For Emma Ottinger “I put out (my stories) just because”

“just because”
that’s the best excuse you got girl?

cause be-ing
just
is a **** good one

way back in March
wrote a declaration^ to all those just
beginning with an iota of courage and
a good story telling
way of seeing and the
secret sauce-way
to spin my imagination in
my eye sockets
with their well words,
for I am a drinker of
the beaujolais firsts of the new grapes
of young poets

words welling springing from between
the oohs and ahs and the damns -
I wish I had wrote that...

so here’s a hero push - so many kinds of bread to
fill our baskets, please girl may I have some more?
so here’s to you - and the Great Plains that birthed you,
and the breadbasket of four poem/stories you poured out
that were so far from plain, how could you know of seas and sea foam and cobalt and mahogany human body parts?

and the speech patterns of waves that took me decades to learn?

use those “Jacob’s ladders between your fingers,”
“whistle me like a stray dog following,”
for that’s what “the kingpin of my flighty wits”
requires, for this old scribbler is now:

“firmly rooted for a girl who's bold enough
to crack the whip over her head if
ever went to war with myself.
A confidant that won't run,
won't offer half truth when
the whole of it
is all that actually matters.”

so write with that window light on and
wheat fields that can be reenvisioned as the gray-blue sea
from which I crawled out of croaking...
to read you rightly

6/25/18
10:25PM

Already, a conscious courage is coming to life.
Here are some of the painters: Picasso, Braque,
Delaunay, Le Fauconnier; they are highly enlightened,
& do not believe in the stability of any system,
even if it were to call itself classical art.
Their reason is poised between the pursuit
of the fleeting and a mania for the eternal.
Quote of Jean Metzinger Note sur la Peinture (1910)
[the Cubist painters who]              continued to paint objects motionless, frozen, &                                                   all the static aspects of Nature;
they worship the traditionalism of                  w:Poussin, of w:Ingres, of Corot,     ageing & petrifying their art
      with an obstinate attachment to the past,
      which to our eyes remains totally incomprehensible;
                            Is it indisputable that several aesthetic
declarations of our French comrades
[the Cubists in Paris] display
a sort of masked academicism.
It is not, indeed, a return to
the Academy to declare that
the subject, in painting, has
a perfectly insignificant value?
To paint from the posing model
as an absurdity, and an act of
mental cowardice, even if the model
be translated upon the picture in linear,
spherical and cubic forms;
Quotes by Boccioni in his text
of 'Les exposants au public' - exh.
Cat. Galerie Bernheim-Jeune,                      February 1912, pp. 2, 3
Get all the information you can about the Cubists,
                 & about Georges Braque and Pablo Picasso. Go to Kahnweilers' art gallery. And if he's got photos of recent works –
                              produced after I left -,
buy one or two. Bring us the Futurists in Italy,
like Boccioni himself;                          back all the information you can get.
Quote of Boccioni,                                in a letter to Gino Severini,
staying in Paris in the Summer of 1911;                     as quoted in Futurism,
ed. Didier Ottinger; Centre Pompidou /
5 Continents Editions, Milan, 2008, p. 27.
We [the Futurists] must smash,
demolish and destroy our traditional harmony,
which makes us fall into a 'gracefullness'
created by timid and sentimental cubs
[this denigrating word refers to the French Cubists].
Quote by Boccioni in his 'Sculptural Manifesto' of 1912;
as quoted in Futurism, ed. By Didier Ottinger;
Centre Pompidou / 5 Continents Editions, Milan, 2008                    Is it indisputable that several aesthetic declarations
of our French comrades the Cubists display a sort of masked
academicism;   It is not, indeed, a return to the Academy
   to declare that the subject, in painting,
        has a perfectly insignificant value?
To paint from the posing model as an absurdity,
& an act of mental cowardice, even if the model
be translated upon the picture in linear,
                    spherical and cubic forms;
Quote of Boccioni, in 'Les exposants au public' - exh. Cat. Galerie Bernheim-Jeune, February 1912 pp. 2, 3.
The square is not a subconscious form.
It is the creation of intuitive reason. The face of the new art.
The square is a living, regal infant. The first step of pure creation in art.
Quote of Kazimir Malevich,
in 'From Cubism and Futurism to Suprematism: The New Realism in Painting' (November 1916)
Unless we are to condemn all modern painting,
we must regard cubism as legitimate, for it continues modern methods,
& we should see in it the only conception
of pictorial art now possible.
In other words, at this moment cubism is painting.

Quote of Albert Gleizes, Jean Metzinger,
in Du "Cubisme", Edition Figuière, Paris, 1912
(First English edition: Cubism, T. Fisher Unwin, London, 1913)
To understand Cézanne is to foresee Cubism.
Henceforth we are justified in saying that
between this school and previous manifestations
there is only a difference of intensity,
& that in order to assure ourselves
of this we have only to study the methods
of this realism, which, departing from the superficial
reality of Courbet, plunges with Cézanne
into profound reality, growing luminous
as it forces the unknowable to retreat.
Quote of Albert Gleizes, Jean Metzinger,
Du "Cubisme", Edition Figuière, Paris, 1912 (First English edition: Cubism, T. Fisher Unwin, London, 1913)