Always the soft boys.
Always the arts.
Always the grapevines.
Always the hirelings.
Publication is not origin.
Peradventurer's Concordance, Book of Genesis
- 18:24 Peradventure there be fifty righteous within the city
- 18:28 Peradventure there shall lack five of the fifty righteous
- 18:29 and said, Peradventure there shall be forty found
- 18:30 I will speak: Peradventure there shall thirty be found
- 18:31 unto the LORD: Peradventure there shall be twenty found
- 18:32 speak yet but this once: Peradventure ten shall be found
- 24:5 said unto him, Peradventure the woman will not be willing
- 24:39 unto my master, Peradventure the woman will not follow
- 27:12 My father peradventure will feel me, and I shall seem
- 31:31 for I said, Peradventure thou wouldest take by force
- 32:20 will see his face; peradventure he will accept of me
- 38:11 be grown: for he said, Lest peradventure he die also
- 42:4 for he said, Lest peradventure mischief befall him
- 43:12 again in your hand; peradventure it was an oversight
- 44:34 with me? lest peradventure I see the evil that shall come
- 50:15 dead, they said, J–– will peradventure hate us, and will
8.2.10
The happy son throughout the day, in the forecastles of description: "yellow", "purple", "blue". He pardons me my task-making, bursting into his tropical outlets, to refresh the elemental world with the digressions of a visual intelligence.
I don't mind that he comes first. As with Olson: "There is no strict personal order / for my inheritance."
I don't mind that he comes first. As with Olson: "There is no strict personal order / for my inheritance."
8.1.10
Before pitiless animals, it grew larger and larger, the Exhibition on a string.
Like moralizing to a child, there is no preparation for this –– this dislocation. I'm in the same boat, in the outer ring of the innocent section.
Like moralizing to a child, there is no preparation for this –– this dislocation. I'm in the same boat, in the outer ring of the innocent section.
The Conceptual Poet and the Hiring Committee
- Invests in genre limits, provided one can violate them.
- Somewhat underdelivers, often dancing around the encounter.
- Tendency to pleonasm, though clearly wants to charm. Hints of personals ad in the LRB.
- Open to traveling for panel appearances.
- Seeks to individuate. Cites collectives as evidence of curatorial abilities.
- Claims not to know who Laurie Anderson is.
- Hyperlinks to allegory (the most repeatable and literary of devices) as evidence of invention.
- Is flexible, underspecifying the 'movement' as necessary, hesitant to commit to self-description should the next conference demand another.
- May read too many back issues of October –– envious of painting's egress.
- Good at market research, though strangely views literature as emerging market.
- Skeptically references something called "Flarf". (HC - No one knows what this is.)
- Provides consistent consumer reporting on previously used theoretical apparatus.
- Definitely willing to travel for panel appearances.
- Possible hire.
Peeping Mot p.3
Bargaining at the counter, the avant-gardist tackles the convoys of scholarship to concoct a personal best -- the 'only one of its kind'.
07.31.10
The terror of an empty box when the adult aspect charms it with an emotion. The comfort of an 'empty' room when its inventories are ready collaborators.
It's animation that's the problem –– this space that fills so easily, into which, soft boy, we have brought you so many strangers.
It's animation that's the problem –– this space that fills so easily, into which, soft boy, we have brought you so many strangers.
7.30.10
He's delighted, and we want that.
He fails to describe the world in the canonical way, and we want that.
Such even prospects.
He fails to describe the world in the canonical way, and we want that.
Such even prospects.
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