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Argument from Silence

 

Yongkang Lu 1

Yongkang Lu 2

Yongkang Lu, Shanghai’s former French Concession, July 19, 2013

Yongkang Night (2) 

Yongkang Night

Banker Wins”

 

We have nothing in that
fanciful or speculative relation

The gap between our ears — the air
that vibrates with these words

Vocal cords to ear drums, the nerve
bundles, signal-to-noise, our

Ratio, the incentive to know
one another’s minds

Drop predictable experience
here, abandon all hope

Of anything but change
O — O — the poetic O of apostrophe

Thinking one could know,
understand? Let us try again: I

Was six when I first read, I think,
of the firebombing of Dresden

At seven  I felt a rush 
at the sight of a blonde 

Pinup below the cockpit
desert-pink camouflaged B‑25

(Continued)

If This Were a Test

 

IMG_2998

 

The system would be wailing

re: emergency the ambient

drone overhead & throughout

the world Hellfires everywhere?

 

And we, we would be meditating

on the infinitesimal Real

re: Emergency delivering

ourselves & others a System

 

Tree to hang!

 

(Continued)

Lachrymator

1.
No punctuation just repetition
to let you know something else
is to know not just repetition
but relation in time the repetition
creates with its drag and bad line
breaks bad jokes and it is the best  
because everything is poetry
even when it is not very
good very good very good
if you know what I mean you have paused
in the right moment and let this word
elide the overlaps of the last and its shadowing and plumb
its gravitational pull right where your ear holes are
where no punctuation makes speech
a formal matter
fit for animals
who think
like at first
we were
silent

2.
and stopped but not before
passing on this passing
on that passing
then settling then passing
on those to make this
I mean literally this
I repeat this
this this this this

3.
stream of several million Scoville
Heat Units in the eyes
capsicum aerosol
weaponized pepper
end of Speech
Act I

(Continued)

The Diminishing Table

 

Shanghai school girls racing

Just because this
phrase is broken
your sense of it
receding like David
Hume in history
doesn’t mean you
can’t lick my ear

OR: a treatise on
the new empiricism
the really, really
new one, the one
with the neuro-
and the geno-
and the nano-
and the crypto- […]

Full poem published at Across the Margin

____

Working Titles: Improvised poems following titles picked near-randomly from the proverbial hat 

LINER NOTES: RHYS CHATHAM, “A CRIMSON GRAIL FOR FOUR HUNDRED ELECTRIC GUITARS

 

A nose for Gog the spool unwinds
Magog you go fast to Rhys and Shanghai
night clumps about. No reference
stalks the air tonight, the static
pull of endless and-so-forth awash with defection
with each step walking on water. Pool
for a while cancel and tear up (rhyme
with ear, rhyme with air) there
where world trade towers and shadows
corporate raid you, incorporate the you in
“ambiguity.” A cooler tone rings crunch
in the bucket knuckled under the way
you’d know from roadying.

This is about nothing. It’s clearing
the throat — all we’ve got to do
is stay ahead of the fear of saying something
or get just behind it and out it may come,
the perfect misses, nothing-muses
in every shade possible, traction
pulling the Cloud of Unknowingness, info
in range and canceling all extant contracts
it’s the force of five score suns, a pull
at the chest from within, the nose ahead
in the photo where you are in lines
overhead, where the sky is indeed
darkroom developed stains. 

(Continued)

LINER NOTES: PERE UBU, “30 SECONDS OVER TOKYO

1976

Great reggae’d punk shiv of a riff, stab and scratch. Discord arpeggio strings nailed dirty uncoiling into super-compressed worm of a counterpoint-riff. Like that. Bass lags a beat. The low-grade grating of an ambient theramin hum building up underneath, onomatotechnopoetic big-string-rib-pick-drags thru vacuum tubes & charcoal gray paperboard cones (twin Wright R‑2600 radials on a B‑25 Mitchell). It’s a claustrophobic space, collapsing into itself to explode, closing range & BLAST! the romance of bomber pilots or turret gunners. Art punks draw line straight through from Doolittle to Hiroshima: “Toy city streets crawling through my sights/Sprouting clumps of mushrooms like a world surreal” (greatest gen war hero, but where are the Snowdens of yesteryear?) sealed in a B‑25 or B‑52 with the same retro-prophetic pretzeled time as Pynchon’s Gottfried sealed within his V‑2 S‑Gerät: “Flew off early in the haze of dawn/In a metal dragon locked in time” passing into the long arc of history as ordnance-delivery mechanism, the moment before release of which the poison “dream won’t ever seem to end / And time seems like it’ll never begin” from above, and below “No place to run/No place to hide/No turning back on a suicide ride/Toy city streets crawling through my sights, Sprouting clumps of mushrooms…” (Reread Ballard’s Empire of the Sun recently and think the Fat Man’s sun rising from Nagasaki in Jamie Graham’s flight-obsessed bombed-out eyes). That, and bicentennial Cold War MAD breaking-punk dread (FFWD 1 yr hear R. Voidoid in Hell’s “Blank Generation”?) Boyhood charms of plastic planes. FFWD USAF to good ol’ now-drones. Proper paranoia, UBU PROPAGANDA! Event horizons.

(Continued)

A Good Poem (A Found Poem) | 好诗 (找到的诗)

 

click pic for big | 这是诗

 

Natural born flarf - SHI Nair

 

As poetry
Nair dry cleaning
franchise

chain’s most
loyal fans, dry cleaners
in the decision

to open
at the same
time I

wanted to join
a good poem
Nair.

 

作为诗
奈尔连锁
干洗加盟

最忠诚的 
粉丝,在
决定开

干洗店的
同时我就想
好了

要加盟

奈尔。

 

Saccades

 

 

(work toward a poem)

 

…during each saccade, the eyes move as fast as they can

 

This much is true

NO2 aluminum bulbs

broken cycle spokes

glottal stop frost dew

bowling bowl lawn fall

 

And you, you metallic

standing there gluing

felt scraps & glitter

to flute, recorder

& zither while

 

You on the other hand you

and your BB-packed hands

your ball bearing’d whiffle ball bat

yer thinking boy’s embarrassment

where if the stress fits, wear it

oh you’ll weld wrists won’t you

 

And you, with sun in your nose

and flashlight glow-blood hands

same as noon on green-scum ponds

same as midnight canvas camp tents

in which radiant skin stretched taut

atop bruise of ochre violet rose punched

deep and high into the side of my bicep

 

*

 

When scanning the scene in front of you

or reading these words right now,

your eyes make jerky saccadic

movements and your eyes stop

several times, moving very quickly

between each stop. We can not [sic]

consciously control the speed of

movement between stops and

during each saccade, the eyes

move as fast as they can.”