RIFT03.01 copyright (c) 1994. All rights revert to author(s) upon publication. Texts distributed by RIF/T, e-poetry@ubvm, or the Electronic Poetry Center (Buffalo) may not be republished for profit in any form without express consent of author(s) and notification of the editors, but may be freely circulated among individuals for personal use provided that this copyright statement is included. Public archiving of complete issues only, in electronic or print forms, is permissible provided that no access fee is charged.
Responses, submissions, and queries to: E-POETRY@UBVM.CC.BUFFALO.EDU
in a certain """version""" is a certain """"region"""" where i """""controlled""""" by """"""virtually"""""" BLOATING ____________________________ FROM A CERTAIN """TREE""" hang orphy & eury getting the hang of it [no more needs to be <<
>>] _____________________ hi aline hyaline where have U bean? I was << >> you mean no i just... ONLY <<< >>> __________________________________ (((from my monthly planner))) "& by meening compounding kimosavee by the ultratomb *****ROCK*****" ___________________________________ watch a --slice--- of TORTURETTO'S LIFE ____________________________ that'll be ALL mrs phelps that will phelp with the clooning AND keaking while SICCING _____________________________ to the flit & the PERJUROUS DON'T BE SEDULOUS we are clothed & WRITTEN
For this narrator at least, owing to the cosmic force of the post-code book,things no longer fall apart. But this is not the half; look again. He looked at me in pure Hungarian. Its members: "river," "wrangling," "grazes," "bow,", "stringing animal," "river's poison," and "dust." The reader may, perhaps, be surprised, that instead of endeavoring to revive the patient, the learned gentlemen should fall immediately into a dispute on the occasion of his death; but in reality, all such experiments had been made before their arrival: for the captain was put into a warm bed, had his veins scarified, his forehead chafed, and all sorts of strong drops applied to his lips and nostrils. The inhumanity of exchange-value is to be exponentially multiplied in a kind of ecstatic but ironic orgasm over the indifferent ways of alienation. When he's reached pure abstraction he's going to take up architecture. *June 9*--The Minister of Police informs M. de Coulmier that he may inform the interested party that the Emperor, in meetings of the Privy Council of April 19 and May 3, has decided to continue Sade's detention. The thought that I had done some damage to my employer's Ford was, of course, most alarming and I had quickly brought the vehicle to a halt. The steps of the shrine were thronged with kneeling pilgrims, and Vivaldi, to avoid singularity, kneeled also; till a high peal of the organ, at a distance, and the deep voices of choristers announced that the first mass was begun. I was a tad mogadonic, but that was on account of being poo-scared. At times, without recognizing each other, men would embrace as they passed in the darkness and would then rush to do their job, with their muscles both excited and softened by that single caress. Furthermore, a materialist reading of Hegel allows us to think this negativity as the trans- subject, trans-ideal, and trans-symbolic movement found in the *separation of matter*, one of the preconditions of symbolicity, which generates the symbol as if through a leap--but never merges with it or with its opposite logical homologue. He was not a great walker, but he strolled about the grounds with his cousin - a pastime for which the wea persistency not allowed for in Isabel's somewhat lugubrious prevision of the climate; and in the long afternoons of which the length was but the measure of her gratified eagerness, they took a boat on the river, the dear little river, as Isabel called it, where the opposite shore seemed still a part of the foreground of the landscape; or drove over the country in a phaeton - a low capacious, thick-wheeled phaeton formerly much used by Mr. Touchett, but which he had now ceased to enjoy. "Some Memories of Pre-Dada: Picabia and Duchamp" (1949), in _The Dada Painters and Poets: An Anthology_, ed. Robert Motherwell (New York: George Wittenborn, Inc., 1951), p. 261. Soon Canterel stopped with his finger extended towards the interior of the cage, pointing to the large cylindrical object made of dark metal, which measured about two feet in diameter by five feet high. He was caught off balance, he couldn't disguise it. This was a Sukhanovka method--also used in Archangel, where the interrogator Ivkov applied it in 1940. They sat devouring cheeseburgers, fries, and shakes in a waterfront place full of refugees from the fighting up the hill, all their eyes, including ones that had wept, now lighted from inside--was it only the overhead fluorescents, some trick of the sun and water outside? no. . . too many of these fevered lamps not to have origin across the line somewhere, in a world sprung new, not even defined yet, worth the loss of nearly everything in this one. Of course, here I am picking out the dominant traits of a period.
1. 10. canary steeple tuesday's vacation fuchsia burnt mercy on a gibbet liverwurst mucous pale and cool 2. 11. command solvent tall skinny a fire blooded blazer and the peeling bark soft and clean shot off car top 3. 12. okay, the possible lattice machine guts radioactive cranks and rods unchoatly blithe an unsprung spool 4. 13. which came first, the chicken stone crevice or the egg? FUCK YOU puzzle face I eat everything lackless emotion 5. 14. the statue of liberty what do you do? a steel welder's bloom sew words together ripped lips like Frankenstein 6. 15. railroad tracks it is no longer autumn. a winter tree the leaves brownly gleam going nowhere in the lamp light 7. 16. too many years clinoptilolite counted on one hand a white powder made the little lamb dreamless slumber 8. dark lagoon reflection of bliss calmly steeping 17. what should we do w/ the drunken sailor? stick 'em in rehab and cut off his big toe 9. coil sprung the wrathful tiger appears in an instant 18. raise the baton silver night shivers everything fleshpot
So far as I can ascertain from anatomical works at present available, the origin of the semitendinosus in the Raven seems to be, at least, quite an uncommon one. Speaking of it for the Apteryx, it" thornier pins and needles sew after dark thriid a needle the needle pricks by the prick of their needles O the needles invite tide trickle tickle trick sacrafice The art of penmenship lit pitt hole hell cherry-pytt pretty-trick harlit his fish pond and pine trees Is witch Is O pon his head and (moondisk) is of red jasper and hIs penIs of quartz. His love leaps[?] on his eyebrows and he opens his mouth to bestow life. I nsist that the paper Pan you use be high quality fibres without alum-rosin (Acid) sizing and with a hare a rose a cock a goat lude lute nupital squeeze squash In addition to the muscles already described as belonging to the tongue So woe rose above love bones which binds blinds the cellulose together in a tree. II cyst
[front] what nearly began as the articulation of desire where words were some 'away'... as if in exile" as if the large diorama had lost its labels COBBLE WOBBLE begun to name wildly the loosed as if words could so WALLOFWORDS become entangled materialy is nothing more to say in that BOBBLE BRICK-TEXT apparent beginning nor eamless wall of our words seam W(H)ORDS WHORL it seems less now than be spoke that is before we began to WITH AN `H' before we began to try bring words back to return them to h AS IN ISTORY would be like returning g but there is nothing more to s OF WORD there is no apparent b ng nor ending in the seamless wall of o somewhere 'away'...as if in exile" as if the large diorama had lost i the curator begun to name wildly seeking to refasten the loosed as if somehow become entangled materially so there is nothing more to say i [reverse] there is no apparent beginning nor ending in the seamless wall of our CAST SHADOW SHOWS FORM seamless in that we spoke that is befor FORM CASTS SHADOWS SHOW to say it that bring words back to retur SHOWS SHADOW SHOW to home in the seaml eamless in that it seems les CASTS SHOWS than before SHADOW began to say it that is before we SHADOWS SHOW to name wildly the loosed as if words could s FORMS SHADOW CAST entangled materially to say in that there is no ap CASTS FORM beginning nor ending lost its labels and name wildly s refasten the loosed, as if we spoke that is before we began to say no beginning nor ending as if in wildly seeking to refasten loosed there save words bring back to turn there is nothing more in beginning than seems less being apparent tangled matter seeking we as if seam in it[This section of RIF/T emphasizes texts written in a responsive mode.]
these seagreen sleeperwaves these leviathan their given random contemplate soothe, the crests isolate crests various crests troughs mull the swell RIFF
"There is a relief in struggling with materials, in "There is a relief in struggling with materials, in "There is a relief in struggling with materials, in ["I could keep writing under these conditions..."] learning about paper, inks and presses." learning about paper, inks and presses." learning about paper, inks and presses." RIFF
Robert Anbian's recent book is Anti-Nostalgia, Ruddy Duck, 1992.
Miekal And publishes Xixoxial books way out west.
Michael Basinski has a new book in the works from Tailspin Press.
Jorge Guitart published A Foreigner's Notebook with Shuffaloff Press.
William Howe produced tripflea (book) in 1994.
Matthew Huddleston was last heard from in Los Alamos, NM.
Tenney Nathanson grew up in New York City and now teaches American poetry at the University of Arizona.
Purkinge is a collective improvisatory group that gathers in Albany, NY.
Susan Schultz's Another Childhood was published by Leave Books in 1993.
Kenneth Sherwood plays trumpet in a mobile gutbucket-latin-stomp band.
Frank Stevenson lives and computes daily from Taipei.
Katie Yates is a graduate student and artist in Albany, NY.