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Canto XIXand when Porush won that fellowship at MIT he spent the money on a Camaro and unveiled it at his grant party “my project,” he sd/ and promptly schwittered away to the Combat Zone eyes in bottles like in Blade Runner bottles of whisky like in Blade Runner broken bottles like in Apokalips Now eyes that the Air Force has decided to alter by grinding instead of slicing the cornea because G forces might skim the goo right out the sockets like so much jizz that killer in WA provided so many so many “I had not thought death had” done up so many in ribbons and bows until I saw Night Watch are vampires really all that bothered by AIDS seeping into the blood supply or is it just another UR-bane Legend like the kidney thief or the dude with the hook for a hand or the UFO bobbing past Arthur Godfrey strumming his ukulele people are wrong to take drugs because when they take drugs the drugs are taking them somewhere Bucky’s balls aren’t the problem it’s his feckin’ homerunthatdents my fens don’tcha know hoo ahh people are wrong to take drugs because when they take drugs the drugs are taking me somewhere oblivion waste sobbing waning death sweeps all aside sleeping the small drum thrumming along people are wrong to take drugs because when they take drugs they’re taking them away from me Francesi cocks and clocks hands and numbers pissoir battalions march out Napoleon’s troops have hit sack and G. Kahn’s men, dormez ‘vous? Tamurlane’s boys tucked Darius sunk
Sun rises Sun sets life circles the drain born to rise but sent to die three days later rising son blind poet blind seer blind vagabond nursing a bottle of gin odor of strong clan blond muscled blond though beauty swells beneath skin Dog Star staring at him through eons eddies of the universe dark energy flowing in the main tributaries matter tossed aside yet streaming poems are wrong to take drugs because when they take drugs the drugs are taking them somewhere where we can’t go and if we can’t find them then the drugs will find us here where they left us because we wouldn’t take the drugs that took them somewhere else and someone else will give the drugs away before we get a chance to refuse them to show how permanent we are like concrete while they are more like birds or maybe pigs that fly or ducks that won’t anymore because they’re high on becoming fois grais or eggs that come home to roost hoo ahh like eggs that come first hoo ahh or maybe WE took the drugs before they could and that’s why they were wrong to take the drugs away from us because now we can’t find them anymore even though they look like concrete birds or pigs or ducks or eggs onthetownonthetownonthetownonthetown with Federman and oysters and
[Friedman jerking off butterflies] Print Your Own Money! declare your self UR-self: a nation freed from 3 dimensions as Spinoza sd/ “harems are paradise” hoo ahh
at the Barley Sheaf Farm Estate & Spa with Hans Arp and twenty horses pulling a brewer’s hearse through Satie’s gym nasal tones hoo ahh Lily Tomlin has no accent no accent nasal tones yes but no accent proto human at the Improv superperbian plebes emboldened proto frightened simians at the Cellar Door where there is no Orgone Box hidden beneath the stage’s trap door nor even a crystal ball nor Weegee at the ICP nor Wild Strawberries at the Met only ‘what ifs’ following Madame Blavatsky through the curtains — rocks flying and brimstone and sheets of lava sweeping into the sea hoo
ahh flooded panoramas swept pine cones’ petals sprinkled amongst twigs and needles green sparkling in sunshine clouds swing —oceans of clouds rolling over hills Mount Wachusett —adieu! red flowers cut between sage seeds blown about dandelions’ froth breath of powder pine pollen clouds sprinkling of locust leaves —acorns clinking the car’s roof —lilacs smoldering day lilies firing as flames then out: brown petals droop —fences vary from stone to farm railing to picket to wire hung with bunting background for phlox with UFO bobbing past —declare your cocks and clocks —hands and numbers dormez ‘vous? harems march out
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Thoughts on Pattern Recognition by William GibsonOneTwo Three Four Five Six
cantosIII III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII
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