Portrait of Mai Sau
June 26th, 2010digital portrait of Osaka based artist Mai Sau, 2010
NO! THE DEAD!
June 23rd, 2010wearing that same old jacket again?
NO! THE DEAD!
looking for love in 1870s Berlin?
NO! THE DEAD!
horses after dark on the mountain side range?
NO! THE DEAD!
sunlight cut through buttercups under the fat chins of schoolboys?
NO! THE DEAD!
reading Dostoyevski whilst driving a ten ton delivery truck?
NO! THE DEAD!
handing a plate of raw diced onion to a man with a strong but affected limp?
NO! THE DEAD!
leading a herd of goats round a car park and then suddenly…
NO! THE DEAD!
practicing languages on headphones at funerals?
maybe.
Small Poetry (1-7)
June 23rd, 20101.
two tiny slugs feeding from a broken snail
today the shell is perfectly clean and paper thin
one broken tooth out
[18.06.09]
2.
the tiki flower cannot spin
because she is loaded with love
but her colours are brighter
for this
[07.07.09]
3.
the man you never met
stands at the foot of your bed
holding the flowers
that he never gave to you
[07.07.09]
4.
black trees at 4am
something is in the forest
[08.07.09]
5.
the tentacles of love
are wrapped around your heart
not with restraint
but as a cradle
allowing room for growth
[31.08.09]
6.
razor chrome fins slice water
the shapes look different here
tug tug on my foot
and under
[22.11.09]
7.
no green bottles
hanging on the wall
[26.11.09]
Communication…? (A John Cage/Marx Bros Mini Reader)
June 11th, 2010
I urge you to bring to hand a copy of John Cage’s ever-useful book Silence - Lectures and Writings and ask you to read to yourself Communication (p41-52), having your internal voice deliver the lines by Groucho Marx (most likely in diatribe to a trapped and bemused, yet slightly charmed and long-suffering Margaret Dumont).
If you can sustain a passable Groucho impression, or know of those who can, i suggest you read aloud - bordering on, but generally not achieving, unison. I also suggest you start with the line “Nichi nichi kore ko nichi” and end with “The Belgians asked me about the avante-garde in America and this is what i told them” (this last line would appear to be the start of the next section of writing, but under these conditions it can be seen as a wholly ‘appropriate’ end to the monologue, if such a thing were to exist).
After a time, I ask you to read again, this time having your own internal voice deliver the words to Harpo Marx, as if stood in conversation with him. Visualize his response and reaction to the text. Spend time with him and see what he does: this exercise is important (to my mind) as it involves us in some form of conversation with a man who will not speak. A third reading, with Groucho addressing Harpo, could be the next logical workout … but you’ll have to hold tightly to the reins on that one - and do it your own time, not mine. the IDEA.
At a glance, the works of Cage and that of the Marx Brothers are obvious on many levels in their disparity. But we can certainly coax them into a cohesive mutual area: using Cage’s text/s to engage all parties in ‘conversation’ (my main interest here being Harpo), and infusing all parties in a solution of Cages’s and Harpo’s respective ’silence’.
I have nothing to say/and i’m saying it/and that is poetry/as i need it
(Cage, Lecture on Nothing, 1949)
