Oblique Obligato

  1. Moon fresh ribbon
    smooth platen
    ball dust sea
  2. Fastened to fish
    risk bamboo
    water chills
  3. Homespun shark
    teeth reek bark
    oil tea tree
  4. Screeched scrounge scrawn
    crested pinch
    ear reach thrills
  5. Stringing brew broils
    cooking pot
    catch read bin
  6. Critical swarm
    goat bearded
    bee attack
  7. Smoked fuzz moss
    yucky hot
    sunder skin
  8. Feet faintly sweet
    & ditties
    sour retract
  9. Poised hipster red
    shower cap &
    surf sandals
  10. Now turns one last
    again then
    salt pearls
  11. Ask brack weed meme
    vandal cleaned
    type taste twirl
  12. Spring Selene not
    bald booby
    care fool horse
  13. Trifurcation
    from dear morph
    solo bliss
  14. Under deep stays
    curling waves
    allusiveOblique Moon

Not one but two needs relish sweet sorrow

Not one but two needs relish sweet sorrow.
Wooden shoe wish new saga song bonnet?
Purple flower here now gone tomorrow.
One knows not lief, and if hair be sonnet,
Wold eat polka dotted cotton culotte.
Back seats escape too simple bounded rules,
Schemes where at smart turn deer quickly departs,
Shirking away from linked coupling rope pulls.
Gears thrown greased ball bearings plop soft thudded,
Rustling rough yon fat fig leaf yellowed grass
Into well palms of gleeful looped poet,
Frogs Voila! in deep wide throated bass:
Now twanged by gee sang plus web danced for thee,
Not two but three may now exclaim in glee.

Theory

Casual Theory of Causality

Why pink asks blue whenGarlic at Gilroy
roused whose wheeze
where past just falls
fails new any to augur

When rash throws think
unfolds, unwraps, uncoils
relax what jeers
who held and

Wooden Clappers

Don’t let go of drop
though darkness rooms
and voices blink three
coins in a phone booth

At gas stop stuffed
outside Gilroy near
garlic beer and clown
juggling artichokes

Carriage trails from Castroville.

Punctuation Theory

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“inexplicatable” = cat purr theory

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FOOTNOTES & OTHER EVIDENCE

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Punctuator Robot

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Footnote

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S circled in aquamarine

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Archaeological dig

On Description

A Cat Egg

Where did that egg come from? What egg? Why are you sitting on an egg? What egg? Cats are not supposed to sit on eggs. You see eggs? I see nine eggs in the carton. I see nine missing eggs in the carton. Where are the missing eggs? “The future is in eggs,” Eugene Ionesco said, his name a perfect description of an egg. That does not even begin to describe this situation. Do you want to say situation, or predicament? A cat egg is like a mare’s nest. Let’s blow this joint before someone asks what makes a cat purr.

Embedded in most descriptions is a prescription, instructions for viewing, boundaries stipulated and promoted. What might look at first glance objective enough turns around and around on an axis of theory.

Qualifications: from a distance; in the waning light of a neon-like moon; on a particularly hot, steamy day, out of season. Adjectives and adverbs cloud the way. References.

How do we describe description, the process we use to describe, carry across? And why bother? Why describe something others are free to experience for themselves?In any review, isn’t there an implicit recommendation based on a prescription of what is being described, how it ought to have been done, or at least how otherwise it might have been carried out?

A description of a painting, a Rothko: What is blue, size, warp; from what distance, in what light? Does our description of the Rothko change if others come into the room? The paintings are on the move, constantly changing, even as the museum makes every effort to still them. Description is a distillation of a sensory happening. McLuhan advised touch is the most involving of the five senses. When we paint, we use all five senses at once: paint odors; the brush splash sounds as we touch bristles to canvas. We take a break for lunch and taste oil in our bread. But are all descriptions sensory? What happens when we describe a process, an idea. Must description use words? What does a cat’s purr describe? Can we describe a cat’s purr in a painting?

Easter Eggs 2014

Egg Culture

We come, then, naturally enough, to the egg. We are reminded of Duchamp, his hidden object, if it is an object, which gets us nowhere. We need to get inside the egg for a full description, but once we crack the egg open, it’s not the same egg. We decorate our description.

It’s easy enough to say that descriptive writing is language that appeals to one or more of the five senses. But words can’t capture experience. Where is the description that activates our taste buds, such that we taste the bread and wine even as our fast continues? Is all description vicarious? We write down, distil, drop away. Description is at the distal end of experience.