Showing posts with label L=A=N=G=U=A=G=E poetry. Show all posts
Showing posts with label L=A=N=G=U=A=G=E poetry. Show all posts

Sunday, November 1, 2009

Bruce Andrews

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From Seven Poems


Dear World, fuck off advice ingredients, empty swing. Studies show that couples who try to avoid arguments tend to average higher happiness scores. Sizes carried, class analysis, men's consciousness-raising, medieval robbers, no one seems to know how many. There are freshly dug graves, but children were buried together, driven to obscurity by the unconscious need to cover up the defects of the argument. 'I'm a knee fetishist,' sit up, arching the back a little, the transformation of a worker into a mere hand. Noises? Smells fresh but doesn't linger = semen disinfectant, 20 kilos of heroin; if I had lost the race, I could start over, but by winning I get to race again. Eat letters! Excavations, soft minimals, ELITIST INTENSITY -- institutions no more than the barricades of repression clapping his twists. Great foster argument; crabbing which count mere heart shiver joints. Kick out stiff rubbed slow far fell crib. Was eagerly -- presses. Violent Crimes by Young Girls on the Upswing Across U.S. without the oppressive shadows of our protective images intruding. Clocks spike pupil visa -- goes to Africa on Vacation, Returns with Bride He Bought from Tribal Chief. It's like giving your whole body a facial.


Mavericks do not become great leaders. The organization is more the weighing of one part against another within a whole than the building of a whole through systematic succession. She is a child playing house inside her own enthusiasms, the kind of success that can only be measured in loss, a lot of useful scrutinizing, the insidious connection develops between economic dependency and sexuality. S, S, S & s & s, an intellectual: someone living articulately beyond her or his intellectual means. We have no other, a phrase that badly needs study. Nonsense bargains. I don't want an art of visual aids, this is the problem of an index. Events now followed with bewildering rapidity. What shit about loaves and fishes? Meet-me-tonight-cowshed. Vestiges of illusionism do not overpower but assume their place in a revealed activity -- "the terms I like to see," ...Faith-less Love, "defensive communication." Well grubbed, old mole! Taken as a whole, they are like quicksilver do's and don'ts -- what is the status of 'always'? Ten trillion flies cannot be wrong: Eat shit. Like a searchlight that had found its target, man's auditory equipment is similarly elaborate. ('No beliefs to propel him, only imposed but arbitrary obligations.') The touchdowns are the triumphs of will.
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Monday, December 1, 2008

Charles Bernstein

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چارلز برنستاین
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The Ballad of the Girlie Man
—For Felix


The truth is hidden in a veil of tears
The scabs of the mourners grow thick with fear
A democracy once proposed
Is slimmed and grimed again
By men with brute design
Who prefer hate to rime

Complexity's a four-letter word
For those who count by nots and haves
Who revile the facts of Darwin
To worship the truth according to Halliburton

The truth is hidden in a veil of tears
The scabs of the mourners grow thick with fear

Thugs from hell have taken freedom's store
The rich get richer, the poor die quicker
& the only god that sanctions that
Is no god at all but rhetorical crap

So be a girly man
& take a gurly stand
Sing a gurly song
& dance with a girly sarong

Poetry will never win the war on terror
But neither will error abetted by error

We girly men are not afraid
Of uncertainty or reason or interdependence
We think before we fight, then think some more
Proclaim our faith in listening, in art, in compromise

So be a girly man
& sing this gurly song
Sissies & proud
That we would never lie our way to war

The girly men killed christ
So the platinum DVD says
The Jews & blacks & gays
Are still standing in the way

We're sorry we killed your god
A long, long time ago
But each dead solider in Iraq
Kills the god inside, the god that's still not dead.

The truth is hidden in a veil of tears
The scabs of the mourners grow thick with fear

So be a girly man
& sing a gurly song
Take a gurly stand
& dance with a girly sarong

Thugs from hell have taken freedom's store
The rich get richer, the poor die quicker
& the only god that sanctions that
Is no god at all but rhetorical crap

So be a girly man
& sing this gurly song
Sissies & proud
That we would never lie our way to war

The scabs of the mourners grow thick with fear
The truth is hidden in a veil of tears



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Charles Bernstein



Ben Yarmolinsky, music
Charles Bernstein, Libretto

چارلز برنستاین

بِن یارمولینسکی
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Blind Witness: Three American Operas
published by Factory School, 2008



1. International (3:42): mp3
2. Against the Menace (Jill's Aria) (3:06): mp3
3. National News (1:40): mp3
4. Jack's Blues (3:08): mp3
5. Local (2:06): mp3
6. Financial (3:19): mp3
7. The Story of a Man(2:25): mp3
8. Weather (6:54): mp3
9. Sports (2:50): mp3
10. Closing (2:26): mp3

Jill Johns — Deborah Karpel, soprano
Jack James — Nathan Resika, bass
Jane Jones— Leandra Ramm, mezzo-soprano
John Jacks — Aram Tchobanian, tenor
Piano — Ishmael Wallace

Recorded December, 2005 at Gödelstring, Brooklyn, New York, December 2005. Engineered by Joel Hamburger. Image: Rachel Yarmolinsky
Commissioned by American Opera Projects, where it was directed by Grethe Holby.

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The Subject (1991)

Scene One

1. The Crystal Desk (4:35): mp3
2. Scheduling Duet (2:19): mp3
3. Jenny Midnight ’s Elegy (2:39): mp3
4. Frames Analysis (5:28): mp3
5. Jenny’s Platform (2:49): mp3
6. Normalcy (6:42): mp3
7. The Introjection Tango (1:38): mp3

Scene Two

8. The Inquisitor (2:52): mp3
9. Songs of Crossed Purposes (4:15): mp3
10. Men's Talk (5:59): mp3
11. The Subject (3:25): mp3
12. Mommy (3:03): mp3
12. The Children Are Quiet, the Horses Merry, & Everyone’s Gone to Sleep (Subject’s Valediction) (3:36): mp3

Jenny Midnight, The Subject — Carla Wood, mezzo-soprano
Dr. Boris Frame, Psychoanalyst — Stephen Kalm, baritone
Prof. Daemon Dudley, Director of Social Correction, Center for Normalcy — Thomas Bogdan, tenor
Piano — Elizabeth Rogers

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The Lenny Paschen Show (1992)

1. Opening Monologue (10:22): mp3
2. Monica Moolah (4:47): mp3
3. Wherever Angels Go (3:14): mp3
4. Paul Evangeline (2:19): mp3
5. Don't Get Me Wrong (3:46): mp3
6. Remember to Dance (3:19): mp3
7. Paul & Lenny (2:47): mp3
8. How Dull You Are (2:15): mp3
9. Maria Aquavita (2:16): mp3
10. The USA (3:53): mp3
11. The Show's Sensational (4:13): mp3
12. I Can't Stop (1:24): mp3
13. Conclusion (1:46): mp3

Lenny Paschen — Larry Adams, baritone
Monica Moolah — Darryn Zimmer, soprano
Paul Evangeline — Jeff Reynolds, tenor
Maria Aquavita — Jane Shaulis, mezzo-soprano
conducted by John Yaffé

First presented by American Opera Projects, where it was directed by Grethe Holby.



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Tuesday, July 1, 2008

Joan Retallack

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from
Errata 5uite, Washington, D.C.: Edge Books, 1994.


read read for real if men spit (res) upon ras -er- first go halfway
to set in motion inset for suffixed breast motion of abberation solo eyes
do not hear (her his) (his her) dislodged utensils insist on liken to elbow
to Old Norse angr 's grief erratic 5th aug / dim / wheel / column : for
cling read kling read klang erratum in farbenmelodie


read need for read arising from the phenomenon of color p lies in a plane
of 3 points svdig to svidg to sdvig having only letters syllables and silence
in this written form *ar-, *or-, *art (a) exist for exits [should have been
noted] man [sic] kind [sic] and you shall (be) followed by 5 blank pages
(b) to be spat out later


read for for four last line misting eart aron (of) spoken rhythms untitled
add a pronoun what it is/has agitated to a strange and not (for) tensor
analytic reads as reads as follows crossing the ford for Emerson saw the
sky glad to the brink of fear ybore dislodg-èd ensõ semiamazia o tics of
zero sum ergo blather to rush to race to wander


read for for fore tu (large bird) errorious to be in motion o tu cara
scienzia mia musica varied as were mixup agitatur not known the man
could not swim and Now apostrophe s restored to pronounce the ritual
formula punch in code for teeth (love 's savage splendor) read land and
math for lang and myth 's urgent isosceles smile



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Saturday, January 1, 2000

Language Poetry

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The Ballad of the Girly Man
by Charles Bernstein
Seven Poems by Bruce Andrews
Errata Suite by Joan Retallack

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