN THE SHOPPING MALL ON IMAGES MOVEMENT AND A KIND A SENSE WE CALL HOW BLACK AFRO CARRIBEAN HAS
WHO THE HELL AM I ?

ANYWAY DICTION TALL LATTE
MILL
ITEMIZE YOUR FAIRY FOLK
CRITERIA FOR CARD ACCESS IMPLICIT AND
FALLING THROUGH
THE HEATHER ON BODMIN
MOOR WE WERE MUCH YOUNGER THEN

YOU EAT YOU SAID ALMOST PAINLESSLY MAIME EVENTUALLY LIKE A FREEFALL TO WATER MY GIRL
U
SED SUCH SUCCESS ASBO'S WHILST READING KLIMT IN UR SPARE TIME U GO TO THE ART
GALLERIES LIBRARIES TO LOSE CONSCIOUSNESS U SED WITH WAKING FEELINGS AND EYES LIKE
PRISM CELLS I ENDANGERED CATHARTIC DE RIGEUR ABSORBING EMASCULATION YOUR WEEPING BEAUTY FAR MORE CLEVER DICK THAN ME

EYES

TROPE E AND OTHER VOWELS

LOST IN DICTION
FRICTION OF
STEEL DRUMS ON HIGH STREET LOOKING AT U NOW YOUR BLUE GAZE COULD
NE'ER QUITE DECIPHER ME (I GUESS YOU SAW A HAGGIS OR A BEAR A HORSE OR A BARE HORSE) WE PASSED THE SHOPS AND BY-WAYS AND YOU TALKED ABOUT DRIVING
POSSIBLY BARE 4 A LIVING WE KISSED AND U DECIDED YO TO TAKE THE TRAIN BACK
HOME

I LISTENED TO
IAN DRURY WHEN I CAME HOME TODAY GEORGE BEST DIED I DIDN'T FEEL A
STAGNANT (THE USUAL) HAPLESS MISERY BUT A SENSE OF
INEVITABLE STRANGELY AS I
SAT AMONGST PIGEONS THE FAST FLESH OF FEMALE CASH ATTENDANTS YO IOWA IO
I
SAW I SAW RIGHT UP
THERE THE GREAT BEAR IT MADE ME FEEL
ANDROGENOUS KNOWING
THAT YOUR STARS MAKE HIS PAWS HEAD HIS HEART LINE
OUT AND WINKED FISSION YOUR SMILE LIKE THAT SCHIZOPHRENICS PAINTING SAYS
IT
ALL

OMNISCIENCE WOT ARTISTS AND SCIENTISTS WORKING FOR INTUITION FOREWARD SOCIAL INCLUSIVITY TO
ME 4 DOCUMENTATION AND A BISCUIT AN' A CUP OF TEA/COFFEE PASSIVE SMOKING
(THE THOUGHT OF IT) MEANS MY POEM GITS TOO LONG YOU HAVE AN AMERICAN ACCENT SHE
SAID HE WAS FROM DUBLIN

THE TIME MUST
COME THAT YOU
JUST KNOW A POEMS GOT TO THE END JUST JUST KNOW WHEN TO STOP IT JUST KNOW JUST KNOW NOW

The arts are leering, he said
contraposto d'or like quick sliver
deconstructionism (ars poetica) rien rien
mentioned something about her door not
having a key. Surreptitiously leaning into
voids packages surreptitiously surreality the
dance school closed early for Summer. Combien a t'il
et cetera

Ultimato IC US US [the Greek school of neologisms]
blame compulsory education, freud was a letch
I have black flesh he said one combien here
one combien there etre, surreality is impure, shite
Modernism fucked up the shit hits the fan.

Due in pre-tomato society apparently symbolism is
a metaphor good King Wenceslas and all that that is
better said in music or art or theatre like a queer
furore, Celtic drums drama folklore. (Street)
At night her breasts are clouds on the tilted hill,
In page 3 and the Polaris Gibbous phase or Dream Time,
I'd hate to be a lit-crit. She stands in a corn field
mais she's conscious oright even young ladies who wear
hearts in their eyes.

The snake, the pathetic fallacy, not even tomato nor
chaos theory will do it in the twilight, the trick
of it is, she becomes more photogenic the moonlight hollows
out her bones and you can see the muscles dappling
her skin. In a society crying out for a relevant religion
it seems post feminism (a suffragette whimper) Hers
and messieurs (a la topsy turvy) won't do it. [subjective, aesthetic?]

from THE DAYLIGHT SECTIONS (16)

if I could mood you to exclaim
your druthers it would ease
shared kinesthesia or
remainder our past tense
beyond the lay typology
meanwhile topography endures
look at the landwheel burgeon
as we make our eyes include
whatever posses forge their way
toward defining at the hour
our depth perception

matrices invoke legumes near seas
no matter what serenity the sky
spills one is often young in
theory less by name than
center with capacity for holding
what I equally release in time
sans will or scope of work
that predeceases an intensity
once rumored and once fact

ligatures condone our joining
via prophecy
I lay my silver leeway down
along warm carpet near crisp fire
while the inception taps at
memory prolonged if rigor
is a color and if shapes
rely on atmosphere and lack

je regardez IGE

I GROW HE SAID AND I FEEL I GROW HE SAID AND I FEEL I GROW HE SAID AND I FEEL

MAINTAINANT CHIP CHOP ERRORS

I GROW HE SAID AND I FEEL I GROW HE SAID AND I FEEL

do you

know the PRICE

of a pack of

cigarettes

i'Just(did)n't

from THE DAYLIGHT SECTIONS (15)

supponents lash
if leather out
long weeks of toil
perhaps in hibernatural
endownings

crafts come kiltered to
suffused young smile
eccleselastic spun tonged
riverist jambonentry

as punctuarium
for not(h)ing more than
hinges in the liftoff
of finch breach of
low-toned argument

sugar is a ton of
aftermath watched to
fruition hunger masks
eventually

a warmth inherent seeds
distance between
two (place) settings
that might adjace themselves
apres the a cappella
lore that's sifted one
from nextitude

Mow don't sta change me supper schizophrenia rock N rOLL isolating bills
pissed with friends Now don't stop 'ere the somalians homeless out of bins
tower block he's really ill that's me and him george in the walls windows
i used to live ere with my mother AAH SHE BIT ME she cooks a good meal I wanta
goes home the inclusivity of ethnic minorities my avant-garde express train I haven't got sta
£1.70 to my name mawkish hawk 5 then 10 then 5 it is what he say splay 5 then
skankin right up skankin Now don't start me Asthma sits under the trees she puts her bag down and then she goes the multiplicity of changing Now don'sta goes er changin!!:) u did well
with him avec recherche hablas germain sorry i'm goping for a fag i'm going for a fag i'm going for a FAG I'm going for really animalistic Now rehydrate before you come don't glass me slippers 13 months AH 13 months even Shakespeare

OUT FORM UNDER
THE SPANISH SIGHTED MOON TINTED SKANKIN SKANKIN POP POP ITNER RECHERCHE
EXCLUSIVITY FOARED JAZZ
ATTITUDE FROWNE WALK WALK TALK THORT SLEEP SAY IT
WALK WALK THE CRIES OF BATHYSCAPE AVENUES IN TOLKIEN CLOUDS
RIBBED THE PEARL MOON OUTA SIGHT EYE IS THE
PULSE OF HEARTS CRASHING IN U

NSPOKEN METAPHORIC GLEE

the animaux (les papillon/armour/love/amigo00 die in swoshing
tides fennec coz it sounds like fox f f f i can feel my heart rhythm rhythm
beat beat 1 2 3 4 5 6 7 8 like silk flesh

notes on new media

The mistake of artists is to consider New Media as a distinct art movement. New media art, text, so on, so forth are really extensions of experiments in the field of the visual arts, throughout the 20th Century and into the 21st. Artists have arrived at the conclusion that art is the ability to perceive something and communicate a point(s) of view about that something. The only alternative we have witnessed is the willingness of artists to engage the public through applying artistic methods from the past.

Therefore, it is reasonable to say that art is ideas and having the ability to communicate these ideas. This is what art has reduced its self to, and what its fundamental message to the public is. Therefore, to be an artist is to be a human being and all human beings are artists. However, this is not the end of the arts - the need to be human is ever present! It is the beginning of a rebuilding of the arts that recovers the initial meaning of art, to enquire into life and to report upon what one thinks about life. Where art goes from this "new canvass" remains to be seen.

pant

"all broken" hard meter between cracks
step step to step step to (formed)
"motivate me, productive(ly)," 'dernist failures
by form'd future "as mere closure"
attempting step to add can
split D says "universals are autono"
must it but form self(s) construct "pass
it" 'ernist 'lure blanket fails
covering one foot right leg over left
knees together news no head
under (stood) up stamping foot to
foot exhaust diesel material construction bend (d)
foot feet stamp "search't stability,
is it understood?" not for a more
lined telephone were links (furniture,
galaxy) payphone "that callee, that
callee," 4X4 metered out posted "ma, ma
ma, da, ern" pants at
hips left arm under crooked head bent
hand back paper pillows spread
shadow 2pm to 5 pm rolling "to
latch't" butt cigarette over curbs (little concrete
edge broken repaired shoes off
sock under ear left leg stretched (ing)
out "ah," roll over (sky)

T.H.I.N.G.S. C.H.A.N.G.E

SHE SAID INNOTATION SHE SPARRED WITH THE QUESTION RECENT COMPLICITY HAS SPARED MENTAL JUMPS KEY CHROMOSOMES VIRAL HATCHET HAVE U SEEN A SPACE ODYSSEY U TWAT THROW 'EM THROW 'EM ALL CRASHING D'YOU WOT? CRESCENT WOTS ALL THIS ABOUT SHOULDN'T YOU FILL OUT YOUR RATHER PITHY STATEMENTS WITH LITERARY LITERARY DEVELOPMENT? A SHAKESPEARIAN AADVAARK AH BUT ON THE THAMES YOU GOT THEM TV YOU GOT THEM INTERNET SPACES R REELLY REELING
MATURING THEN STRANGE CAREERING EDGE SOLIPSHAPESHIFT MORGAN STAR SPACE IN HER HAIR

At the supermarket music was

playing the
colours of the packaging and all the chin wagging i came
home with my

shopping and i wrote reams of poetry about it i could have sworn it was all a
dream

from THE DAYLIGHT SECTIONS (14)

crook
got hold
of our America

*

get
him out,
return our flag

*

remove
manure from
where flowers go

*

sprout
some new:
grow gladiola back

then phonetics r the arbitraryness of ideas

Hey SQUIRE culture comes from art couture from mrof Shoo Shoo the animate intrinsicoo cOO oh ne te olviarde tee oke flat splet frroYY tlet tlreyyy otre
oh ne te olviarde t oke flat splt EEE froYY tlet tlreyyy otre
H n t EEEEE olviarde ke flat spOOlt frYY tlet OOtlre yyy treo Shoo SHoo wind aminate laminate fuck stream abrasive turn touch stop breathe then phonetics r two the arbitraryness of ideas

TRAIN
DERAIL

n/\\///ccncn//// QUEUE T

A

XIDER

M rEcently new maintenant chIp shOp errors

from THE DAYLIGHT SECTIONS (13)

this is adagio, the silver rain white tea full leaf
rarest of all teas, high grown white China tea
plucked in the spring

white, downy buds immediately air-dried,
yield a low-caffeine tea

white silver tip white tea and white peony tea
stand in the cup upright
like bamboo shoots after spring rain

silver tip white
tea, rare Chinese white
tea
white tea
green tea

oolong tea, black tea
artistic tea
she liked its hint of grassiness and complex flavor

silver needle white tea
white persian melon

from THE DAYLIGHT SECTIONS (12)

let's say a tree on paper is equal to or greater than
the water that it takes to feed the tree. let's say
you live beside this park, that people are attracted to
the park, and you, you levitate
by reaching into centermost epitome
to meet the call for what a tree is to become
when finally in place. let's say that you are placed
"where you are planted," as your relatives once
said. and that charisma feeds the plants
that round the tree, that surfaces are only
evidence of what lies deep beneath
this planted obvious. this object.

let's say awareness is an artifact,
regardless of the rumor mill. let's follow up
with what this might mean to the minced thinking
that often wanders off into unfinished things.
let's say you have everything right now to do.
let's say you do it. let's say you do not sleep
except to warm your partner back to sleep,
so back to back you go, to soothe the worry
that occurs quite naturally, the rumor is.
let's say there is a festival, and you can look
at trees, and you can render unto the authorities
what they have authored on your behalf.

let's say you're tired of being thought about
like silk. that you would rather live.
that you would far prefer to be the water
or the tree and looked at in the light of function,
not taken for granted as if you were
mere decoration. is the aging process
holy as it was when you were young
and looked ahead? what age is perfection?
if you hear the answer on some random walk,
then tell someone, maybe the authorities.
perhaps explain with gusto. I don't know
what it is makes me look forward to
the next installment of a different hue of daylight.
something of routine. something habitual.

Morgan SLIPS tireless cHesIre Skie is uniquef lengthen
verbs associated disorders fiscql tics slippage death of the author
parvinder/rococco/baroque/persephone leaf'outs ff off the scarp rummaging in fat hands of turneresque -Jerusalem- ah ah Turneresque q'uest que c'est ma cherie sJKies immor immor etc etc immor fataLity

CAR
CR

ASH

from THE DAYLIGHT SECTIONS (11)

in the next room
you are splashing
in 4/4, the metro-
nom(e) de plume
shakes view from
side to side
it's late and I am moved
to ask what are you
good at

for if new light
could strain thinking
we might o.d. on
cataracts to come
then line the shore
of something constant
with intent

stamina refracts the kilter
one is out of in
the constant foreground
where you glide toward
vamonos and what
variosity comes naturally
to you and you and

when one sizes up
the length and width
of purposeful appearing
accidents one turns
predictable in one's
perspicacity as if
one falter were to turn
a faultline simmering

and what now what thin
reed comes close to being
taken for a mile-
stone in a random chapter
are you viable or
drawning in
with gestures factual
and braced to have alighted
on the cinders and that
prior trail we let guide us
to facets not our own

primary depth comes
naturally to actors
not onlookers, analysts
or chums of ones
performing in normed
roles primary openings
soon filled
any way but randomly

SUR LES TEMPS

INTERNET ART IS
PEELING

TOVI TPO KCEN REK SJ

SHE SEEMED TO SAY

/\CAR CRASH/

MIDDLESJ3OUITR

ENGLAN'S GREEN
AN' PLEASANT

ITEMIZE YOUR COFFEE BILL

aswe loook back to findf a wait for wards

BALLETICS AERONAUTICS

from THE DAYLIGHT SECTIONS (10)

shadows cove
r sadnes. why
do you remain
sore in p
laces of your s
kin she mean
t the world
and now the
world is her
e again
st you
r sub
tle in
feren ce

to be you
r blank
et would
be nice
to have
a func
tion would
also

I thread
story after
story in
to your
soft sweet
ear and you
tell me
thank you

buttery day
light eeks
its warm
th into
your s
hell
I k
now
am now be
ginning to
how t
his f
eels

good weather
y morning
to you
I will b
ring this
your way
also mine

There was a time when we
felt
that folklore could right the wrongs of postmodernity. I use
letters
because
they are image, sound and language. Consequently
common
sense is
more frequently
objective than intellectuality. Boxing is a
healthy art and
offends paranoiac
sensibilities. When
learning is common
place education
becomes extraneous - the
formalizing of education has
resulted in

new car for janey

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from THE DAYLIGHT SECTIONS (9)

cre-
scent
shifts
with-
in the
sky

are complications cloistered a
round runes what do they
venerate what do we
answer

when the spool unwinds our
thinking tapped against
a pool of hall light
centered on
rapt poise of listeners who

rega in t he sen se of sigh
t
these recept- are they good at
what I am
or not

centerfie
lds
repl-
ay ay
to overt
ones

and this is the fast-track
activated by and byline therefore
when I sum the squares
I get in line

niot thyat she

RR

book exchange it u steemed nombres

ee

AA

the
certain
chnce a fiction variable when shiela murphy when she cacies [parOdyoftyping~ intri

u u

ur BIF

cat es

cta

es a00 flagery

w

aters

ent too photogenetics nmor phonogenics humerics or stimplrey humour

caught vis a
flarg

ALLEZ!

Sheila appears somewhere within text at http://trace.ntu.ac.uk
on "Experiment Space", "Gavin's Begginning - Collaborative Poem"

RR
AA
BIF
cta
aes
ALLEZ!

from THE DAYLIGHT SECTIONS (8)

declarative sentences annul me right on schedule and according to spec.
listen: I have learned you, lost you, leavened you, lengthened you.
lured you out of one bed into someone else's
habitable patch.

the upshot is comeuppance now and northernly.
I'm wan from tinkering with toy braids in mimesis
of these shade flowers.
all my time in fear has yielded

talent turned to sweat.
and by the way, the turntable you imagined moved one-way
is static now. all voltage wears on
just conceptual verging on song.

and still I sing it toward your visible breath.
I watch you try to sleep.
I watch damage control at work.
I leave myself to captivate if you are working anymore.

you narrate me I norm you I examine consciences
I think are not mine, but it's habit to perfect
what I can only dream of offering away.
and then I catch myself being another part of speech.

give me text and treacle. afford what I have won
and listlessly imposed. my energy is hash.
my jamboree exhumes your rapt and sideways
inattention. tendrils just perceptibly appear to cough.

and heat shifts substance of the flower
until its name recurs to very poised ears
trebling the encumbrances. a justice system
winces near plaudits when they're white if only for a while.

T

TOUCH

YES

PARTICULE NOTSTREAMSOFCONSCIOWRISKWNETPAS98534>857.991~VARIEGATEDPOWEROR7654448902497%ASINCIDENTAL

SYNAGOGUEFFNO O O 87430.9ms854

EXPLORE

FREEZE

FEE S

from THE DAYLIGHT SECTIONS (7)

commingling (tingling) prayer and your extrusive vehemence, one
dandles goods and services while leaning into saving nest line
qua blue butterfly exotica redeeming clothing
left aswaddle contrary to the victuals expected.

pump that thread into my broom, said she.
record your better dresses forthright into activist sumatra
toward a blind alley somewhere off
to the presumptive right.

whosoever lane shifts shall be mortified under the surf.
unlikely pottery gleams from glaze
as if daylight owned the exquisition of calligraphy
in time for tunable moments teach-free.

the scissors, my young hope wound.
the block lettering.
the sharp duplicity.
the window light.

letter to the editor

Hello my name is crescent and I'm IN HER VIRTUOUS DISSYMMETRY WHITE FJORDS OF IMAGINAL DISSONANCY DIS DIS DIS 'O' EMPLOYABLE AMIS

typing by the crux of imagery the first post is the free post at second class paass the post pour avec rein amis c'est est en dix ans et cinq minuit ET CETERA ET CETERA
white purity enfent terrible exogenosity

somebody would say it's arbitrary. Non plus amour et rien sill//ta reflex limb impinge mechanic motion of closet window sill

our psychotherapeutic essenciality verbose luminance immanent loosing proto-stereotypical notre dam by prior a a avec trior exteriot loosing framework post process consciousness pass biblioteque

skeletal words
Meqanistic meaning pique reform like shelter a beer
photen imagery a head ache on aspirins
a queer moment formaldehyde ripple affects by stennin waters
contraposto repose, communist ripples shoulder def effigy of manxist dissonance

pps refer to courier at applegate road

by tense i ean enqaw4 that the very structure of verbiage
is an insentiruuuuuuuuuuuuu
magazines how r u claim my writer intention as awful sharks quell my pen and fist the fat hand quick feet of dance

employable laws of industry:
1 y i
2 y i walb ~ eves architectural

3 pps. inform the network of coarse structure implementation by proxy default mechanic to fix computer ASAP
Text me asnd we'll pop out for a quick drink after work
computer sits on my desk.

yours

4. y i walble
5. a greek god a shelter from the homeless
6. cost effective practice
- generally it is reassuring than utter
- secondary finances are nether required except by express permission of the managing manager of managers at a middle and senior level. refer to procedures and policies 1.12.23

7. Implementation mus takes by 1 week after notification of intent nor any other can get dun

T.Heady

ulteriority writing and imagery lead to musique

signiture and date commencing/finshing required
before post can be delviered by courier tooth and nail

tres confession I would like to see her underwear by 11 o'clock we were reelly u u c reeling her lilac flesh spilled onto the desk and i touched her fast neck her solid arm we planned a drink for next friday her thighs her twice the size of buttercups impinging zeal we waited until noon "high noon" the quaters daughter fell and spun like distant sun
we wished to write like a matador or an opera performer. Fields are dark blues and skeletal sunshine fall into words like toothy necklaces

she went for a ciggarette sum exemplary vicarious catharsis.she was doomed to equality notions

T.Heady
assistant controller twice betwixt as googa as
her fond make up reminfs me of daisy chains soft rainbows of aurora her lips pout like plums

THE WHOLE WORDS GOTTA BE GOTTA BE BIG TYPEFACE FAT QUICK WORDS U WON'T EGG AF CHIPS YOU GOTTA BE GOOD BE GOOD
STEPPIN' OUT OF NIGHT TO DONNA KEBABS THE FUCK SMELL OF FISH ANDF CHIPS MAGAZINE RACKS AND THE FAST PLETHORA OF WHINES AND ELECTRONIC BABBLIDGE

NE'ER LET IT BE SED. IT'S THE STRIDE OF HUMANS STEPPING IT'S THE REVELATION THAT WE CAN NEVER BE MOVE FROM THE HUMAN CONDITION. ITS THE TRUTH THAT ONE TRUTH IS NO TRUER THAN AN OTHER TRUTH. IT'S LYING UNDER WAVES AND QUELLING THE URGE NOT TO RISE

from THE DAYLIGHT SECTIONS (6)

impingerie defrays the cost of privacy.
you demean our subsection when you activate
the daisy spray. why not
cultivate some new mood and forecast.

thus began a wayward mode of relating:
tincture of habitat the size of moon
on rain if coexistence were not frailty.
she mindangered my inductive reach.

look inward fresh lark angel.
it is here we drape our days with
subsumatra light rays. spatulae
give wont to elevation in triune

days, some votive and some street-
smacked. some redeemed and some
acquired. some besieged and some
still gunned down by euphrates

territorial rambunction. it is dizzying
how little two extractivists can have
in common. any day now,
two-by-fours are going to stretch

beyond the treasures nicked hors d'oeuvres
and claim them for a sandwich.
then our recency will look like flame
by way of ash. if memory serves,

and memory does not, you're one foot
from your regiment, and I'm the corpus
cheeze. you're an emblem from
a motivating summer. I'm nothing

more than spring, misplaced
amid the falling leaves, encompassing
a feat of autumn where
it's taught to hurt.

I KNOW YOUR ENJOYING YOUR

BEER

CAR CRASH

GET THE DOG OFF GET THE DOG OFF I'M TRYING TO

GET £7 FOR

THE TRAIN FARE

UNB

E

LIEVABLY SUN

GET THE CAT

F

O

RCED BY REL

IN

Hi Some intriguing collaborative poetry stuff going on at Trace Online Writing Centre. On their experiment space - http://trace.ntu.ac.uk/forums - Hope u join in :) It's free to join Trace.

Cheers!
Crescent

from THE DAYLIGHT SECTIONS (5)

craft. distinguishes each
tree from fledgeling tone
anti-
cipating a fresh song.

young inference be-
stows a wing on care
as if treasure in-
herently were reassuring.

vastness overthrows pinched
tidy view. sunlight wedged
between the two sides
of a vise, playing out

the fear so gradually
it is like playing by ear,
only the silence negates
approach. fragments become

the sole hope. low grade
apostasy say some.
sum of parts no more
than sum.

relive the faith relieve
the fat of "i" to "h"
recover from end
ow, meant to be

sugared as it works
not to control, even accept
responsibility. each level
blends into the ones above,

below, the undertow
is chilling and persuasive.
listen to nothing while you overlap
with your environment.

to sing is to participate
in what's already there.
the confraternity of distances
induces fluctuation. all the time

we occupy this space,
locate a pace for drawing
mood and mood, the qualmed
estate of ratcheting a single-

mooded inference. this is
unyielding, this relaxes
tendency from trinity,
the yoke parading as unceasing love.

from THE DAYLIGHT SECTIONS (4)

one three-day morning in Ohio,
still too young to be held
together, I desired that moment
be my eternity.

only years after,
did the blesing come,
reducing my mistakes in love
to powder.

I held a conversation with myself
before being informed that nothing
of that spate of days
existed, nothing had occurred,

I would be picked up at an airport
a legacy to fill in the gap with
a default of home,
and I would wander, perfectly

unwanted and apart from
any body, linger in the hope
that made no sense,
that something would adjust

what seemed to be my fate,
if as unreal as the man-made
lake outside the home
that I was in those nonexistent days,

alone with someone whom I cannot even
picture anymore, because
this beauty that informs
my present tense is dazzling,

shimmers from the glass
protecting and revealing me,
if anyone could care
the way I always care,

as I continue registering
for a class to teach me
to grow fluent in conversational
amnesia.

her ericature salon coat ear sky blue EXTRA REAL FLESH stood fennel at the ah but!""
turnaround again

CAR CRASH

PAPERWORK CENTERED COUNSELING
mumble blaG serial psychobabble
ethos anthem eva STUCK STALLS
trisectograpple trigonometryjanet et muzak FUCK OUTA pursuance PSYCHODELICAmusn't bovva bovva yeah how's it know er JAZZ POPPING POP

DAYLIGHT IMPERMUTABLE

neologism limerick daying cloud
uptoish

from THE DAYLIGHT SECTIONS (3)

symphonic pieta. through windows
who is there.
upon belief in a fresh flower,
equally faith relives the unseen.

I tempt an early self to join me now.
each lifetime you find me
I am good at finding nothing.
reflex is a crisp flower.

I remove myself. today I heard
him say that he could serve
as a psychologist because he can
exempt himself from feeling.

I cannot remove myself.
from anything. the birds do not
drift by. the texture of a photograph
does not. my hands are here.

I feel what I believe
you feel. pieta. what do I do
with this. still real still
breathing in my thoughts and heart.

and in my mind the half chilled
flower becomes the same crisp
and the body in my arms
my arms around this body.

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absurd
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6.nilE

from THE DAYLIGHT SECTIONS (2)

aspiration cleanses, although
the dirt has dried, direct,
and scented land retrieves something
to be carried to a next.

devotion hastens sensory confinement.
spars with curiosity as headstrong
limited partaking, where a tinge of wind
leaves home but cannot get away.

one crimes ones way through
viewpoints stained with crevices
that redefine a kind of glass
(through which a sleeve of force) . . .

a no-fault encryption sunned upon
by less sheer poses and impersonations
of the objects and the wingspread
and the lakeview and the solace

vaults a quality of mirroring to take place
within the engineering of the pane
of premised glass, this astroverge
of empathy beneath the sky avenges

center swat team to revoke
the privileges variety imposes.
once in a deep long while
the force of second person presses on,

advances to another tier, thereby
is looked upon within the theory
of the moment saved there is potential
for a recollection of this new evidence,

seeming an indentured quality
to challenge the assumed adeptness
of long suffering projected on
an individual of uncertain repair.

from THE DAYLIGHT SECTIONS

import ant (pale not shepherd or a calm pure taint on text)
import ed (uni form es cape hat ch)
import er (de cid ed lolly gag)
import ing (luminous qua lumens all)
import al (enter at your own)
import une (given gospel or re moved)
import able(de fine d)

sanctions arouse arisen takes
within the space of moments
just moment um
fast asleep a ski te ring
sound a sample case with in
a sample case

CONSCIOUSLY ME
CONSCIOUSLY ME
NESSX HJU
NESSX HJU
OBJET SO FA
OBJET SO
FA
RAISON SUFFER
RAISON SUFFER wgere
where are you on
the train where are you

on the train
cInema

Pliable AArdVARK as if
musique had entered literary fervour tHE stroke of the art the strOke of the
art
STROKE STROKE STROKE STROKE TUCK cnut Groceries

the stage was set we played
the game worklike and disperate eNTer messieurs dancer at HALIBUT offal
trains
running, pensive now

I THORT OFF IRISH POETS NESSX
HJU NESSX HJU

TRAMS ARE REAL TRAMS ARE
REAL

SI COTI LA
BIBLIOTEQUE

TRI CALLUM TA
FRANFURT

BETWIXT THE SHOWERS BETWIXT
THE SHOWERS ENGLAN' SLEEPS ENGLAN' SLEEPS

WAITING FOR T' SUN WAITING
FOR T' SUN

THE REASON IS THE REASON
IS

CHUGGACHUGGACHUGGACHUGGA
RAISON RAISON

CHUGGA CHUGGACHUGGA CHUGGA
RAISON RAISON

cinema

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as it begins to

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saying sometyhing

oc

ean ultimately crescent
i think that there is a lack of lnterest in this
kind of
digital

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