Relocation

golfishd87

Our city becomes another’s city and they don’t even live here.

Our city becomes another city that will one day glow, for miles underwater.

Our city has strategically-planned streets, and accidental cobblestones. The neighborhoods have their symbols, their light-pole banners, their car washes and coffee shops. Clogged drains and stray dogs and condos and bullfrogs. A little fence to keep the heart in. A garden. Ten Thai restaurants in a row. A bus stop and a newspaper on every homeless porch.

The neighborhoods remain separate, or they collide. Some are ramming into each other, smash-mixing, in the time it takes one body to fall from the observation deck.

The streets below the streets are daunting, gurgling with sewage. A black-gloved hand motions outside a window. People are coughing, steaming into each other’s faces on the subway. No one has a face unless it is cut out of a magazine.

I moved out of the city. Now, my neighbor is the one whose name I forget every other conversation. His neighbor is me, and a young family with closed blinds and a yard full of broken plastic. We circle each other like dogs, not saying anything. But the truth is that we live with our families and this is a nice neighborhood, close to schools and shopping.

I moved out of the city and now I don’t even live here.

My neighbor remembers how bright his city glowed too.
Our sons are jerks and we are embarrassed by what we thought we knew.

All Is Straw

Howie Good

My heart is crying, crying…

Rather to blow up, then!

Let’s be wild tonight.

Roses plural or Rose’s roses

with an apostrophe?

It is hovering and it’s not an aircraft.

Dear me! I think I’m turning into a god.

Oh wow. Oh wow. Oh wow.

Seed text:  “Last Words” at Wikiquotes, available at http://en.wikiquote.org/wiki/Last_words

dominicgualco:

lovelyarc:

I made some art for the front and back covers of Dominic Gualco's new chapbook, The Apocalypse is Near and I am Going to Love This World. I was apparently looking at some Sam Prekop and some Paul Klee when he asked. Anyway, you should ask Dominic for a copy, and tell him I said hello. 

The Apocalypse Is Near and I Am Going To Love This World is available here for $3.

Howie Good

UD Department of English: Writing at UD →

I got a job! Postdoctoral Researcher in Writing Pedagogy at the University of Delaware.

I will be teaching UD’s composition course and working with Dr. Joseph Harris (formerly from Duke’s Thompson Writing Program) to research writing pedagogy and develop the UD writing program. The job begins in January.

(This, and the turn toward the new academic year, is my excuse for the hiatus this week.)

‘a’

Gray Tolhurst

after Hexagram 29; The Abysmal Water

you confronted goodness
(the ‘a’ carries)
between doubled bodies.

that name, water,
is locked, enclosed, repeated.

carrying through
the not-world.

the danger of that.

II.

doubling the repeated
(the line and inner rise carrying)
means nothing.

problem:
in only fills meaning.

streams protect against the forward.

III.

the protecting world, which makes ‘without’ what remains,
depends on within.

water develops,
it flows in sun.

properly the means make it the danger.
the measure.

likewise, occurrence,
the image occurs in that.

IV.

really,
you foal.

the repeated. the image.

inner mountains form.
merely grow within the body.

material occurs, has natural light.

if flowing can be like it
with it, one and all.

IV.

ravine of light fills through/within “A”
this son.

water,

brought and enclosed with the material
of mountains.

I created this poem using the Wilhelm translation of “The Book of Changes” or I-Ching. I threw the coins and located the proper hexagram (29) and then I used the Language is a Virus cut up machine   to disfigure the text of the original translation before rearranging it as I saw fit.
Some publications: Transfer Winter 2014-  “Dream of a Glass Bulb” and/or Fall 2014- (upcoming)- “Continuous Series” Transfer Magazine- “Hexagram 34”S/Word Summer 2014- “God Of Trees”
art by scottldickson

‘a’

Gray Tolhurst

after Hexagram 29; The Abysmal Water

you confronted goodness
(the ‘a’ carries)
between doubled bodies.

that name, water,
is locked, enclosed, repeated.

carrying through
the not-world.

the danger of that.

II.

doubling the repeated
(the line and inner rise carrying)
means nothing.

problem:
in only fills meaning.

streams protect against the forward.

III.

the protecting world, which makes ‘without’ what remains,
depends on within.

water develops,
it flows in sun.

properly the means make it the danger.
the measure.

likewise, occurrence,
the image occurs in that.

IV.

really,
you foal.

the repeated. the image.

inner mountains form.
merely grow within the body.

material occurs, has natural light.

if flowing can be like it
with it, one and all.

IV.

ravine of light fills through/within “A”
this son.

water,

brought and enclosed with the material
of mountains.


I created this poem using the Wilhelm translation of “The Book of Changes” or I-Ching. I threw the coins and located the proper hexagram (29) and then I used the Language is a Virus cut up machine   to disfigure the text of the original translation before rearranging it as I saw fit.
Some publications: Transfer Winter 2014-  “Dream of a Glass Bulb” and/or Fall 2014- (upcoming)- “Continuous Series” Transfer Magazine- “Hexagram 34”S/Word Summer 2014- “God Of Trees”
art by scottldickson

This Is What The Average Single Man’s Sex Life Looks Like

Mitchell Garrard

You lied to to my bed and licked
the emboldened sheets phosphorous
like a revolution. My randomly generated

mattress cuddles better than my future
whatever. This exam room is exactly
how my palm reader described: totally

uncool and in-love with a viscous
world that ignored every commitment.
My gunnysack of paychecks is a kind

of public nudity, so tonight, coworkers
drink without me, but on Monday, I am
still their boss and violating dress code.

a retraction / of fake kites

Oppenheim. Red Head, Blue Body.

It is white that cancels out your gift to me
of compository grace,
the most colossal axe
I infatuate
as scene.

Oppenheim. Red Head, Blue Body.

It is white that cancels out your gift to me
of compository grace,
the most colossal axe
I infatuate
as scene.

grainnn:

image

Manual to a Machine

To get a proper view of the machine one must get rid of misconceptions:
It operates under the intangible. It knows nothing and makes smoke.
In fewer words, it’s a smoke machine, it is unconvinced of purpose, it does smirk every now and then.
Ah, there’s one thing: it hates stones, did you notice the absence of minerals these parts? Blame the machine of course. Who else.

To get a proper view of the machine one must get rid of misconceptions:
It was born from an intersection of 3 trivialities, being i) the world is yours to conquer ii) it is yours to explore iii) it is yours to forget, mine to remember - I digress, I apologize. iii) it is yours to blame.
It works on an extremely boring mechanism, something to do with gold coins, a system analogous to the organism (which one, they never told us) and numerous circuits.

To get a proper view of the machine one must not stare, nor wonder.

What the machine CAN do: compile your motivations into discredit, argue with your parents, move you from point A to stack zero, smirk.
What the machine CAN NOT do: believe & feel, wake up, sleep well.

(Lastly, here are the stones, which ones, I don’t know, they’re, supposedly, last ones).

art by isabella rosa

On Thursday / by Yariv Zerbib

On Thursday / by Yariv Zerbib

The Metamodernist Manifesto: After Postmodernism (Part I) →

Seth Abramson, huffingtonpost.com

{Below is Part I of the second in a series of articles exploring the basic principles of a sphere of thought within metamodernism, “transcendent metamodernism.” Other spheres of thought under the general heading of this cultural paradigm includ…

happy parkour/ melt as laundry

sad lunging / of plastered buns

Stork 02

Raymond Farr

They’ve taken down
The dancing feathers

Of statues backwards
What’s left is the stale bread

Of quicksand
The stuff of TV

Is curing itself of habit
Of territory

Figures shoulder scenery
In & out of frame

Source text: Object Lessons by Louis Armand