you know, you are allowed a Kandinsky or a *******
moment in poetry:
it's like the development of the cut-up technique
beginning with Tristan Tzara and the Dada "school"
of "thought", developed later by William Burroughs
et al., it doesn't have to be fixated to a definite
curvature, a smooth narrative, this is poetry
in a boat, during a storm on the sea, it's not a Cambridge v.
Oxford boat race on the pristine Thames...
some critics ascribe such methodology as either
outright stupid or by psychiatric definition a *word
salad*, but it's simply kaleidoscopic juxtaposition,
it really is a dog drooling ultraviolet saliva onto a
canvas, while someone shakes his head
(preferably a bulldog, or a boxer, or a St. Bernard)...
oh look at him, such ***** eyes, gotta just cuddle him...
i'm not using newspaper snippets, as if writing
a stalker's letter, cutting out letters and gluing them
together on a piece of paper... it's spontaneous
combustion (most of the time)... the only method in it
is that there isn't a method to begin with...
unless randomisation of a gaseous substance with
that hectic squash game of atoms is the adequate
simile... if i were to say that was a metaphorical comparison
i'd be walking through foggy streets of London (circa 1884):
after all words have only a one dimensional interaction
that's the existential recipient of all of them,
the existentially affirmative aye - i left the other
affirmative word thought among the others,
since, sometimes, as in the cases of melancholia, thought
isn't necessarily categorised as affirmative, relegating,
drowning the prime affirmative aye with its awkward
structure (form)... all the words must pass through the ego,
not all of them have to pass through thought,
the ones that bounce against the squash cube wall that's
ego make it onto the page... more do so when compared
with treating thought as the wall and the effective structure
for the rubber ball to bounce against.
me playing squash? oh yes, very much so, loved it,
played about 4 times a week, better than tennis,
which is why no squash tournaments are televised, it's
not really a spectator sport, it's too enjoyable to have
a passive public... it's a sport with the player in mind,
like a horse attached to a carriage with those shutters
over their eyes; so now what? is poetry not allowed to
look like a ******* painting, randomised and incoherent
when compared to the standard practices of narrators?
May 23, 2016
May 23, 2016 at 1:08 PM UTC
you know, you are allowed a Kandinsky or a *******
moment in poetry:
it's like the development of the cut-up technique
beginning with Tristan Tzara and the Dada "school"
of "thought", developed later by William Burroughs
et al., it doesn't have to be fixated to a definite
curvature, a smooth narrative, this is poetry
in a boat, during a storm on the sea, it's not a Cambridge v.
Oxford boat race on the pristine Thames...
some critics ascribe such methodology as either
outright stupid or by psychiatric definition a *word
salad*, but it's simply kaleidoscopic juxtaposition,
it really is a dog drooling ultraviolet saliva onto a
canvas, while someone shakes his head
(preferably a bulldog, or a boxer, or a St. Bernard)...
oh look at him, such ***** eyes, gotta just cuddle him...
i'm not using newspaper snippets, as if writing
a stalker's letter, cutting out letters and gluing them
together on a piece of paper... it's spontaneous
combustion (most of the time)... the only method in it
is that there isn't a method to begin with...
unless randomisation of a gaseous substance with
that hectic squash game of atoms is the adequate
simile... if i were to say that was a metaphorical comparison
i'd be walking through foggy streets of London (circa 1884):
after all words have only a one dimensional interaction
that's the existential recipient of all of them,
the existentially affirmative aye - i left the other
affirmative word thought among the others,
since, sometimes, as in the cases of melancholia, thought
isn't necessarily categorised as affirmative, relegating,
drowning the prime affirmative aye with its awkward
structure (form)... all the words must pass through the ego,
not all of them have to pass through thought,
the ones that bounce against the squash cube wall that's
ego make it onto the page... more do so when compared
with treating thought as the wall and the effective structure
for the rubber ball to bounce against.
me playing squash? oh yes, very much so, loved it,
played about 4 times a week, better than tennis,
which is why no squash tournaments are televised, it's
not really a spectator sport, it's too enjoyable to have
a passive public... it's a sport with the player in mind,
like a horse attached to a carriage with those shutters
over their eyes; so now what? is poetry not allowed to
look like a ******* painting, randomised and incoherent
when compared to the standard practices of narrators?