Monday, July 14, 2014

8 texts || Andrew K. Peterson



 [ I am lost . what makes that track in sand

the face of it. Doubtless, this am: lost,  before
I am what makes that track in sand lost
airhead transience meadow parachute milky tick-tocked  strained remembrance for
the beauty of lost calligraphy in the butcher shop
unable to avoid returning to the   overwash with rocks
and kelp wrack    brittle on and within which acceleration
must wait and watch, may not intentionally punch a

hole in the  first gotcha hallucination of the infinite:
end of the summer driving season       then, to circumvent

*

 [ and the blue knock as of hollow against hollow

ever bigger antlers to the point   these fail as
motion and are    reform. in a move reminiscent of
where it rains all year round    only the shuddering
down with the  centers, distribute money to the poor
it is only with great difficulty   burns gold ripple
and the blue    knock as of hollow against hollow
is above as ash is below    the feathered tribe

            would be able, thwart what's continual, – or as without
divisions, would be able –to make such a din

*

 [ an event without beginning or end . to be defied

from burnt timber. the camera tracks its travel across
blank black doorways folds seeing large banked surfaces close-up.
an event without beginning or end  to be defied
to repeat but some of assurance’s transparent lops bristling
but remaining    calm   doesn’t have to be true. acts
are continual, automatic. rise to the blue-eyed grasses, these clear images
will yearn for shadow to invert again, projected along

the sleeping people, along the wall . an incoming train
is empty as lop seeded ends to be dispersed
*

 [ as if the lens was in flared-brilliance, a limit

as if the lens was in     flared-brilliance, a limit
a condemnation of       builds and sighing fades. the loll
and their duration in time’s appearances      of character about
how events are                  notebooks in the middle of the
air, being driven along by precipitation between the weeds
and the seeds               with no more land to occupy
a sorting process. attic bats circle           outside this, as

place rates flying through automatic doors into the original
courts   on their way to the reel of seeds

*

 [ afraid to sit on this stone falling away from

“I feared the music, in retrospect”   the sea’s is
is always stormy, every landing dangerous. directions catch hold
afraid to sit on this stone falling away from
sky, reappearing in    a word on the tongue, and
honey not a phantasm but like a rift of
desire in the fears you reproach; that is past,
don’t know if you could cull pulses from the

faux corners of the island. focused flashes of finches’
accidental directions. your bodies of water stayed (stays) drunk

*

[ the river of anyplace you’ve known still awash with

your sleep or any other’s you’re in       whenever you pass
through the living        like the yardbirds & the temptations
in. I was    outside pain because to assuage disgrace
of that shell. wound to a cipher, no longer
trusted anyone. hotel, take me home where canals flow
Pompeii’s last days   off-island fog banks lift violet
from grips  dozens of times you can’t rid, from

the river or anyplace you’ve known still awash with
uninstalled shadows, wing named, conditional ends from what follows


*

 [ in the other half of a conversation  that keeps

darkness. tonight I gather your form, your intolerable radii 
white, radiant, pure; smoke winding through narrow residential streets
seeyou, kid alone in your own    core of summer’s 
forgotten song, rentals in the capital remain without power
they do not propose to attain structure was delayed
efforts to reach. Pompeii, Pompeii from notes receding trust
four years ago in Silver Lake   not anger at

myself but like  not ashamed   to hear my voice 
in the other half of a conversation that keeps

*

 [ I am lost . what makes that track in sand

unable to avoid returning to the   overwash with rocks
the face of it. Doubtless, this am: lost,  before
airhead transience meadow parachute milky tick-tocked  strained remembrance for
the beauty of lost calligraphy in the butcher shop
whole in the  first gotcha hallucination of the infinite
and kelp wrack    brittle on and within which acceleration
must wait and watch, may not intentionally punch an

end in the summer driving season       then, to circumvent
I am what makes that track in sand lost


SOURCES:
Associated Press. "As Isaac Pushes North, Gulf Coast Slowly Recovers." NPR News Blog, September 2, 2012.
Bergvall, Caroline, editor, et al. I'll Drown My Book: Conceptual Writing by Women. Les Figues Press, 2012. (Writing
by Cecilia Vicuna, Jen Bervin, Renee Gladman, S. Mesmer).
Braun, Eric. "Forty Years a Queen: The Joan Crawford Story". Films and Filming Magazine, May 1965.
Dade, Corey. "Occupy Plans Resurgence At Democratic Convention." NPR Blog, September 2, 2012.
De Beauvoir, Simone. The Ethics of Ambiguity. Translated by Bernard Frechtman. Citadel Press, 1948/1976.
Doolittle, Hilda (H.D.). Selected Poems. New Directions, 1998.
Fraser, Kathleen. Il cuore: the heart (selected poems 1970-1995). Wesleyan Univ. Press, 1997.
Harvard Film Archive Program Schedule, July-August-September 2012.
Iijima, Brenda, ed. Eco-language reader. Portable Press at Yo-Yo Labs and Nightboat Books, 2010.
(Essays by Marcella Durand, Peter Larkin, James Sherry, Jonathan Skinner, Leslie Scalapino, Laura Elnick, and Elaine Reilly interviewing Jed Rasulla).
Jarnot, Lisa. Robert Duncan: The Ambassador from Venus. Univ. of California Press, 2012.
Kesselheim, Alan. "Changing Course". Audubon Magazine. November-December, 2010.
Klee, Paul. The Diaries of Paul Klee 1898 – 1918. Edited by Felix Klee. Univ. of California Press, 1964.
Leibach, Julie. "Storm Chaser". Audubon Magazine. November-December, 2010.
Peralta, Eyder. "As Cleanup Begins, Two More Isaac-Related Deaths Reported in Louisiana." NPR News Blog,
August 31, 2012.
Saenz, Jaime. Immanent Visitor: Selected Poems. Translated by Kent Johnson and Forrest Gander. Univ. of Calif.
Press, 2002.
Schalansky, Judith. Atlas of Remote Islands: Fifty Islands I Have Never Set Foot on and Never Will. Trans. By Christine Lo.
Penguin Books, 2009.
Schmich, Mary. “A Friendship in Chicago, a challenge in Iraq”. Chicago Tribune, July 6, 2014. Available:
http://www.chicagotribune.com/news/columnists/ct-schmich-met-0706-20140706,0,2823681.column?page=1
Silliman, Ron. "Wednesday, August 29, 2012." Ron Silliman's Blog, available: ronsilliman.blogspot.com
Spinner, Jackie (with Jenny Spinner). Tell Them I Didn't Cry: A Young Journalist's Story of Joy, Loss and Survival in Iraq.
Scribner, 2006.
Stax, Mike. "Optical Sound: The Technicolor Tales Behind The Numerous Nuggets." Liner notes to
CD set Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968. Rhino Records, 1998.
Walker Bynum, Caroline. Fragmentation and Redemption: Essays on Gender and the Human Body In Medieval Religion.
Zone Books, 1992.
Whalen, Philip. The Collected Poems of Philip Whalen. Ed. by Michael Rothenberg. Wesleyan Univ. Press, 2007.


METHOD:

Throw I-Ching hexagram. Each line will have particular bearing upon how poem sequences
are constructed: 1st line determines # of poems per sequence; 2nd line determines # of lines per poem; 3rd line determines # of words per line; 4th line determines # of sources per poem
5th line determines # of words per 'source cluster'; 6th line PLUS the final hexagram # EQUALS which page # each word cluster comes from
Adding the values of each line with a CHANGE determines the increment of change for subsequent
poems in sequence.
The total # of changing lines determines a final stanza to be added to each poem in the
sequence.
The name of each hexagram thrown and its subsequent change will determine title for each
sequence (ex.: "Duration ® Oppression")
The number of sequences in this book has been determined based on the value of a separate
single throw of three coins: the value of which is 9.
An additional rule on sources: (a) each subsequent poem in a sequence should have at least one source
replaced by another (b) each new sequence will retain one source from the previous sequence

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