Thursday, January 31, 2002


Questions are so important but it is important to ask questions that provoke and challenge towards answers that can be lived. Where do the following lead? I often wonder if I sometimes am following mad paths down endless corridors . . . like Andy Warhol looking through Marilyn Munroe.
Capitalism begins when you open the dictionary.(Steven McCaffery)

bpNichol writes, "the trouble with conclusions is that they conclude. ("Things I don't really understand about myself." - alternate title in Table of Contents "NOTEBOOK: a composition on composition." Open Letter 6. 2-3, p.148)

"... to that end should Z reiterate the alphabet? Should it complete the letters by synthesizing meaning, answering possible questions and objections, and setting up goals for future research?" (Peter Jaeger. ABC of reading TRG, p. 121)

FMH had a Word of the Day: esemplastic (es-em-PLAS-tik) [adjective]: Having the capability of moulding diverse ideas or things into unity.

I thought I'd add my word of the day: Alfred Jarry's definition of 'pataphysics as: "the science of imaginary solutions" (Selected Works of Alfred Jarry, p.193)

If you want wonderful reflections & answers on randomness, thought, memory, voice power, story, good reasons look to visible darkness

Wednesday, January 30, 2002


biodic pictures that awe . . . thanks to subterranean notes who comments: Frequently beautiful, they do what few works of art do for me these days, which is fill me with a sense of wonder and connect me to something that is real on a very deep level.

I add another link link to the splendor of natural images.
12:35:08 AM

Tuesday, January 29, 2002

David Zieroth

Fell into a stack of recently published books of poetry. All by rather obscure or at least not extensively known poets. The volumes were sent into a magazine editor for reviewing purposes but she had simply stacked them to be passed on though they stayed put for months. Thought I would share some.

The concluding poem from Crows Do Not Have Retirement by David Zieroth.

The Options

When you die
here are the options:
everything or oblivion

A centre of light and around it
all you love, those dead
and those abiding still
and each holding
an object of endearment
you lost long ago
before you came to
know land be simultaneously
at last
at rest
beyond words

Or else your cells
stop their chemical
talk, the neurons say no
and their warmth leaves you
not even the absence of black -
nothing of earth's up, round, biomass span
just the nonexistence
you tried to conjure once
by closing your eyes and
sleeping, except that dreams
fired their figments
across space at you
and your muscles straining

While we live
we pick one of these options
to live by, and neither is understood
the way the rain in the tree is
who speaks to us on March lust,
the way water and clouds are
which tell us to walk out
into the day,how to step
on grass and mud and feel the pull
upward and then sag an hour later
down, we with our little time
and our ideas and our blood

Monday, January 28, 2002

Winter Breath

. . .there is nothing more beautiful or enchanting than the deep blue sky and the snow covered earth, all things coated in hoarfrost, as the air sparkles dazzling the eye with ice crystals that dart playfully disappearing in a wonderful game of hide-and-seek as the the ground cracks beneath you when the temperature approaches -40

. . .smile at seeing your breath steam in front of you . . . susan jennings to see the other half and much more.
"Birds appear in poems to show states of mind that go beyond the human"
- Leonard Nathan Diary of a Left-handed Birdwatcher

Thursday, January 24, 2002

anne carson

via : . . .poet and essayist Anne Carson has been named the winner of the TS Eliot Prize for Poetry for 2001.

Spent last summer savouring Carson's works. Though she was awarded the prize for The Beauty of the Husband , I found "Part V The Anthropology of Water" in Plainwater captivating.

Water is something you cannot hold. Like men. I have tried. Father, brother, lover, true friends, hungry ghosts and God, one by one all took themselves out of my hands. Maybe this is the way it should be - what anthropologists call "normal danger" in the encounter with alien cultures. It was an anthropologist who first taught me about danger. He emphasized the importance of using encounter rather than (say) discovery when talking about such things. "Think of it as the difference," he said "between believing what you want to believe and believing what can be proved." I thought about that. "I dont want to believe anything," I said. (But i was lying.) "And i have nothing to prove." (Lying again.) "I just like to travel into the world and stop, noticing what is under the sky." (This, in fact, is true.) Cruelly at this point, he mentioned a culture he had studied where true and false virgins are identified by ordeal of water. For an intact virgin can develop the skill of diving into deep water but a woman who has known love will drown. "I am not interested in true or false," I said (one last lie) and we fell silent. (Carson. Plainwater , 117)

Saturday, January 19, 2002

Shirin Neshat

photo by shirin neshat

"There is a paradox when we look at pictures. We see the beauty and we see the dark side of things. Beauty tinged with sadness.
How is it that we must hold what we love tight to us, against our very bones, knowing we must also, when the time comes, let it go....?" - Sally Mann 1995 -

Tuesday, January 15, 2002


you have to choose what you care about
you cannot care about everything so care all the time

live compassionately infinitely

the action of compassion creates meaning
the action of compassion is an essential imagination

Feel, perceive, notice, suspect, be conscious of, be sensible of kindness, be alive to the sense of honour, be sensible to shame
". . . see the hundred universes that each . . ." Proust

Sunday, January 13, 2002

Missing Links

Posted on Jan. 13, 14, 17, 18, 20. 21, 22, 25, 26, 27.
They have gone from the web ... not even Wayback Machine can find them ...

Saturday, January 12, 2002


. . . believe in the beginning and end . . . the middle is so difficult. . . . too many twists and turns which inevitably result in anguish. . . gentleness does not equal a quiet freedom or choice. Silence is unbearable. Selfishness requests more and more.

If is the experiment.
Experience inspires but does not overcome.


"In everyday life 'if' is an evasion, in the theatre 'if' is the truth. In everyday life 'if' is a fiction, in the theatre 'if' is an experiment." (Peter Brook -- The Empty Space)

Exploring the empty space & the 'if'.