GHOST MALL


GHOST MALL
__________________

"Stop it,” he said. “Stop it some more.”

By then it was too late—I couldn’t stop and he couldn’t help himself anymore.

It wasn’t much of a gang. Three or four young toughs—with i-Phones growing outta the side of their heads. They didn’t work anymore, of course, but they couldn’t be unplugged.

That’s the thing with surgical implants—there weren’t any surgeons left to unplug the goddamn things. The same with the 3-D contact lenses—they didn’t work either—but at least you could take them out & throw them away.

After the apocalypse—a lotta things changed. There was a big dumbing-down of just about everything. The ghost malls were like the suburban ghettos now—places where white-trash gangs still hung out.

There was nothing else to do—except just keeping it up. Doing the same things as before. Nothing—just hanging out. But without all the frills & gadgets—those days were gone. The ghost malls were ghettos now—ruled by gangs of hardened youth. All of them with hardons—that wouldn’t quit.

I should know—I used to be manager at the Best Buy store. A lot of them worked for me—things were cool. I felt sorry for them—the e-generation. After the apocalypse—everything digital dumbed down fast.

Especially the ones with cellphone implants—and that sorta shit. The whole culture had shifted over to cellphones—talking, texting, turning into an almost telepathic culture on the make.

That’s how Orwellian things got—skip the vidscreens & Big Brother routine. It was all electronic verbal communication—and talk, talk, talk. It’s hard to say who were the robots—the talkers or the cellphones.

Big Brother had become ambiguous—it was pretty neat that way. Everything went smooth and things just seemed to flow. There wasn’t any future shock—just a slow-mo change back to oral culture again.

Who knows where it would’ve gone—but there was a glitch. All it took was a sunspot burnout—or a high level strat-bomb to strangle the whole thing. Nobody knew what really happened—but by then it was too late to go back to TV or radio or shortwave.

There weren’t any surgeons left either—to remove the cellphone implants—they just kinda dangled outside the head like a dead pseudopod or something. It wasn’t pretty—they’d get infected and drive them crazy.

There’s nothing worse—than a fucking crazy implant gimp. Still addicted to talking all the time—and being cut-off from doing it anymore. Brain-dead babies—suburban i-Phone sluts.

Ah yes—the good old days. But now it was all just one big Ghost Mall. The gangs just hung around the ghost-malls with nothing to do—their cellphones dangling outta the side of their heads.

I bumped into a cellphone gang not long ago—down there in what used to be the South End Mall. Inside the ruins of what used to be the Food Circus—down the hallway from Cineplex and the Bon Marche.

What can I say—what could anybody say? Those weird days after the Apocalypse—when everything seemed disconnected & no longer wired to reality. The Big Shut Down—they called it. Expecting things to start up again—but they never did.

The whole edgy culture—ended for everybody. Especially writers like me—my iPad went blank. My Kindle kicked the bucket. My Nook fizzled out on me. Geez Lueez—what’s a guy to do?

The leader of the ghost mall gang stole everything I had—and then got me into an Abercrombie & Fitch dressing room off to the side. He had my number. The rest of his gang mulled around outside—while the kid got me down on my knees.

I had to get him off fast—before dark. That’s when the mall rats and ghost zombies came out. They lived underground—like the creeps in “Escape from New York”. After dark—was Hunting Time.

I got him off jiffy-whiz quick—I didn’t waste anytime. I had this Best Buy backup kit—I carried around just in case. I plugged him in—and gave him a buzz of the good-stuff. How he knew I was holding—I have no idea. He was selfish tho—kept me to himself.

My razorblade boots & laser-shiv—got me enough respect to get what I wanted. It was Even-Stephen— when it came to both of us getting what we wanted. He got a buzz—I got to give him a blow job.

He was a young tough—but vulnerable-looking. Your typical suburban ghost mall rat—stinky & dirty like I liked them. I drained him real good—down to his last fuckin sniggly-wiggly smirk.

Nothing like a good dose—of skanky suburban smegma & greasy ghost mall cum to make your day. Some things just don’t fuckin change—dontchaknow.

I gave him an extra-dose—turning up the transducer all the way. He fainted back there in the Abercrombie & Fitch stall—and I left him there to daze awhile. A real live-wire kid—but I had to go. Before him & his gang—could roll me & off me for good.

The drone zoomed in overhead—then landed on the roof of the old Cineplex. I got in, shut the door & we took off. Back to the Gates Bunker over in Medina—over on the East Side of Lake Washington.

Underground is where the WalMart Mob lived now—them and the Costco Crowd. Powered by the Snoqualmie Falls—and the Rainier Volcano Grid. The rest of the West Coast was Fukushima Fried—too hot to live above ground anymore.

BAD HISTORY


BAD HISTORY
__________________

“A bad event
happened to me
but its having
occurred became
even more complicated
in my thinking
about it.”
—Barrett Watten

1

He was mother’s—
Boyfriend back then
A young intern at
The hospital and
Very goodlooking

She’d go out—
For cigarettes but
She’d end up in a
Bar flirting with
Some men

She’d leave him—
There in bed
Bored “stiff”
After sex with
Nothing to do

He’d slide the—
Sheets back
Letting me see
What mother
Liked to fuck

Crawling into bed—
With him, I knew
Mother wouldn’t be
Back for awhile
Getting him off

Bad seed—
Was my only
Excuse I suppose
I was a lot like
Mommy Dearest

2

Bad seed—
And bad history
Runs in my family
Like my mother’s
Big bad pouty lips

That’s what the—
Young intern said
Sticking his tongue
Down my throat &
Fucking me silly

Too bad you’re—
Not a Woman he
Said fucking me
To death there
In that duplex

That’s okay—
Because I felt
That way anyway
As he reamed me
Inside-out

Daddy was—
There in Korea
Mommy wanted
A divorce & I
Wanted Dick

3

Even tho—
Lots of these bad
Things happened
To me, well, like
pretty soon…

Pretty soon—
I just kinda got
Used to it happening
And happening like
That all the time

There’s been—
For example, just
Oodles & oodles
Of wars since
Korea & Viet Nam

That’s after—
My parents got
A divorce & like
I was pretty much
Wised-up by then

After that—
I lost track of
How many dicks
And wars kept
Comin down

Short wars—
Long wars, big
Wars, little wars
Viet Nam, Iraq,
You name it

4

Big dicks—
Little dicks &
All those Str8t
Guyz & rich
Sugar Daddies

Bad history—
Kept happening
To me but I
Didn’t think
Much about it

Even when—
Bad boyz rolled
Me & beat me up
Bad history just
Kept turning me on

Bad history—
Bad boyz, bad
Seed, bad attitude
That’s the way it was
Bildungsroman blues

5

Well, that’s just—
The way it works
Males and war
That kinda stuff
So muy macho

Pugnacious—
Pushy, precocious,
Postmodern pricks,
Lotsa bad attitude
The way I liked it

Bad vibes and—
Bad history kinda
Became my edgy
Nervous lifestyle
I loved it, baby

I was wired—
Sticking my nelly
Tongue into a live
Light socket & then
Turning the switch!!!

Bad romance—
Jerked me around
By the ring in my
Nose plus my tit
Ring yanked too

6

Writing about it—
Was the best thing
Of all just ask my
Bleeding wounded
Auden Asshole

I gave up on—
All those Anti-War
Protests and ugly
Marches shutting
Down the Freeway

“Wichita Sutra”—
And the best minds
Of my generation
Didn’t do anything
To stop Viet Nam

Probably it was—
Cronkite doing his
Countdown on TV
Every night that
Stopped the Show

“That’s the way—
It is, honey, and
Like you were
There, baby”
Said Miss Cronkite

7

Talking & talking—
Facebook schmooze
Texting & texting
Cellphones rules
All our lives now

Google knows all—
Google Desktop tracks
All my Word Documents
All my lovely Homsexual
Poems published online!

Bad history keeps—
Happening and nothing
Changes except there’s
Lots more Porno and
“Brazil” surveillance

It’s all so sci-fi—
Remote-controlled
Dystopia ruling the
Blogosphere plus this
Cheesy planet

Bad Attitude—
Gets heavier and
Heavier & soon
It’s bye-bye to
Orwellian 1984 Lite

Bad Boy cybernetics—
No-Exit technologies
Embedded microchips
Dumbed down masses
Globalization complete

All-pervasive—
Hoodlum Neuromancers
Gangster Wal-Marts
Late Capitalism Drag
Bad History Burlesque


ZUKOFSKY POEMS


ZUKOFSKY POEMS
FOR BARRETT WATTEN

__________________

Poem Beginning “The”
Miss Zukofsky
Black Jesus
HooDoo VooDoo
___________________

Poem Beginning “The”
—after Louis Zukofsky

Assimilation isn’t easy—
Even after DADT & DOMA
I might as well be Rock Hudson
Or dead Milk and Moscone

I might as well be—
Reverend Eddie Long with
His gang of pretty black boyz
Down there in Atlanta

Once you’ve gone gay—
There’s no turning back
Those red hot str8t pokers
They twist a guy into knots

The villainy of the closet—
The vast deep Sargasso Sea
Self-hatred does in your gay
Sisters at work, home & play

Just like Lady Gaga—
She knows all about being
Alejandro, Americano, Black
Jesus and Bad Romance

She taught me to swish—
And how to hide it so to speak,
In their schools, colleges and
Respected work places

Miss Zukofsky

“What I saw Zukofsky doing
was refunctioning the original
text into a new language, not
through identification with
the author, i.e., becoming
critic of the” author function.”
—Barrett Watten, “Tests of
Zukofsky,” Poetry and Language
Writing: Objective and Surreal

The horizon work—
Writing that attempts
To write its way into
The structures of its
Ongoing composition

The shape on the—
Event horizon of the
Closet with Zukofsky
And Watten as language
Writing liberationists

Gay politics of surrealism—
Beginning with a more
Realistic representation
Of the self than Miss Breton

The ability of burlesque—
To create a possible
Constructivist Catullus
That reopens the theater
For contemporary camp

A Constructivist Moment—
As opposed to the Str8t
Avant-garde of the Italian
Futurists & the German
Dadaists or Bretonists

Soviet surrealism—
More privileged with its
Constructivist impetus
Toward traumatic texts
And deferred actions

Here a Revolution—
There a Purge or two
Who needs Leningrad
Or Petersburg anymore?

The Test of Zukofsky—
The gay Reconstruction
Of Str8t texts through
The poetic & critical
Re-inscribing of the Fag

Deferred action—
Rehearsing the Drag
Representations and
Restaging within camp
Kitschy contexts

Black Jesus

But it’s the Voice—
Black Jesus singing
In the Str8t Wilderness
That’s a girl’s best friend

He’s your Sugar Daddy—
Saving your ass from
Wicked Mommy Dearest
And her Coat-hangers

Let them try to break—
Your stony heart, flames
Lapping at crispy faggots
Burning at your feet

Be your own Voyant—
Prima donna all-knowing
Madame Sosostris there
At the Nightingale Lounge

Sing your own Swan Song—
Like Sweeney Among the
Nightingales, do your own
Miss Prufock Drag Show

The tacky Waste Land—
Isn’t going away, honey
So you might as well get
Used to Burlesque, baby!

HooDoo VooDoo
—Zukofskys's homophonic version

It’s the hoodoo voodoo, baby—
Doin the down-low with dem
White-trash homo’s & queers
It be cool, man, lotsa money

Dem dirty nasty white boyz—
My oh my they be so awfully
Pathetic doin the homo with
Us young hung str8t bros

They preen themselves—
All pretty dressed up just to
Blow a guy’s junk lickin their
Lips with he-man semen

They be so tacky & greedy—
Raiding the chicken coop
Without any qualms gettin
The cute chicklets to cum

Skewered up their butt-holes—
Proud gentlemen of leisure
Down on their nelly knees
Pleading for sloppy seconds

Dinge-obsessed homos—
Hot for Hyperboreans and
Maritime Okeanos sailorboyz
Gnawing on crusty anchors

Virile youth are their solos—
Badboy bros their bridegrooms
Draining them desperately
Lovely honeymoon ooze


S=Y=L=V=I=A


S=Y=L=V=I=A
__________________

“Daddy, daddy,
you bastard,
I'm through”
—Sylvia Plath
Daddy

Somewhere between “The New American Poetry Anthology” with its dreary mainstream verse of the 50s and 60s on one hand—and on the other hand, Silliman’s “In The Tree” with its gang of lewd, louche Language Poets—it seems that I floundered & sank like the Titanic down into the kitschy depths of The Bermuda Triangle of Literary Boredom and Ennui.

Yawn, Ho-hum, fix me another martini, will you? I suppose I’ve always been rather skeptical about the Bitch Goddess Sylvia Plath—with her ongoing tiresome “Ariel-Big Bad Daddy” Cult of Suicide dontchaknow. Along with all those other Tacky Harbingers of Doom: Anne Sexton, Robert Lowell & John Berryman.

I suppose I’m like so many of us aging spoiled Fifties Eisenhower Era Elvis Presley Drive-In Baby Boomers—our generation that was caught up in Post-Depression Postwar Postmodern Prosperity & now the Great Post-American Dream.

Little did we Boomers know that evil Slithering Slackers and Scheming Prototypical Ponzi Artists were on the horizon just waiting for us. And there was Dallas and The Viet Nam War—getting ready to wipe the know-it-all Smirks off our pretty little pusses & to rub our smug faces in the Slimy Shit of the 21st century Zeitgeist.

The result was, well, an orgy of maudlin “True Confessions” and buzzing Rosenberg “Bell Jars”—wrecking our existence and dashing our Kennedy Camelot hopes with the dreary disillusionment of what was on the trashy-kitschy Event Horizon waiting for us.

I was already somewhat prepared for Dallas and Viet Nam—since the Lost Camelot nostalgia days of Huey P. Long’s demise getting assassinated in the State Capitol Building had already infused the spirit of Louisiana during the Thirties with that same approaching denouement melancholy coming out of the Sixties toward us.

And the Decadent Deep South had already, of course, long suffered the post tragic Civil War days of “Gone With the Wind” and the sadness of the Burning of Atlanta—so that I was already immured with a sense of Pusillanimous decay and rotting Antebellum Pulchritude.

“Confessionalism” had already played its tragic role in my so-called Delta Bourbon bildungsroman—with its mildewing hopes & decaying feelings oozing through my heart already filled with such niggardly gifts of happiness & joy.

Sylvia Plath’s “Confessionalism” made me Yawn—and Language writing wasn’t that much better. The feminist reception in the 60s and 70s had flickered briefly—but now over the years & with Adrienne Rich’s death, well, the Dyke Dynasty of Plathian Literary Protest seems to have had its day.

The Ghost of Ariel seems to have flown its coop—and the crude Cult of Big Bad Daddy seems to be pretty much dead. Dead & gone with the Demise of that Mytholmroyd Hoodlum & Yorkshire Killer—Ted “Big Bad Daddy” Hughes.

“Big Daddy” seems to have now gone out of style—with its final Swan Song goodbye of “Birthday Letters,” the pomp & circumstance of The Order of Merit & the Poet Laureateship finally shifting away from Pompous Patriarchal Pricks.

But what about the Bitch Goddess herself? Has Sylvia moved beyond Language writing now—as well as revisionist contextual and gendered readings of her Work?

Can we now see Ariel’s bitchy negativity—as something relevant & integral to the way we act & think in this new Late Capitalism Postmodern Paradigm? Has SYLVIA Come in from the Cold yet? Is Big Bad DADDY really dead?


The “Nixon Triptych” of Sylvia Plath



The “Nixon Triptych” of Sylvia Plath
__________________

“What remains is to fully bring Plath’s poetics into the framework of the same cultural logics that produced The New American Poets—think of Ginsberg’s A Supermarket in California, for instance—a revision that, come to think of it, gets us past the avant-garde/mainstream, or post-avant/School of Quietude, faultline that has troubled our thinking on poetry for so long."—Barret Watten, “Sylvia Plath’s Collage”

http://barrettwatten.net/texts/entry-06-sylvia-plaths-50s-collage/2010/01/

After spending quite some time doing research down in the depths of Emory University's Manuscript, Archives and Rare Book Library (MARBL)—I made a startling discovery.

I came across a very troubling & controversial political collage of Sylvia Plath’s in the Hughes Archives—locked away in the secret vaults & crypts beneath the campus that supposedly weren’t supposed to be released for another 1000 years.

I’d rather surreptitiously bribed the lovely Archive Librarian (a cute Southern Belle Redhead) into getting down there in the crypt & then I’d managed to give her a “mickey” in her coffee.

Then I leisurely proceeded to greedily ogle to my heart’s content the special Sylvia Plath Artwork Archives hithertofore unseen by curious human eyes. The Plath Estate had been so jealously secretive about so many things—and I even stumbled onto the infamous W. B. Yeats’ Fitzroy Road “oven” stored away down there!!! It still reeked with the stench of gas and death…

Anyway, after some rummaging around—I came across a motherlode of Sylvia Plath’s political artwork and—but much more radical than the Wellesley ones and more like the seminal “Eisenhower” collage that Jacqueline Rose discusses in “The Haunting of Sylvia Plath.”

Except these newly discovered political collages were about the subsequent Nixon Sixties & early Seventies—or at least portrayals of the way Plath saw the political zeitgeist developing at the time in ominous directions.

The “Nixon Triptych” consisted of three collages which give the viewer some serious insights into the cultural logic of the Sixties & early Seventies—when the Viet Nam War was tearing apart the country and killing so many of the Baby Boomers in the ratty jungles of Southeast Asia. It clarified Plath’s formal intervention at the same time-in terms of her post-Arielesque poetics.

These 3 Nixon political collages demonstrate the kind of surrealist collage mulitiauthorship that Plath had constructed for herself or perhaps would have developed further if she had survived beyond her 1963 denouement. A different Sylvia Plath aesthetics & poetics than her “Arielesque & Big Bad Daddy” Fifties & early Sixties oeuvre.

This “Nixon Triptych” reversionary collage was in many ways similar to her earlier “Eisenhower” collage—but there was a nightmarish hybrid lyric difference to it. Plath was beginning to develop beyond feminist & confessional authorship with her poetry becoming more radicalized politically by her ongoing artwork.

This image-development is described in terms of her earlier collage-poetry collaborations noted in Kathleen Connors’ “Eye Rhymes: Sylvia Plath's Art of the Visual.”

Plath continues to distance and undermine the Self in its Arielesque expansiveness and Big Bad Daddy contradictions—first in terms of contemporary art satire & then articulated more politically in her post-Ariel & post-Daddy poetics.

As the Viet Nam War continued & intensified—Plath’s coupling of artwork & politics was leading her into deeper states of fantasy in her work. Her artwork at this time was anything but expressive of feminist anger and confession of intimate secrets.

Rather, a more public dimension of Plath’s Arielesque transformation of the self was emerging. Her maturing “parasurrealistic imagination” was giving her insights into where the Nixon Triptych was going. Both in content and in the future form of the Vietnam Nightmare—looking down the line to future American Asian Expeditions of conquest for oil & other natural resources.

This Nixon Triptych is similar & yet somewhat different than the earlier Eisenhower collage. At the center is the growling, sneering surrealistic menace of Richard Nixon’s gangster face—glowering at the viewer as he sits there at his executive desk.

As with Eisenhower, Plath has inserted a run of Las Vegas playing cards—on the desk lie some Tums for his upset stomach. The camera focuses in on an elongated model in a swimsuit—oozing down & posing over Nixon’s right shoulder.

Except the model in the Nixon Triptych has been surrealized & turned into a stealthy simulacrum of a weapon systems—similar to the bomber jet plane hovering over Nixon’s balding head. The Cold War seems to have entered a new phase—which it in fact it does as the technology of death improves logarithmically toward on ongoing Götterdämmerung Apocalypse.

As with the Eisenhower collage, the “Nixon Triptych” has a slogan beneath the model “Every Man Wants His War Budget on a Pedestal.” The bomber jet plane is tres stylistically sleek & stealthy—pointing at the model’s pussy like a Machiavellian Luger or devilish dildo.

Richard Nixon wets his lips for the camera—he’s much more in love with himself than Eisenhower. So much so that Nixon has 2 mini-portraits of his ugly puss in the collage. One on his desk & the other hovering over his chair like a guardian angel beneath the American flag.

Like all artistic collages, this “Nixon Triptych” collage offers itself as a set of fragments. But also it’s not merely a picture puzzle or rebus—instead it’s more modeled after the Freudian paradigm of dream image transformation with Nixon’s face becoming increasingly bloated, bug-eyed and terribly menacing.

Plath uses this language of dreams very much like she later would use the L=A=N=G=U=A=G=E mode of her phase of parasurrealistic poetry. In fact, Plath’s poetry gradually incorporates more & more the grueling grotesque butchery of Francis Bacon’s bloody paintings to critique the ensuing Asian & Middle Eastern conflicts—such as Bacon’s “Three Studies for a Crucifixion” (1962) and “Head Surrounded by Sides of Beef.”

The “Nixon Triptych” shows Plath immersed in war, consumerism, photography, and politics at the very moment she was beginning to move beyond her “Ariel” & “Daddy” poems. The “Nixon Triptych” shows Plath incorporating the multiple horror stories of the Viet Nam War & Watergate that would come to symbolize this very Nixon-esque culture—against which these same & new poems were moving toward.


Falling into Words Again


Falling into Words Again
__________________

http://www.youtube.com/watch?v=RiM7G6bqlPQ

Falling into—words again
Never—wanted to
What am I to do—
I can’t—help it

Words have—always been
My game—come what may
I was made that way—
I can’t help it

Words cluster—to me
Like moths—around a flame
And if their wings burn—
I know—I’m not to blame

Falling into—words again
Never—wanted to
What am—I to do
I can’t—help it


CLEAVING THE AMERICAN TREE



CLEAVING THE AMERICAN TREE
__________________

“it’s a waterfall enough
over time”
—Larry Eigner

rainy dayz—rainy nightz
monsoon drag—here it comes
all kinds of traffic—up in the sky
jets—boeing seatac—puget sound
rush hour traffic—rainy morning
down in the cabana—boytoy sleeps
tattoo tree—how he flexes it
bayliner by the dock—seagulls whitecaps
crows in the cedars—rains of ranchipur
lana turner—finally gets out of bed
it’s raining cats & dogs—and elephants
it’s a waterfall day—a real gusher
she looks—around the bungalow
what a dump—she says
sun comes out—they take a spin


This Be Lit Crit


This Be Lit Crit
—for David Orr & Philip Larkin

__________________

http://www.nytimes.com/2012/03/31/books/the-adrienne-rich-beyond-the-anger.html?_r=1&ref=arts

They fuck you up—the literary critics
They may not mean to—but they do
They fill you with—their fuck-ups
And add some more shit—just for you

But they were—fucked up themselves
By fools in university—English departments
Who half the time—were sloppy-drunks
Bitchy queens—at each other’s throats

The Muse means—misery to critics
It deepens like—a str8t regret
Not outta the closet—stuck with a bunch
Of ugly fucking—Lost Weekend jerks

Lit Crit misery—comes to poets too
It deepens like—a bitchy review
Miss Orr & Miss Logan—NYTimes queens
Dishing dead poets—like Rich & Crane

Brooklyn Bridge Voyant


Brooklyn Bridge Voyant
__________________

“As I came”
—Arthur Rimbaud
The Drunken Boat

I’m slightly ahead of time—anxious
Impatient to find—the place and formula
Can the door be opened—am I too late?
It’s in the future—beyond Buchanan

Surely I’ll end up in—the Behemoth’s guts
Cosmopolitan swank—archipelago angst
Exiled & phlegmatic—a failed poet
Demon youth—of this being, myself

Metropolitan parapets—electric dawns
Countless cruel days—bottomless heights
Hart Crane voyager—we’ll do tangos
On the Brooklyn Bridge—late at night

Let me voyage—my brooding corpse
Voyant to waves—sad Adieu to Seine
I’ve had it with—myself and villains
The biggest rogue—being myself

As I cross—this impossible Atlantic
I feel a bogeyman—guiding me on
Toward America—naked waiting sons
Foreskins nailed—to tall skyscrapers

What do I care—for Paris anymore?
The English Channel—isn’t wide enough
I need a whole—ocean to getaway
Leaving behind Europe—once & for all

Furious whitecaps—luxurious waves
Emptying my mind—goodbye Parnassians
Westward—great unknown continent
Take me away—from French despair

Angry with that—tempest in teapot
Verlaine the whore—my mousy wife
Kvetching bitch—drowning in ink
More maudlin moody—than even me

Soured youth—disillusioned debutante
Sperm infusing—my milky virgin asshole
My naive drunken boat—sunk by voyeurs
So much for the—Paris intelligentsia

This sleek ocean liner—thru sullen waves
Stalked by whitecaps—slinking depths
Deep in a forest—glass, steel skyscrapers
Enormous Texts—are waiting for me

Forward glances—modern works
Hidden wrecks—prehistoric wonders
Children of El Dorado—orphans of Orpheé
West coast gold rushes—SF Renaissances


A FAKE NOVEL ABOUT THE LIFE OF JACK SPICER



A FAKE NOVEL ABOUT
THE LIFE OF JACK SPICER
__________________

“my vocabulary
did this to me”
—Jack Spicer

The sentences—continuously trying
To turn Jack Spicer—into Arthur Rimbaud
Thinking of new strategies—to make him
Go against—the American grain

Arthur Rimbaud—didn’t write
The sullen kid—was written
We sentences—were waiting for them
Both Arthur & Jack—a couple of suckers

It didn’t take long—to queer them both
Like most poets—they were pretty easy marks
When both Rimbaud—and Spicer suffered
That’s when New Literature—was born

Rimbaud was sixteen—and a love object
Miss Verlaine covered him—with thousands
Of obscene kisses—from his pouty lips
All the way down—to his pouty big penis

He was just a naive—Ardennes farm boy
Aggressive & cute—definitely a sure winner
His boyish good looks—his baby blue eyes
And best yet—he had a huge 10-inch dick

Naturally Miss Verlaine—a rabid chicken queen
Fell for the kid—unwinkingly head over heels
Dumping his mousy Wife—quitting his job
Simply blinded by—the kid’s savage good looks

We sentences are—sort of witchdoctors
A Cult of magic syntax—and semenantics
We love to party—and do the down-low
Especially with young—impetuous poets

We sentences—had big plans for Rimbaud
We loved it when—he got loaded & fainted
Jacking him off—all the way down from
Slutty Lane Dullsville—to tres gay Paris

We wanted to proclaim—a New Age
We were eager—for young Rimbaud to write
Wharf rats running—along the Meuse
Soon were crawling—inside his skull

Sentences are dead—we’re not alive
Even bestsellers—end up rotting on shelves
We needed a totally new—Political Novel
French politics & culture—had grown stale

And so a new kid—got born in Charlesville
A moody sulky boy—an Ardennes prick
R=I=M=B=A=U=D was his new Name
Paris rumors—started spreading immediately

Big gnarly hands—like a hoodlum killer
Big feet wearing out—his big black boots
One look & Miss Verlaine—almost fainted
While all the Parnassians—simply panicked

Constantly running away—from his home
He got what he deserved—in the barracks
The soldiers butt-fucked—his virgin asshole
Out of spite—he wrote a poem about it

His “Bateau ire” poem—a Misadventure
Soon he was ghost-writing—our Novel
As Miss Verlaine’s—Internal Bridegroom
His Delirious Homo—Marriage in Hell!!!

All our Queer—Literary critics in Hades
Gave rave reviews—for Rimbaud’s work
His “long awaited” classic—“Illuminations”
Was soon on our—Top Ten Bestsellers List

But even the best plans—of mice & muses
Can fall apart—and sink down into the Meuse
Or disappear, my dears—in the foggy Thames
Drunk Verlaine—tried to shoot Rimbaud

If she couldn’t—have the young stud
Then nobody else—would get him either
She aimed her pistol—down where it hurts
Took a potshot—at Rimbaud’s crotch

Luckily Rimbaud—protected himself
Covering his groin—with his hand
The bullet penetrated—the kid’s wrist
The young voyant’s penis—was saved

We all breathed—a sigh of relief
We’d picked the—wrong Sugar Daddy
For our young—Rimbaud wunderkind
He fled to Africa—can you blame him?

A defeat for us—and a question mark
The Word puts on Flesh—a Teenager
A sixteen year old—chicken Voyant
Undoubtedly a—young French genius

He left behind—many blank books
We Ghost-writers—left in a Lurch
He’d written him—a blank check
We only got—two books outta him

Off into the desert—Rimbaud went
Our young Poet—into the Unknown
He lived with his Arab lover Djami
He could’ve created—a New World

These gone Literary—Histories
Glutting the streets—far down below
Rimbaud left—just enough poetry
For us—to taste the Prize

Poor cursed—Miss Verlaine
Had to live—the rest of her Life
In The Shadow—of her young lover
Her taste just as—bitter as ours

We tried—once again in SF
Picking Jack Spicer—as Rimbaud’s
Studious talented—heir apparent
How his flame burned—So brightly

AMERICAN T=R=E=E



AMERICAN
T=R=E=E

__________________

R=O=O=T=S
C=U=M
B=I=G
V=I=E=U=X
F=R=E=E
D=U=D=E
V=E=N=U=S
S=T=I=C=K=Y
H=O=N=E=Y
N=O=R=M=A=L
________________

R=O=O=T=S

“A bitter wind”
—Kit Robinson
“In the American Tree,”
In the American Tree

A bitter taste—American tree
His family jewels—genealogy jizz
Flipping out—the first time
Tasting him—his bitter wad
Coming outta—his big veiny root
Stretching it down—deep inside me
Closing his eyes—oozing it out
A pint of—young teenage TNT
A freshman gymnast—college kid
Totally animal—built like a fine
Fucking—brick shithouse
Big biceps—flat stomach
His arching—Botticelli back
Birth of Venus Torso—thin waist
Straining his nut—getting him off
Letting me—taste his family tree
His heartbreaking—sweet ache
His distended face—enough to
Haunt me—the rest of my life
His runny snotty—American tree
Gnarly, veiny—all for me
Pulling its rope—of babypaste cum
Outta him—way down deep
Inch by inch—yard by yard
All the way back—to the big easy

C=U=M

“Not this
what this?”
—Ron Silliman
“Tjanting,”
The American Tree

“Not that”—he’d say
“Not that—again, man”
“What do—you mean?”
“Not—THAT again…”

But I’d just—ignore him
Starting all—over again
Doing him—even better
The runny, juicy—second time
The tired—muscles
In my hand—were numb
Sore from—jacking him off
Biting his tit—gnawing his nipple
Grabbing his fine—loin-cut behind
Not again!—all morning long
My blistered lips—can’t get enough
He’s so moody—and sullen
But that makes it—even better
The way he struggles—and fights
Against losing it—that hard way
Again and—again the way
The American tree—squirts its brains
The way I like him—losing it bad
When he comes—so very put-upon
Who can blame him—he gives a lot
Always more—than he takes
So very sulky and—not wanting to
But broke—and having to do it
Giving me—his big veiny ROOT
His stinky armpits—uncut foreskin
Tart with smegma—it’s just awful
His exquisite—skanky hors-d’oeuvre
Not again he’d say—every time
Playing hard to get—thick as glue
Hot as dynamite—youngmale man

B=I=G

“Humor my
behemoth!”
—Kit Robinson
“Tribute to Nervous,”
In the American Tree

He really couldn’t—help it much
Being born that way—well-endowed
With his nice big—baby behemoth
Skanky gnarly—American tree
Letting that Root—sink down into me
Spreading my lips—Mississippi wide
Slow & sluggish—down to the gulf
Veiny roots—down thru the bayous
Twisted magnolia—manly hours
Pubes hanging down—Spanish moss
Guzzling cheap JAX beer—getting high
Smoking weed—giving me the jive
What’s in it for me—how much man?
That’s when—all the roofs caved in

V=I=E=U=X

“The idea of the Tree
as I came to think and talk”
—Ron Silliman
“Afterword: A Found For…”
In the American Tree

Big Easy kid—sullen, moody
Vieux Carré—so very sulky
Without his—girlfriend Yvette
Needing it bad—what can I say?
Living in a dorm—it isn’t easy
Especially if—you’re over-sexed
And dick-crazy—like him
Needing to get off—3 times
Three times a day—that’s no lie
Eighteen years old—one big dick
A Big Easy Erection—with 2 legs
What a dreamboat—cute as shit
Call me Mr. Lucky—roommate me
Cheesy cocksucker—to the rescue
How many—desperate times
Coming back—from English class
Unlocking the door—there he was
Beating off like crazy—almost there
Having to hustle—going down fast
Sewanee River—flowing into me
Skipping classes—to get him off
Feeling him up—feeling him down
Waiting to give him—a tongue bath
After a sweaty—gymnastics workout
Sliding my hands—all the way down
His Venus torso—pumped up hard
Long lanky salty—American tree
Sinking his roots—down into me

F=R=E=E

“Writing here has
a literalism of purpose”
—Barret Watten
“METHOD AND
L=A=N=G=U=A=G=E:
AFTER SURREALISM”
In the American Tree

Long lanky—American tree
After he came—I’d do the same
Tasting the root—his family jewels
Invisibly becoming—his genealogy
Later at night—dreaming about him
Nocturnal emissions—even at my age
Pouty pubescent—wetdreams again
He’d laugh at me—I couldn’t help it
It was serious business—being in love
Especially with a guy—built like him
Whose bent root—was already deep
Deep down inside me—growing fast

D=U=D=E

“based on fact
of Dante’s Inferno”
—Kit Robinson
“Tribute to Nervous,”
In the American Tree

Pants zip down—to his ankle
His built physique—in bed with me
On his back—looking at the ceiling
Lazy Lucifer kid—Scorpio rising
He’s surprised—when I tell him
I’ve rented us—an apartment
Over in the ratty—hippie ghetto
With all the—druggies & drop-outs
I wanted some—privacy with him
All to myself—with no distractions
There on West Chimes—by campus
Down from the—Varsity Theater
By Highland Drive—and North Gate
The American Tree—took root there

V=E=N=U=S

“The dangers I did know
were preferable to those
I didn not know”
—Bob Perelman
“An Autobiography,”
In the American Tree

Even when—I did him
Each time was—like first time
Each wad—a virgin wad
Each look on is face—first time
First time—and last time
He never got over—how aggressive
I was with him—giving him head
The look on his face—always shocked
Yvette wouldn’t—do what I’d do
She wouldn’t dirty—her pretty lips
She wouldn’t swallow—that nasty wad
But I would—and I did him a lot
I spoiled him rotten—with oral sex
Oral intercourse—fucking my mouth
Pulling my hair—yanking my ears
Making me gag—gag for some more
Getting him loaded—getting him off
On weed & acid—uppers & downers
The way he became—his gymnast dick
All muscles pumped-up—all that energy
Then unraveling it—like a rubber band
Tightly winded-up—then SPRONG!!!
I wanted to—become him all the way
When he’d faint—I had it my way
All that young male energy—oozing
Seminal sap—of the American tree

S=T=I=C=K=Y

“oh it is twelve!!!”
—Robert Grenier
“Sticky Fingers,”
In the American Tree

“Eeeek!!!—Jesus Christ!!!”
“Good Golly!!!—Miss Molly!!!”
“It’s growin, baby—it must be Nine!!!”
“No,” he said—“ INCHES soft.”
“And TWELVE INCHES—when I’m hard”
Oh Lordy, Lordy—I was so shocked
All those young—juicy male hormones
Were still pumping—thru the kid
I started measuring—every night & day
Just think—that stuff’s runnin thru me
No wonder my heart’s—goin like crazy
“Shut up & get in bed”—he tell me
So derisively impatient—to get down
“To bad you’re not a kunt”—he’d say
Maybe I was—maybe I wasn’t
Either way tho—I was flunking out
And the Draft Board—was just waiting
To whisk my nelly ass—to Viet Nam
We were all under the gun—back then
I told them I was married—they smirked
I told them I was gay—“Prove it,” they said
I got down on my—hands & bruised knees
Only after I sucked it—did they say “Okay.”

H=O=N=E=Y

“Honey and Cream,
Silver Queen”
—Lyn Hejinian
“My Life”
In the American Tree

“C’mon, man”—he’d say to me
“Give me some head—before class”
“Oh okay—if I have to” I’d say
Getting him off—quickie before class
Blowing the—back of my head off
With his oozing—Louisiana Luger
He was so mean—and vicious to me
But I liked it that way—Bad Boy sex
Into Rough Trade—rougher the better
Snotty cum—coming outta my nostrils
Erect & quivering—runny with snot
That’s how violent—he got with me
I saw stars at night—shooting away
When he banged my head—really hard
Against the bed’s—beat-up headboard
Sometimes I passed out—couldn’t breathe
With him half-strangling—me to death
The Tree’s Root—way down my Throat

N=O=R=M=A=L

“I was normal”
—Barret Watten
“Plasma”
In the American Tree

Suddenly I’ve got these—new wetdreams
They started again—coming back you know
I was ingesting—much too much spermatozoa
His muy macho—male testosterone wads
They were haunting me—almost every night
Nocturnal emissions—can be so excruciating
Just like during adolescence—outta the blue
Totally consuming—like Proustian flashbacks
Exquisitely involuntary—simply uncontrollable
Miss Tea & Madame Marmalade—what a Story
I started my--reclusive Greta Garbo routine
Wearing sunglasses—to cover-up my eyes
My bloodshot bedroom eyes—so decadent
The more Id I got outta him—3 times a day
The more depraved—and dim-witted I became
I was no longer—a witty gay Southern girl
It was Jekyll & Miss Hyde—all over again
The more male beauty—I got into me
The more depraved I got—it was just awful
But it helped out—being an English major
I was having amazing—insights into the
Depths of Deep South—Decadent Literature
Truman Capote—and Carson McCullers
Eudora Welty—and Flannery O’Connor
Plus Miss Faulkner—the ultimate Dixie Diva
Grande Duchess—Delta Bourbon Queen
Mississippi Madame—Memphis Miss Reba
Yoknapatawpha author—my favorite drunk


King Sooper


Picasso Man with a Straw Hat
and an Ice Cream Cone - 1938
King Sooper
__________________

“What remains is to fully bring
Plath’s poetics into the framework
of the same cultural logics that
produced The New American Poets—
think of Ginsberg’s A Supermarket in
California, for instance—a revision”
—Barrett Watten

“Walking into King Sooper
after Two-week Retreat
A thin redfaced pimpled boy
stands alone minutes
looking down into the ice cream bin.
—Allen Ginsberg
“Cabin in the Rockies,”
Collected Poems (1947-1997)
_____________

What thoughts are you having kid
peering down into the ice cream bin
hungry with fatigue and wanting something
to cure your aching adolescent hardon
self-consciously letting me watch you

I’m hungry & horny too after my
two-week retreat up by that cabin
there in the Rockies with nothing to do
except sip tea & meditate on Buddha
who never did show up anyway
___________________

the kid & I in the King Sooper
standing way in the back both of us
there shopping for images tonight
like a couple of Whitman badboyz
bored lonely dreaming of sex

Meanwhile the peaches are rotting
with putrid penumbras stinking up the
neon aisles amidst Warhol cans of
tomato soup stacked childless alone
with me queering the avocados
__________________

Up there by the cabin where the
only sound was the wind with me
sitting on a tree stump with nothing
to do except think of Neil Cassidy
nude 18-years-old in bed with me

The frozen blueberry Popsicles look
cool & inviting so does the orange
sherbet on a stick & other frozen
delicacies just waiting to be sucked
sampled swallowed and blown
______________________

Cruising the kid I see him getting
hard down there in his tight jeans
his living breathing pork chop slowly
easing down the side of his leg with
him letting me ogle at it shamelessly

No families shopping tonight
No aisles full of husbands, wives, kids
Not even any grocery boyz other than
The one bending down erect like a
Lost American genealogical tree root
_____________________

What’s the use strolling thru 7-Elevens
letting my imagination lollygag thru
endless WalMart menageries of cheap
Chinese tires and antifreeze specials
Ugly pot-bellied shoppers of Lethe

Well, maybe I did find Buddha after all
being up there all alone in the silent cabin
without bananas, apples, popcorn, candy
no supermarket odyssey to distract me
saving it instead for a young dharma dick?


Ducktail Romeos


DUCKTAIL ROMEOS
__________________

Kotex & Kents

After her divorce & black eye—
We lived alone in a little shack
Down on West Seventh

Across the street—
The Hood Mansion with its
Old Civil War ivy-turrets
___________

She’d send me on cold—
Winter days up to the corner
Store on State Street

Kotex & Kents—
She was still young &
A good looking redhead
_____________

The Hood Mansion—
With its Civil War dead
Gothic Americana

Miss Howard—
The Spanish teacher
Living there for years
_________

Torn down for a dumpy—
Apartment house so
Much for the proud past

Down the block—
Roberts-Blue Funeral Home
Living Dead Sixth Avenue
_______________

Your typical bleak—
Midwest boyhood bummer
Bildungsroman soap opera

Kotex & Kents—
A bored divorced mother
Black-eyed romance gone bad

Ducktail Romeos

You know the type—
Your slutty older sister’s
Cute boyfriend type except
They were my mother’s

The kind of guys—
Who’d take their time
With me when Mommy
Dearest wouldn’t put-out
____________

They were the pits—
The worst types of guys
The greaser ducktail
Elvis Presley types

It was just awful—
Like when Mother would
Say no that’s when they’d
Get me to say yes
_____________

The kind of cute guys—
Who’d lie & cheat & then
Treat you like a little whore
After getting what they wanted

It began with a little—
Kiss or 2 and ended up
With lots more than that
Going on in the backseat
______________

You’ve got your mother’s—
Cute eyes and pretty hair
They’d say & the next thing
I’d be down on my knees

Back then it was just—
A blowjob quickie then
Later a rim-job and then
A slow fuck in the bedroom
_______________

They’d get their big—
Thick tongues down my
Pretty boy throat, they’d
Rotor-rooter me real good

Duck-tail Romeos—
And naïve little me just
A typical small town Juliet
Just like Mommy Dearest
_____________

I couldn’t help it—
I didn’t wanna really do it
But once he got me going
It was awfully hard to stop

Kotex & Kent cigarettes—
The story of my so-called life
It’s lucky I wasn’t a girl then
I’d have been pregnant fast

STORyNET



DARPA STORyNET
___________________________

Pre-Crime STORyNET #1

STORyNET haiku—
Can we know what the Pre-Crime
Whistleblowers know?

Pre-Crime time travel—
Can scifaiku poets quantum
Jump into Future?
_______________________

“the ALTA report states “The past
forecast for this person who would
make a [planetary impact] of such
magnitude that [a second wave] of
other [whistle-blowers] of all kinds
would be drawn into the public view
includes descriptors and archetypes
that are currently being fulfilled by
reports about Andrew’s paper.”
—Alfred Lambremont Webre,
Seattle Exopolitics Examiner

http://www.examiner.com/exopolitics-in-seattle/web-bot-andrew-basiago-is-predicted-planetary-level-whistleblower-for-mars-life-and-time-travel#ixzz1NZzdeg00

Pre-Crime STORyNET #2

Exo-poetic—
Shorthand note on frog jumping
Into the Black Hole

Pre-Crime Descriptors—
Are Archetypes born not made
Can haiku be taught?
____________________

DARPA Paper:

Stories, Neuroscience and Experimental Technologies (STORyNET): Analysis and Decomposition of Narratives in Security Contexts

Solicitation Number: DARPA-SN-11-20
Agency: Other Defense Agencies
Office: Defense Advanced Research Projects Agency
Location: Contracts Management Office

Solicitation Number:
DARPA-SN-11-20
Notice Type:
Special Notice
Synopsis:

The Defense Sciences Office (DSO) of the Defense Advanced Research Projects Agency (DARPA) is hosting a workshop, Stories, Neuroscience and Experimental Technologies (STORyNET): Analysis and Decomposition of Narratives in Security Contexts. This workshop is intended as a precursor to exploring the neurobiological mechanisms which undergird narrative processing so as to establish fertile ground for connecting our understanding of the neuropsychology of stories with models, simulations and sensors salient to security concerns. To this end, the workshop will focus on surveying theories of narrative, understanding what role they play in security domains, and establishing the state of the art in story analysis and decomposition frameworks.

See attached Special Notice DARPA-SN-11-20.

http://www.newyorker.com/online/blogs/books/2011/03/why-is-the-us-government-interested-in-storytelling.html#ixzz1NRj4tBam

Pre-Crime STORyNET #3

Weaponizing it—
Reducing Bāsho haiku
To lit-crit blueprints
______________________

Simplifying the whole thing is counterintutive. D.A.R.P.A. funds projects involving cyborg drones and Killer robots. Why the interest in scifaiku poetic theory?

The special notice says last month’s Wild Boar Oink Workshop was intended to be a precursor to exploring the “neurobiological mechanisms which undergird narrative processing so as to establish fertile ground for connecting our understanding of the neuropsychology of stories with models, simulations and sensors salient to security concerns.”

Weaponizing Bāsho? How can a frog jumping into an old pond—be weaponized by the Emperor? It’s gotta be a joke within a joke—Ka-plunk!!! Goes Bang!!!? Ironic isn’t it—how does one describe Eastern neo-narrative with Western military narratology?

http://www.newyorker.com/online/blogs/books/2011/03/why-is-the-us-government-interested-in-storytelling.html#ixzz1NRlFjzjJ

Pre-Crime STORyNET #4

Weaponizing it—
Reducing Bāsho haiku
To lit-crit blueprints
________________________

D.A.R.P.A. officials declined comment, so I e-mailed Blakey Vermeule, a Stanford professor of English interested in cognitive and evolutionary approaches to literature.

“I’m truly puzzled by D.A.R.P.A.’s interest in storytelling,” she replied. “Last I heard they were working on making robots that could move around easily in sand. I guess this may have something to do with the rise of the conspiracy blogosphere and its power over otherwise rational minds. But that’s just a guess.”

Once D.A.R.P.A. discovers a way to write clearly and understand narrative, I think they should drop special notices and turn to sci-fi novels.

http://www.newyorker.com/online/blogs/books/2011/03/why-is-the-us-government-interested-in-storytelling.html#ixzz1NRj4tBam

Pre-Crime STORyNET #5

Pre-Crime gangster mobs—
From Vegas to Tokyo
Precogs morph Future?
_____________________________

Does the structure and function of scifaiku vary considerably across cultural contexts or is there a universal theory of scifaiku?

How can we take scifaiku and make them quantitatively analyzable in a rigorous, transparent and repeatable fashion?

What analytic approaches or tools best establish a framework for the scientific study of the psychological and neurobiological impact of scifaiku on people?

http://www.newyorker.com/online/blogs/books/2011/03/why-is-the-us-government-interested-in-storytelling.html#ixzz1NRi0NVuo

Pre-Crime STORyNET #6

It’s not that they don’t—
Care anymore, it’s that they
Don’t need us anymore
_______________________

Each time I get into a PKD mindfuck—I realize why I got outta PKD the last time. It’s pretty simple—even tho each PKD mindfuck is different & unique.

Last time it was the same mindfuck that fucked-up PKD with TMITHC. The seductive lure was writing a sequel—something PKD started twice. Maybe more times. I know of two additional chapters—both in The Philosophical Writings anthology.

Both were pretty good I thought—they had lotsa action & follow-up intrigue. Kinda like “Faith of Our Fathers”—thanks to Laurie. That dystop-paranoia 1984 angle was pretty smart.

Pre-Crime STORyNET #7

Whatever happens—
Next is gonna be something
You don’t wanna know
__________________________

The same with Robert Crumb’s graphic novel version of PKD’s agnostic wisdom-tooth hallucination about Rome & all that shit. Eternal City jive—it goes on forever in PKD’s “Exegesis.” That youtube Paris Lecture was a real gas. He was a lot more avant-garde than the wise-ass French thought. The translator stopped translating—he was so fuckin’ stunned…

“Exegesis”—a long rambling series of stoned speed-junky midnight notes & cogitations after Blade Runner got him some bucks I film rights & a decent condo-pad to center his love-life with. The guy was married 5 times? Jeez Lueez—most men wise-up after the first one. Definitely SF plot material tho…

Anyways, I’m getting the same skating-on-thin-ice-feeling. Rereading TMITHC sequel I did for Reader & Roadie Toad back in the NYTimes makes me queasy. I see why it kinda petered-out in Japantown with nowhere to go. Operation Dandelion hadn’t happened yet—in more ways than one.

After Fukushima IMHO it looks maybe like the Co-Prosperity Sphere with Japan, China & N/S Korea has finally publicly wised-up to nukes, earthquakes, HAARP & scalar weapon politics. Operation Dandelion on the part of the so-called late BP Tokugawa Shogunate has come to an official end…

The Anglo-American-Fourth Reich mob v. new Japanese Yakuza Empire—has pretty much delineated the next Terran Space Opera Mise-en-scène. Whether the climax is Wagnerian or Kabuki remains to be seen…

Pre-Crime STORyNET #8

Machiavellian—
Sleek exopolitical
Space Opera intrigues…
__________________________

Sooner or later it seems, most SF writers eventually turn to being historians of the future for awhile. A space opera here—a Fall of the Empire there. It’s inevitable I suppose—imagining alt.history scenarios stretching into the future. Or rewriting the past—like what if the South won the Civil War.

DARPA quantum-jump time-travelers, whether they teleport physically or voyeuristically conjure the future out of a ‘hologram-esque’ crystal ball, whether it’s Mars or some galactic empire entity—how can we trust the time-travelers?

The time-travelers. Who are they working for—what are they covering up? Are they reliable narrators? Or are they Greeks bestowing gifts—while there’s something hidden in the Trojan Horse? Are they genuine expert witnesses—or just hearsay-puppets of TPTB?

Pre-Crime STORyNET #9

DARPA DNA—
Breakaway alien tech
Designing Future
__________________________

As long as there’s a Breakaway Civilization—then surely there’ll always be a Middle Man. The usual hidden agendas & illuminated secret technologies (e.g. HAARP)? Interplanetary & interstellar Black Markets—an old Story East of Eden. Gangster Mob storylines & neo-noir narratives—a dime a dozen.

You don’t have to be a member of the rocket lit crit cognoscenti or a star of the SF cyberpunk-steampunk intelligentsia to smell a good juicy space opera mise-en-scène coming down. Or sense a perfectly abysmal new dystopian mise-en-abyme raising its ugly head…

So much for narrative…

Pre-Crime STORyNET #10

He was tall & gaunt—
His voice was high-pitched nasal
He wore a stove hat
_________________________

A time-traveling kid standing dazed in the mud—before a stark lonely wood podium in Gettysburg. A young whistleblower attorney—standing amazed there on the red sands of Mars.

UBIK past realities—VALIS counter-clockwise future worlds. A Man in the High Castle—flipping ancient I Ching coins. A pulp-fiction SF writer in Berkeley—Operation Dandelion coming to Fukushima…

Some speak the Weirding Way—they are the Tellers of the Tale. The Tale speaks thru them—the Future is the Spice of Life. Will Terra become—another Giedi Prime?

Red Fuji



Katsushika Hokusai 36 View of Mount Fuji

Red Fuji
__________________

And now new decade—
A new Mt. Fuji series
How many new views?

Rearing up in sky—
The steep slopes tell a story
A woodblock snapshot.

Mt. Fuji morning—
The south wind dispels the clouds
What’s in store for me?



One Art


Elizibeth Bishop
One Art
__________________

“(Write it!)”
—Elizabeth Bishop
“One Art,” The Complete
Poems 1927-1979
_________________________

The Art of losing it—
It’s easy to lose it
Let it master you
Simply let go, honey

The Zen art of—
Nothingness, that’s
What it’s all about
What can you lose?
________________________

Just look at me—
I’m a bigtime Loser
I’ve been losing it
For a long time, girl

Dizzy everyday—
I’m a real Disaster
I’m really out of it
Faster & faster
________________________

Farber & Farber—
Don’t have Copyright
Over being Wasted
Eliot’s Waste Land

I’ve been wasted—
Since I was Born
It takes Practice to
Be wasted with Style
______________________

There’s an Art to it—
Losing it and being
Wasted all the time
(“Write it!!!!!!)

It takes Patience—
And Paper, it’s simply
Amazing what you can
Do with Toilet Paper!!!
__________________________

A Throne helps—
The Contemplation
Of Crap is an Ancient
Worthwhile profession

It takes Practice—
Losing it, Wasting it
Wiping it, Writing it
Lots of Wrist Action


The Last of the Windsors


The Last of the Windsors
—for Derek Jarman
__________________

“Fucking carrion creeps!!!”

Prince Harry brandishes his riding whip at the photographers.

Prince Harry’s boarding his Apache Attack Helicopter. Flunkies with greasy ill-fitting wigs toss bouquets of wilting flowers in his path, blessing the Royal Throne’s young prick heir-in-waiting.

His words are drowned out by the mournful siren-calls of all his former girlfriends, dumped and being left behind by the cruel triumphant Taskmaster of the Realm.

Threadbare queer dukes and dyke duchesses weep at the Prince’s departure, a sneering jet screams by overhead.

A killer drone flashes like lightening thru the cold black clouds, zapping a bunch of protestors into cinders along the Thames. An ambulance crashes into the mob, crushing a young lady-in-waiting.
________________________________

“Left, right, left, right,” barks the Air Marshal. The fleet of Apache Attack Helicopters sails over the horizon leaving the geriatric set behind. Hell-bent for a rendezvous with the Enemies of the Empire, leaving rotting London behind.

After the Imperial Apache Fleet is gone, in the deathly silence a young hoodlum hardly tumescent on the tarmac asks, “Where the fuck are they going this time, huh?”

“Who knows? Who cares?” his fuck-buddy in the moiling mob shouts. “I just wish we were fuckin going with ‘em, that’s all!!!”
_______________

Editing “The Last of the Windsors” is coming along just fine. You Tube editing is so easy—the film is almost done. The porno sequence from Las Vegas begins the whole showy, shallow, tawdry mess—wait till you see Prince Harry doing his thing at Caesar’s.

The editing is staccato and aggressive—we get high and just fuckin cut away. The royal fuck scene crashes into the film unexpectedly—the pace is relentless.

It should turn the audience on—Prince Harry in drag is a real Dominatrix Bitch with all those Las Vegas nightclub whores.
__________________________________

When the lights come back on—you can see the cockroaches swarming for cover. The cracks in the cancerous sweaty walls—all crammed with the filthy buggers.

After Harry gets off, the showgirls are just left standing there really dumbed-down & stupid—they don’t even register orgasms anymore. The guys are buttoning up their flies—getting ready to split from the joint. The helicopters are warming up.

One of them says, picking his nose—“I wonder what new disease I’ll pick-up this time?”
_______________________________________

The news about “The Last of the Windsors”—has already leaked to the Sun, the Times and the Sunday Times in Britain. Murdoch's media empire also got onto it fast—with Fox News, the Wall Street Journal, the New York Post.

Even the Old Grey Lady herself—The New York Times is bitchin like mad. Her Sword of Damocles is taking its usual sideways swipes at everything—with the latest scandalous news.

Paolo Pasolini is back again too!!! Cloned from an old filthy stained pair of shorts—all of Italy is simply shocked. The modern medical miracle of Faggot Reverse Engineering—had pulled another magic bunny outta the magician’s hat again!!!
________________________________________

Scarabs are crawling outta Egypt—old Mafia and Yakuza Godfathers are back clomping around the streets again. Their cement shoes banging up Fifth Avenue—heading for the coke stoves and mildewed villas down there in the Beltway

The Pope was seen riding in an enormous golden pumpkin Cadillac—down thru secret hushed hide-and-seek Rome backalleys covered with camelias and black widows.

Silkworms have been reported worming their way into the Vatican—caterpillars and cocoons strewn thru St. Peters. Bernini’s columns crawling—with Tennessee Williams, Gore Vidal and The Roman Spring of Mrs. Stone’s kept gigolo boyz. It’s no longer a great secret—Prince Harry is going to be the new Queen Bee!!! Just wait and see!!!

Mandingo Planet




MANDINGO PLANET

Invisibility
—for Ralph Ellison

“It’s cotton-patch history”
—Malcolm X

ralph ellison is—
outside our history books
but into himself.

i’m invisible myself—
it’s a lot darker in here
than i ever thought.

But Nobody Was There
—for Ishmael Reed

i heard ralph ellison in the other room—
i entered the room, but nobody was there.

i heard the invisible man in the silverware—
i opened the drawer, but nobody was there.

i heard ellison’s 2nd novel creeping up the stairs—
i opened the door, but nobody was there.

i saw ellison’s spirit sitting in a chair—
i turned my head, but nobody was there.

i heard richard wright laughing upstairs—
but when i went up there, nobody was there.

i smelled the stink of new york intelligentsia—
but when i opened the bathroom door, they aint there.

i dreamed ralph ellison was a gangster con-artist—
but when i woke up, nobody was there.

Harlem Mumbo Jumbo
—for Bruce Nugent



oh harlem, harlem—
negro sea of dinge unrest
engulf me, harlem.

oh harlem, harlem—

submerge me in jazz—
gay cabaret, dinge drag nights
tom-toms & seashells.

oh harlem, harlem—

pollute your swift waves—
claw-snapping crabs let them play
summon the dead tides.

oh harlem, harlem—

oh harlem, harlem—
blaxploitation bijou boy
show me a movie.

The Niggerati Late Show
—for Wallace Thurman, Zora Neale Hurston,
Langston Hughes, Bruce Nugent



the harlem bijou—
shows the best blaxploitation
flicks in the village.

harlem is buzzing—
up there in the balcony
it’s dinge down-low time.

mumbo jumbo night—
the niggeratti late show
up in nigger heaven.

skanky portmanteau—
niggeratti do it too
dinge sci-fi flicks.

Jes Grew
“so jes grew is
seeking new worlds.
its text. for what
good is a liturgy
without a text?”

once i knew this guy—
who was a mandingo man
and didn’t know it.

jes grew possessed him—
the spirits they spoke thru him
mumbo jumbo words.

the mandingo man—
jes grew ecstatically
with ebullience.

Place Congo
place congo was packed—
charta the babouille
counjaille juba.

hoodoo voodoo man—
he jes grew outta the blue
that mandingo man.

jes grew lovers say—
he just grew & took over
out of voodoo blue.

Unknown New Loas
good-looking cajuns—
spanish, french, creole guys
delight in the gods.

unknown new loas—
who never could be explained
new demigods born.

the mandingo man—
invited african gods
to america.

Kongo Possessed
letting new spirits—
zulu ukulu kulu
seize the new horses.

black python hotwired—
his green & black twisted face
land of the panther.

be kongo possessed—
skunk bones, jew’s harp, kazoos
flutes, drums, conch horns, blood.

Speaking in Tongues
then he spoke in tongues—
he had no class or finesse
no consciousness.

he was demonic—
psychic apocalyptic
doors opened & shut.

a shadowy man—
inhales a fat juju joint
behaves skittishly.

Hoodoo Queen Laveau
the hoodoo queen bee—
she be giving sermonette
nude in her foxskins.

near place congo—
the judas-eye door opens
mulatto walks in.

all the parish priests—
uncontrollable frenzies
wiggling like catfish.

Dinge Planet

bootlegged dinge planet—
shameless brazen cokeheads
the creeping thing’s back.

hoodoo queen laveau—
at st. louis cathedral
singing for us now.

my doo-wacka-doo—
voo-do-de-odo fizgig
virile voyant man.

The Future
we jump into my—
statz bearcat there by the church
there’s no time to lose.

it leaks, bleeds, sucks, gnaws—
it devours anything alive
it’s the dinge future.

Text Automatique
What comes out is words—
Obscenely unprintable
Irresistible.

krazy kat is there—
bumping & grinding away
they call the guard up.

flabber-ghasted ghost—
“holly mackerel, andy!”
jes grew’s back again!

Harlem Hooligans

harlem hooligans—
sodom & gomorrah queens
queer bohemians.

robber barons and—
big old magnets back up from
gulf of mexico.

jes grew fetishes—
sleazy all street con-artists
ponzi game tycoons.

Zombie Invasion
haiti slave omens—
arizona wetback wars
halliburton whores.

beltway lobbyists—
rotting temple houngan times
still growin’ cotton.

gemini rising—
born on the 4th of july
mercurial kitsch.

Pirate Thugs
gluttonous fat lips—
tobacco auctioneer sluts
new world pirate thugs.

there’s a sucker born—
every fuckin’ minute
at chez mandingo.

jes grew makes you doubt—
that anything can be done
about dirty white boyz.

After Katrina
after katrina—
new orleans is a mess
but voodoo is still alive.

it sleeps in the night—
speaking in tongues way down deep
whenever we dream

jes grew is still there—
shadowy sleuths can’t find him
he be invisible.

HooDoo Voodoo
mulatto eyeballs—
an octoroon big penis
can you hear him groan?

he be high yellow—
lafayette cemetery
his abode’s portal.

alleys, bars, streetcars—
vieux carré beauty parlors
that be where he be?

Van Vechten


he be bewitched planet—
harlem renaissance
just ask van vechten.

cumly chimeras—
aetheric ‘20s double
auras still remain.

speak-easy hearses—
chrome upper-lip cadillacs
pensive bootleg boyz.

Mandingo Planet

harlem cabarets—
niggeratti manor queens
hughes, nugent, thurmond.

forbidden planet—
big easy then big apple
mandingo planet.

HooDoo Voodoo Sci-Fi
—for Samuel R. Delany


another late night at the bijou
the invisible man in the balcony
schmoozing with all the white trash boyz
those lingering bored dirty white boy hands
trying to get inside his yoknapatawpha junk

dirty white boyz can be such ignorant slugs
searching for new ways to feel themselves up
playing with queering faulkner like they do
those dayz at old miss conferences trying
to relate to gay quentin’s queerness.

after all, well, just look at joe
a lot of men like joe christmas get had
the light in august, the sacrilege of
going down on moses, then coming up
as mulatto mandingo voodoo hoodoo boy.

like they be charles bon the beautiful
exiled son & heir of the sutpen dynasty
from his loins will flow jim bond and
charles etienne de saint valery bon
up the mississippi to chicago & beyond.

and even tho henry will shoot him
there at the gates of sutpen’s hundred
‘cause he didn’t wanna marry judith his sister
didn’t want henry as his lover brother-in-law
‘cause he had a big easy wife & kid already.

like he’s got this lynching goin’ on down there
between his legs just like any joe christmas
it goes back to the dark fatherhead that’s
brothered perennial & ubiquitous inside all
the boy flesh ambiguous beneath the stars.

butch beauchamp, shreve mccannon,
quentin compson, henry sutpen, dalton ames,
joe christmas, charles bon, even old man
mccaslin’s incestuous fucking with his own
daughter tomasina—delta dinge rules.

let us pray for this white trash world
and all the dirty white boyz sprung from
the loins of african kings, becoming brothers
albinos, mulattos, high yellows, octoroons
slowly turning invisible planet around.


THE KINGFISH



THE KINGFISH
________________________

The Last Leonardo
Apocalyptic Abandonment
Football Fantasy
________________

The Last Leonardo

“It must be an inside job.”
—J. G. Ballard, “The Lost
Leonardo,” The Complete
Stories of J. G. Ballard

They found the Leonardo—
In the Villa Venus propped
Against the wall in a gilt
Frame in the Ballroom

To nobody’s surprise—
The Ballroom was completely
Empty in the once-lavish
Showroom of the Fieldhouse

The Director and Staff—
Of the LSU Louvre relaxed
As well as the weeping
Widow of the Governor

Great limousines came—
And vanished after tense
Exchanged glances of joy
And irreducible gossip

Elegantly dressed Huey—
Radiating a tremendous
Restless energy moved
Rasputin-like thru the crowd

His eyes glowed with—
An intense luster, black
Eyebrows rearing from his
High forehead like wings

His machine-gun bodyguards—
Hustling him into the Cadillac
His strong jaw jutting forward
Expensive black pin-stripe suit

Sitting in the backseat—
White-cuffs and gold tie-pin
Glinting in the limo shadows
Gloved hands waving goodbye

Louisiana Press Lords—
Vieux Carré connoisseurs
French and Creole millionaires
Sprinkled with young demimonde

Moving steadily amidst—
Flashing cameras TV coverage
The Kingfish an Election Surprise
Up past the Fieldhouse & Pool

Up Dalrymple Drive—
Past the Memorial Tower
And the august Law School
Down Highland past Tigertown

Back to the Governor’s mansion—
A posse of police motorcycles
Escourting the great Kingfish
Back to his Capitol Mansion

The Villa d’Huey P. Long—
Past a nexus of pot-holes
The groaning art deco Capitol
Skyscraper of Delta Destiny

Elegantly suited with—
His tremendous restless energy
His powerful charisma stretching
All the way to Washington DC

The Senate silhouetted—
The usual irredeemable kitsch
And hallucinating anticipation
Of what was to come

Like some immense—
Half-crippled resigned Angel
FDR greets the coup-dé-tat
The Kingfish as New President

Apocalyptic Abandonment

“Fiction about the present day”
—J. B. Ballard, “Intro to Crash”
The Complete Stories of
J. G. Ballard

I didn’t want to write—
About the Huey P. Long Pool
Or the eerie Ballroom
With its spooky balcony

I didn’t want to—
Mention such a nightmare
The slow shrinking of his
WPA Thirties leitmotif

And yet he made me—
Reaching out of the past
Somehow knowing what
Happened to his Fieldhouse

His Stage Scenery—
Gone Dixie panorama
He made me write about
His WPA Thirties dream

The voracious Present—
Having annexed his Past
And now this sacred
Set piece in dismal ruins

Devoured by us—
Concepts of past, present
And future usurped by
Apocalyptic Abandonment

I feel off-balance—
Fiction and reality changing
Devouring everything with
Mass Merchandizing madness

Higher Education conducted—
As a Branch of Advertising,
Football preempting just about
Everything with greed

Football Fantasy

“The fiction is already here”
—J. B. Ballard, “Intro to Crash”
The Complete Stories of
J. G. Ballard

Football fiction thrives—
Huey P. Long the very first
Cheerleader Governor who
Invented this Genre

We live inside this—
Enormous Football Novel
It’s already here and it
Dominates everything

The LSU Tiger Stadium—
Pete Maravich Assembly Center
The huge new Natatorium
Assuming a complete Fiction

We live inside this—
Enormous perverse deviant
Crash scene cataclysm
This Sports World Novel

A pandemic pushy—
Marriage between sex,
Technology and education
A Kingfish Nightmare

A Porno Novel—
A corporate politicized
Form of Fiction exploiting
Urgently, ruthlessly

The aging Fieldhouse—
A glowering Node of Horror
A sty in the Eye of us all
Worse than Katrina

But to renovate the Pool—
Temps Retrouvé the Past
With Banana Republic Style
Perhaps it’s the thing to do?