Peeping Mot: Available from Apogee Press

First assembled and composed in this forum, Peeping Mot is now a perfect-bound paperback book, published by Apogee Press.

Available from Small Press Distribution or Amazon.

Like the cast of characters A Maxwell has here assembled (Robert Walser, Aaron Kunin, Rene Char, Sir Thomas Browne, and more), PEEPING MOT is a collection of brilliant and occult profundity. Its propositions admirably reinvent the paternal, make a wry and deep inquiry into the function of poetry, and wield the epigram as Chinese box, as koan. It is a book of uncommonly beautiful language and enigmatic intelligence, packed with soft surprises.  – Maggie Nelson

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Bill Mohr, the terrifically energetic and generous historian of Los Angeles microliteratures and poetries was kind enough to put down these thoughts after receiving a copy last week.

Share of Voice

The imminent sorrow of the flaccid designator.

End of First Collection Entitled Peeping Mot

A blog becomes a booklet.  |  150 epigrams & concerns: 2010-11.

42

That while the language is not transparent, the language may see me through.

41

That poetry recapitulates the basic problem of language as forced entry –– or invention.

That the basic problem of language is reachability.

...

As with the family, or the living, or the poem––

We cannot compare.

Just stop equivocating–– you know that

The basic problem is reachability.

Epigram

We must fight stupidity with color.

Further Theories on the Graph

Sadness is wasted on the beautiful. Indifferent to its own capacity, beauty absorbs sadness as if a dispensation.

Beauty is an urelement; it seeks companions, but cannot commit to be compromised.

Sadness is a reduction.

Beauty often volunteers, but rarely communicates.

The moment of the beautiful cannot be depleted, and the career of sadness is toward depletion.

Sadness fails to individuate. Its transitive force exhausts itself in beauty's distended hypothesis, which is unanswerable, save for the wasting challenge of time.

Beauty has too few concerns, whereas sadness is always evidential.

The beautiful is wasted on the sad, who seek closure. But beauty, forever eligible, incapable of losing, it has an open face –– occupying space without a wasting rhyme.

Where sadness and beauty intersect, all action stops.

Node Failures

• The transitive relationship between sadness and beauty is refutation.

• Reachability: beauty and sadness each fails to disclose it.

40

That every poem is lifeist.