PennSound Featured Resources 2008

Introduction: Jed Rasula (2000):
The Ambassadors (Part I)

1. William Carlos Williams (1942-50):
The Defective Record, Danse Russe. Shoot It Jimmy!

2. Darren Wershler-Henry (2001):
from The Tapeworm Foundry

3. Caroline Bergvall (2006):
The Franker Tale (deus hic)

4. Jack Spicer (1965):
Thing Language, Sporting Life

5. Helen Adam (1977):
from San Francisco's Burning

6. Gregory Whitehead (2002):
Evil Axis

7. Craig Dworkin (2005):
from Shift

8. Jackson Mac Low (1973):
The 8-Voice Stereo-Canon Realization of The Black Tarantula Crossword Gatha

9. Clark Coolidge (1974):
Polaroid (Part I)

10. Ezra Pound (1958):
Hugh Selwyn Mauberly (Part I)

11. Rosmarie Waldrop (2006):
Cyclops Eye

PennSound Special: Charles Bernstein (2000):
Doctrine of Similarity from Shadowtime

Danny Snelson:
        Editorial Reprise Audio Essay: Also this: No Title

also this: no title = wrong from the start / no hardly but seeing he had been born in a half savage country out of date = he fished by obstinate isles = actually i should read this, um brief uh public service announcement here, it's appropriate for, uh = uh, those, uh i have not tampered with anything i have simply removed and reallocated the parts = of what can it such as which sense can it not = uh, this is a selection from a rather uh unscrupulous raid that i uh made = blasted stochastically thought detectors tossed together with targeted segments of remorse the = the poet / takes too many messages = with the structural trends and the styles of folding defined by foliation, fold axis, bedding and sometimes by signifier anomalies = surreptitiously trips resolute tourniquet = case presents no adjunct to the muses diadem, the age demanded an image of it's accelerated grimace, something for the modern stage not at any rate an attic = surely i can reduce this in its scope and size = exactly the position that they occupy in the text as we have it but = but i thot that i might be able to perform some kind of = killing whatever was there before = For two gross of broken statues, / For a few thousand battered books. / These fought, in any case, / and some believing, pro domo, in any case /  Some quick some venture = bleached to the point of subordination = some from weakness, some from censure, / some for love of slaughter in imagination, /  learning Daring as never before / wastage as never before / frankness as never before, = no one listens to poetry, the ocean does not need to be listened to / a drop a crash of water it means nothing / it is bread and butter pepper and salt, the death that young men hope for = aimlessly it pounds ashore = white and aimless signals, no / one listens to poetry = and the minutes burn a hole in my socket the seconds scar a moment after gone but wayward knos no way then toils triumphalist deflation tailoring tokens to abutments = for him to build a house on to build a house on to build a house on to build a house on to build a house on to = disillusions as never told in the old days / laughter out of dead bellies / There died a myriad, / And of the best, among them, / For an old bitch gone in the teeth, = among the giant thrust sheets and naps found in many origins, these long curvilinear belts of compressive deformation produced by the collision of narratives, uh and in their accretionary form contain very little reworked older text = get the rhythm that sheet stuffs a lot of cheese man = i make em crazy with my harmony = nobody nobody else but me they can't copy it = with increasing speed and frequency = the trouble with comparing a poet to a radio is that radios don't develop scar tissue = the tubes burn out or with a transistor which most souls are the battery or diagram burns out replaceable or not replaceable = human emotions in cognition leave a projective film over the poems making them difficult to perceive careful readers maintain a measured distortion free comprehension to avoid, damaging the meaning = the poet is a radio, the poet is a liar = fire fire, fire fire, what's happening what are they saying = not not certainly the obscure reveries of the inward gaze, better mendacities than the classics in paraphrase = or on what once one long very a by thing most much part much aback post right match sent will weigh all for to some thing will I = the poet is a counterpunching radio and those messages (god would not damn them) do not ever know they are champions = (piano) a room in the hangman's house it is seen dimly at first because the spotlight is on the corpse of a small baby which hangs from the ceiling by one foot, this is the murdered babe... as it begins to sing it spins round and round = (murdered babe singing musical intro/outlude) = various and manifold she had taken all his categories by surprise = and/or add one sheet of blank paper to a stack for every day that you reject a concept = by which you mean / as if you didn't = certain enjambment virtual expiation / i don't / kno what / you mean = and/or stay on the scene like a vending machine and/or take no for an answer write the book that occurs between proper help and/or begin to read out loud with a mouth full of ball bearings that you spit out one by one into a metal bowl and then when yr finished begin to put them back into yr mouth one by one but never stop yr reading = scarcely less or perhaps even more = the way it boldly took him was to make him want more wants = a prose kinema / For a botched civilization. = been as nor can of whence what never even as a single ever still of still of when as now then about not whence ever till such can what it to through as about then as till such hence it's which of what it can since which not even then now as now till since then down of among like both an either whole = and what is the zero that marks the place of one who writes = a bit scattered my brain perhaps but not yet my bones wch i've carried around all my life, and by my own strength = so i embark on writing with a shout at the sea around me the surface of language =  (chalking sounds) = in the wilds of the rotated x / Why oh why oh why are you so e-e-vil / Why-y oh why oh why are you so e-e-vil = A new ideology of yvele evell / evyl evil manaces society / abortion abomination in his bestselling scriptures book, Memory and Identity. / Susters and nieces! Mothers aunts and doghters! / Deus Hic! God is drunk! / At these wordes words heven rose glood / the deepest soun son sound / a song sangen entuned intoned / a dense clamour clamor cries out / Love is leaving! the Earth quakes quaketh / shakes under their feet! / some sort of deep tabour of drum or drone. / My tale is almost doon. = the vessel is not important but the shout is, it brings the body, =  rhythmic paratitic the old oral forms, repetition alliteration and if i don't use formulae and proverbs i at least play among their echoes in the inner ear = torched but never touched saddled with torqued torso of history's elephantine grunge grudge bombastic emblematic erasures strip pining gurgle against dusk put a flume in the goggling apparatus hazelnut boom in the mixturating cadavers of modeled obliquity and fractal obecense = intricate lines, complex across gaps and fissures, toward the distance needed for full understanding, where the void opens its one eye but never closes = swallows missiles helicopters wounded bodies budding leaves the sun rising out of the electric sea = objects such as ingots addressed to various art institutions but bearing as a return address the homes of various critics or judges = streets glistening with rain = and/or exercise the ghost of content and/or run out of things on which to write = tin cans plastic bags armchairs playing cards a prisoner on a leash = and/or imagine a world where the job of a critic is to describe the interior structure of writing because all writing is hollow and then go on to write from this perspective an unflinching assessment of yr worst work = chimneys cigarette butts color shifting in the sky rooftops maples hum vees tank fields of wild flowers and land mines in one big blooming confusion, or, the other side of language / where i am mute and the unsaid the unsaid weighs heavy / on the tip of the tongue / a foretaste of death / thank you = and/or watcher and/or hurl it into the void and/or demonstrate the autonomy of the audience.

• May 13, 2008: "PennSound Featured Resources, Selected by Danny Snelson"