this month this time

january is sleep and death and dream

i travel to sad, snack on terror,

wash on ruins

everything talks but only the trees listen

they keep their secrets

each day i count the seconds of extra sun

it is cloudy most days

i dream and sleep and die

where are the schools?

not the analysts, pills, doulas, degrees

but the classes of dying dreaming sleeping?

there – the trees, they are dying

the sun it is dreaming

the earth it is sleeping

let me learn from them

can i reach them? can i see them? can i touch them?

they are here, in my body

in my deaths and dreams and sleeps

necroaesthetics

she is solitary. under a lot of pressure. committed as ever to her cause, but i would imagine feeling somewhat defeated, tired, and pissed.

            this princess leia pez dispenser

writing – and by this i mean poetry, writing’s conscience and concupiscence, not poetry necessarily in any substantive sense but that which breaks through language the spirit of language in the human – lacks volition and in this lack substitutes desire. that poetry seems to be contained in that other writing, and that in this, gives writers a distinct advantage and disadvantage alongside other artists. with the former, they work with the most common human element – so always (ostensibly) available; with the latter, the inbred schizophrenic choreographies are so omnipotent, omnipresent, and impotent that the work is constantly falling into itself, this element so polluted by history who can still give oneself over to it?

let it all be animal, my life and death, hard and clean like that, anything but human … a lot i care, me with my red heart in the dark earth and my tattooed feet following the animal ways

i am now beginning to understand the languages of dreams and fungi more than the human languages ...

the chinese poet du fu in 758 complains about his office job …

i am about to scream madly in the office

especially when they bring more papers to pile higher on my desk

a problem with and enticement of interiority is that one can reach the abyss with sufficient time and work (this perhaps is the record of mysticism and poetry); the abyss, though, is always just beyond, with exteriority … isn’t this why we’ve migrated from poetry and religion to prose and science?

            though this just beyond – is it not just a just beyond hiding in the reaching?

even with 7.5 billion of us vertical now, the human dead outnumber the human living 14:1

i wiggle tubes into the heat of my decay, suck on them. what cold fire. i almost don’t need food. food makes me sick anyway, makes my gut curl into itself, my ass splutter its garbage. i eat the vapours of myself and become some elemental thing. my eyes are a periodic table of putrefaction. i record my rot, the artist-i a coroner, the rest a body farm.

exhibition is a practice to produce permanence, to arrest decay

https://www.theguardian.com/environment/2014/sep/29/earthearth has lost half of its wildlife in the past 40 years-lost-50-wildlife-in-40-years-wwflate capitalismhttps://www.versobooks.com/books/1570-24-7 and the ends of sleep

tosf - idia møme

the online sadoo family – #4

idia møme – idia møme
http://idiamome.blogspot.ca/

idia møme is silly. is idia møme silly only in contrast to the seriousness with which most treat themselves, a seriousness idia itself views as silly? is it silly because it doesn’t believe in because, because idia is the ablative feminine first person plural form of idiot and møme the infrahortative transgendered nil person post-numbered form of meme, because it’s born in dialogue in villa atamisqui and dies outside, because i’s a reality, a convention, a delusion, and a party?

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sadoo møme is a toothpick among toothpicks translating the questions among toothpicks to questions among us. if it believes in anything it believes everything talks to everything endlessly and the task of listening to this endless everything talking is a primary task of the human. since sadoo idia’s a toothpick among toothpicks it talks, and leaves listening, that distinction, to us.

sadoo next - kali que lipzo