“The ten kinds of foulness are these: the bloated, the livid, the festering, the cutup, the gnawed, the scattered, the hacked and scattered, the bleeding, the worminfested, and a skeleton”
“one who sees internal materiality as foul (ugly) fully understands nutriment consisting of physical nutriment. He abandons the perversion [of perceiving] beauty in the foul (ugly), he crosses the flood of sense desire, he is loosed from the bond of sense desire…”
The Path of Purification – Buddhaghosa
he needs progress and to leave, but there is nothing to leave but a woman.
Meeting with things… words are loveless
“progress… Down one street, up another… It rained on the white goldenrod… one must begin.”
p1
“cherries… But who do you think I am, says white goldenrod? Of course there is progress. Of course there are words. But I am thirsty, one might add. Yes but I love you and besides I have no milk… There are no words.”
p2
“now he must leave her”
p10
part of the remix project at stride
http://stridemagazine.blogspot.com/2020/05/the-remix-project-12.html
previously
http://stridemagazine.blogspot.com/2019/05/stammer-to-sunlight.html
http://stridemagazine.blogspot.com/2019/05/motorway-circuits.html
http://stridemagazine.blogspot.com/2019/03/surmise.html
http://stridemagazine.blogspot.com/2019/03/like-sulphur.html
and previously
including a fun prose analysis of contemporary currents
“the imagination is more restless than the body. But, already, words… language is restless”
My Life and My Life in the Nineties, p9 and 12. Hejinian
The manifesto seeks to dissolve, rather than create, as with modernist manifestos. My process deconstructs its own artlessness, is nomadic, in its unoriginal reuse of the past.
J. H. Prynne rejects the ‘Polis’, Olson’s theoretical moral centre of gravity, because it is unable to reconcile the nomad with the need for settlement1. Resisting Olson’s morality, as I have, is then a means for the nomad to desire rest, and for so restlessness, an affective aversion to settledness, to make up a rejection of the ‘nomad’ and the world of poetry.1Anthony Mellors, Late Modernist Poetics: From Pound to Prynne (Manchester and New York: Manchester University Press, 2011), 122
my submission to the series: talking to a dead poet (Lee Harwood)