There’s a kind of tickling that language does, that letters do, somewhere in the brain. That reading does. Looking and the mind have a special relationship. As with faces.
In Geof Huth’s visual pwoermd, ffjordffloess, the letters and the ligatures that love them are Loki-like tricksters tickling. Trickatures. It’s a lavamelt, a slow glacial movement of f’s to merge together, to flow.
The f’s are doubled, duplicitous.
We have to ffjord the river of our usual alphabetic reading. The f-floes together. They melt, they mar, they merge with each other and with what’s next: a j or an l. It’s a music of ascender and descender. Fjords are made from that: mountainsides and waterffilled valleys. Mountain peak reflected in water.
And then at the end, there’s what seems like a half f, sliced vertically, maybe cut from a whole f, f-ed off, an anti-ligature, sliced. One arm gone. Only half a foot. And the arm that’s there, stumpy wing that it is, is different than the other f’s.
[The excerpt below is from a collection of Federman’s writings, Carcasses, published by BlazeVOX Books shortly before his death in October 2009. It was first posted on Poems and Poetics, blogger version, on February 28th of that year.]
Yesterday I bought a new tape recorder – and today I recorded a story on my new recorder – this is the story – I call it –
Thanks to Anna Zalokostas, we at PennSound have just now located recordings of ten of John Ashbery’s poems. They had been preserved in a Segue Series audio tape, dating from a 1978 reading Ashbery did with Michael Lally at the Ear Inn. We had left the Ashbery portion of this reading not quite identified, and have now corrected that oversight. On Ashbery’s PennSound page now, and on the Segue series page, you will now see — and can hear — these segments:
At that moment, an explosion occurs. At that moment the sumo wrestler dives; he enters the water and makes no splash. The prisoner’s strike is on. Often I wonder whether my teeth are rotting. On Tuesday I had my hair cut. In the bathroom I kill a cockroach as it tries to run past me. My breasts hurt I am pregnant perhaps. This prepares the manifold, earlier, immaterial representations, the mounting system centralized, happily groomed as yoga for planets. The earlier bonobos touched it and squirrels did their math to empower the mergers and exchange.
Waring Cuney, No Images as sung by Nina Simone
& other poems from Storefront Church
Waring Cuney (1906-1976)
pdf for Storefront Church (1973) from EPC Digital Library
No Images
But there are no palm trees
on the street,
and dish water gives back
no images.
(1926)
Ecstacist of the pwoermd
Geof Huth, wreading and the single word poem
There’s a kind of tickling that language does, that letters do, somewhere in the brain. That reading does. Looking and the mind have a special relationship. As with faces.
In Geof Huth’s visual pwoermd, ffjordffloess, the letters and the ligatures that love them are Loki-like tricksters tickling. Trickatures. It’s a lavamelt, a slow glacial movement of f’s to merge together, to flow.
The f’s are doubled, duplicitous.
We have to ffjord the river of our usual alphabetic reading. The f-floes together. They melt, they mar, they merge with each other and with what’s next: a j or an l. It’s a music of ascender and descender. Fjords are made from that: mountainsides and waterffilled valleys. Mountain peak reflected in water.
And then at the end, there’s what seems like a half f, sliced vertically, maybe cut from a whole f, f-ed off, an anti-ligature, sliced. One arm gone. Only half a foot. And the arm that’s there, stumpy wing that it is, is different than the other f’s.
Raymond Federman: From 'The Carcasses,' with a blurb by the author (redux)
[The excerpt below is from a collection of Federman’s writings, Carcasses, published by BlazeVOX Books shortly before his death in October 2009. It was first posted on Poems and Poetics, blogger version, on February 28th of that year.]
Yesterday I bought a new tape recorder – and today I recorded a story on my new recorder – this is the story – I call it –
THE CARCASSES
Ten newly found recordings of poems performed by Ashbery
Thanks to Anna Zalokostas, we at PennSound have just now located recordings of ten of John Ashbery’s poems. They had been preserved in a Segue Series audio tape, dating from a 1978 reading Ashbery did with Michael Lally at the Ear Inn. We had left the Ashbery portion of this reading not quite identified, and have now corrected that oversight. On Ashbery’s PennSound page now, and on the Segue series page, you will now see — and can hear — these segments:
John Bloomberg-Rissman: From 'In The House of the Hangman,' with a commentary on the process
At that moment, an explosion occurs. At that moment the sumo wrestler dives; he enters the water and makes no splash. The prisoner’s strike is on. Often I wonder whether my teeth are rotting. On Tuesday I had my hair cut. In the bathroom I kill a cockroach as it tries to run past me. My breasts hurt I am pregnant perhaps. This prepares the manifold, earlier, immaterial representations, the mounting system centralized, happily groomed as yoga for planets. The earlier bonobos touched it and squirrels did their math to empower the mergers and exchange.