Playlist: April 2021

Last year’s April was a leap year. For every 29th day I summoned to think of the hours as gifted, secret, strength. I spent the actual leap of February in somebody else’s bed, a cherished cliché: cradling sadness, cat-sitting, reading Anne Carson and rolling the word ‘tableaux’ around my stressy mouth, whose hostile environment required twice-daily salt-rinses. On the 29th of last year’s April, I wrote about vermillion and silverware, ‘the lint of your heart’ and hayfever. A friend and I exchanged tips on how to best work from the floor, how to make it your best work. I miss ‘working the floor’ in other senses.

What do you want is not the same as What would you like?

There was a reading group on Lisa Robertson’s The Baudelaire Fractal (2020), and the Zoom chat was elliptical pursuit, a good fuck pendant, fractal kissing and restless deferral. The word besmirch which isn’t a word search.

Those days

I remember cycling long into the hard sun; I recall better eyesight.

Okay, recently. Do you want to hear this? I spent a week of anticipation, languishing with migraines and digestive upsets and the kind of blues where mostly you curl foetally into the fantasy that really you, or this, doesn’t exist. Sip worry coffee and brush the hair, tweeze or shave, sit patiently on top of the abstract, waiting for something lucid to hatch. ‘Opening up’. A weekend bleeding, the minor cramp of womb in Autechre rhythm; then a further week of physical ailment whose primary treatments, according to the lore of reddit, included punching one’s spine, counting to ten, pinching between nose and lip and lying in hot baths. I did not have the baths, which seemed terrible and luxurious given how faint they could make me. I read two books by Samuel Beckett.

In Garments Against Women (2015), Anne Boyer writes that ‘Everyone tries to figure out how to overcome the embarrassment of existing. We embarrass each other with comfort and justice, happiness or infirmity’. It is awkward to smile and to squirm. To be red-faced and faint after a luxury bath. To be found frowning in the Instagram reel of somebody else’s dreaming. To apologise, to dwell upon, to ask for help. To be the one clutching a hot water bottle in the Zoom call; to hide or show this. To sip beer, the migraine coming. To say “hello” from the room next door. To deem something luxury, to partake of it. ‘I have done so much to be ordinary’, writes Boyer, ‘and made a record of this’. Say I learned this month how to paint my nails grape soda, define hypercritique, appreciate the slept-in curls of my hair. 

It is awkward to be unwell, to express this without clear definition. “Sorry it’s all late, I’ve been sick” and to not elaborate on that sickness, the specific ways it kept you up all night, kept you retching or clutching something tight inside yourself which seemed to want to give birth. A stray barb or small contaminant. A numb pill. Transpiration is the process of water movement through a plant and its evaporation from aerial parts. Plants are not awkward; they just grow. Sometimes upwards, sideways; sometimes back inside themselves. Wilt logic. ‘Let’s be happy insofar as we were for a few days not infirm’ (Boyer). The ecstasy of a new morning where the body stretches out, the mind clears and one is ready to work. Who gets these mornings? Can they be traded? Is their delicious ease somehow fungible? What would I give for more of them? Fungus, rot, the fangs of lilies.

Maybe it starts with crisp garments. But pretty soon the neat attainment of day will unbutton. Watch it happen in Lorenzo Thomas’ poem ‘Euphemysticism’: 

Some happily sing
They have joy for white shirts
Singing “O white shirt!”
And that’s just the start

What ecstasy to declare the white shirt! What embarrassment! The chiaroscuro of lily-white shirt against the everyday’s dull shadows, but then showing up ‘baby pictures / Of pollution becoming disaster’ and Thomas’ poem is all about this. Disaster. Headlines, emissions, confusion. And that’s just the start. ‘A man crashes with his shadow’, perhaps because there is no one else. I did this for months on end because nothing else was safe. I could go the long walk for my safe grassy spot and crash there along with my shadow. I crashed in sunshine and rain. Crashland. Why did I bring the lily. It was like being fourteen again and walking for miles just to find a safe, anonymous place to smoke or weep. Sleep crash. ‘In the prickling grass in the afternoon in August, I kept trying to find a place where my blood could rush. That was the obsolete experience of hope’ (Lisa Robertson, XEclogue). It was like staring at the potential of Marlboro Golds tucked behind books and wondering what version of me they belong to. Synecdoche. Rising swirls. The poem burns out but also gets better. Blood rush and screen crash are lyric in pop songs. Sorry my windows. They are getting cleaned today.

Narrate my day again to you.

Thomas’ poem turns to the reader: ‘I’d like to check your influence / Over these ordinarily mysterious things’. The poem takes pictures or talks about it. What is a photographer responsible for? Do they re-enchant or estrange? If someone took a picture at this point or that point, if there was evidence, who would need to be told. How do you photograph pollution? Is this merely witnessing? In the past year and more, I have become witness to my own inability to really see. Disaster itself recedes into medial condition, blood swirls, scratching matter. I think of the way Sibylle Baier sings ‘I grow old’…

Some happily sing the white shirt and are they complacent with their conditions of work? Influence! ‘Desire is a snowscape on a placemat’ (Thomas). I trace its snowy lines in the stray thread of this weave. Ant-sized bloodstain. Am I to be made safe, or eat giant buttons? Put your plate on a place elsewhere and devour the rolling hills. Artificial snow is delicious. Crinkled thread. The white line curls around my tongue like spaghetti. Lila Matsumoto has a poem, ‘Trombone’, about hammering buttons. I unbutton the top three buttons of my blouse to walk around in fifteen degrees, absorbing/zorbing, and call the sunlight oil inside me. 

‘There is a risk inherent in sliding all over the place’ (Boyer). This is what language does. There is a risk in crackle, in static, in the O shape of ‘sorry’ or ‘love’ or ‘alone’. Petition to upgrade for bubble emoji.

Last night, on the train back from another city I had not visited since August, I opened Sarah Bernstein’s new novel, The Coming Bad Days (2021). I did not close this novel again for several hours, except to pass through ticket gates or beyond groups of steaming men whose presence was vaguely threatening. They seemed cardboard cut-outs, stumbling towards me. When a migraine began burning my temples, I took paracetamol and kept walking, reading. When the light became gloam I walked faster. When I got home I sat at the table and opened the book again, like a schoolchild eager to begin their homework (as a ticket to freedom) or revisit a dream. It is risky to write about something you finished barely twelve hours ago. It’s embarrassing, the way talking about illness is, or happiness. To gush. You risk offering a raw piece of thought. Something has stuck to you and you are trying to convey the exact, impossible, vicious way in which you are changed by it. Still steaming.

This is what I understand by gorgeousness. As in, I gorged on it. 

In the book’s last third occurs a fabular moment. The narrator is often telling their inner life through external surroundings — textures and fluctuations of weather. This is also to tell disaster. It is not the dramatic crash so much as a slow, implacable violence whose consequence ripples below and above the surface of our lives. Sometimes there is rupture: a cyclist is hit by a motorist, a storm occurs, an unspecified act of harm is committed, a life-changing conversation alluded to. But so much is in the insidious atmospheres which turn between dream and reality, which refuse to be nailed to the moment: 

I dreamt of a landscape, overgrown grass, trees blanketing a hillside, leafy canopies moving against the sky, a deep river bisecting the scene. Fat berries pulling on their stems, apples weighing down their branches. Then a breeze came through with a slow hiss, and I knew it carried poison on its back. Here was a green abundance that I could not eat, a cold stream from which I could not drink. Take care, a voice said. Take care to call things by their names. 

(Bernstein, The Coming Bad Days)

In this Edenic scene of harvest and green abundance, nothing is properly named. The landscape is unspecified, generic, anywhere. The voice belongs to anyone. It could be a serpent, a god, an angel, a person. Unlike Adam, the narrator cannot name things in nature. It is not their purpose. They came to Eden in dreams and after the fall. What fruits of knowledge exist are overripe and almost a burden to their branches and vines. In addition to the biblical resonance, this passage recalled for me the fig tree motif in Sylvia Plath’s The Bell Jar (1963),the poison tree of William Blake’s poem from Songs of Experience (1794). Wrath is in the air, and failure. I want to wrap around the passage like a kind of vine. Hold and be held in it. Is language a kind of taking care? A watering cruelty? What are the ecological arts of attention and tending to, towards, against? 

I was struck by the possibility that Bernstein’s narrator embodied the abject and porous, slow and injured thought of an anthropocenic subject. This statement feels inevitable. The only abundance they could conjure was unconscious and laced with ‘poison’. It could not be imbibed; was not nourishing. But somehow such dreams nourish the text. For all its depiction of coldness, cruelty and the failure of communication, the cold stream of suffering, the weathering of Bernstein’s lyric prose effects a possible intimacy. Weathering, for Astrida Neimanis and Jennifer Mae Hamilton, ‘names a practice or a tactic: to weather means to pay attention to how bodies and places respond to weather-worlds which they are also making’. I think of the narrator skittishly eating cheese sandwiches at the window of their office, every single day of the week. I eat this sandwich with them. What is it they see? Each iterative mention of the weather reminds us that the social and interpersonal dramas of the novel are part of the medial, immersive or remote dramas of climate. The agential presence of rain, frost, clouds and fog, the turn of the waves, the ‘glistening violet evenings’: it’s more than metaphor. It sinks into the prickling skin of Bernstein’s language. Maybe you’d want to call this a weathering realism. 

This novel seized me to read with compulsion, the way a dream does come and the writing of the dream is luxuriance that only later you bathe in. Not quite vulnerable or resilient. Responsive. Exposed to something. 

On the 28th April 2019 (no entry for the 29th), I wrote in purple ink: 

We would do better to sleep now, I have been sleeping much better and trying to resist the pull of insomnia, trying to perfect a monologue. What comes and goes in a dream without noticing, whose handwriting on the sun you recognised chancing your luck with yellow corn and fields of trials against sensitive, colours of smear and floral obstacle. Hyperboreal data flow into the crinkle cut futurity. Applying for latitude, acid. 

Not sure about ‘we’: did I mean the ‘we’ of me reading back, and the ‘me’ who was writing, there in the moment? Are you also included, reading this passage over one of my shoulders? Can we take care to name things in dreams? But when I dream of people — friends, loved-ones, family, colleagues the famous — as I often do, what happens when I write their names? Am I opening them up to something that could harm or exhaust them? Is their presence a giving over of energy? Am I to be persecuted by the purple, anonymous flower of somebody’s need? What if I didn’t even know? What if the mark-making of initials was key? Will it bloom or wilt?

Go back to sleep in the forest, soft cosmos of dissolving forms. 

There is a sense of missing someone that grows an acorn in your belly. It hardens and rattles with new life. It burns out of place. Leaves you with a feeling of placelessness. Impregnates every word with the possible, the fizzy wake, the fear and hurt. Makes you grow sideways. Hey. To exist in no-time of not knowing when the feeling comes. Pastel vests are back in fashion. Pull over. Kisses. Rarest flower emoji that doesn’t exist. To be sometimes well and other times racked in a well-documented madness that pays various attention to weather. Something painful. A few days of goodness seized. I would leap out the door, do 15,000 steps each day; so I would name the colour chartreuse when I saw it. Watching for changing bone structures in Zoom tiles. Your hair grown long and lemon blonde. My internet broke for a whole day and night. I felt old-timey in the pdf archive. Phoned you.

~

Bebby Doll – Weeks 

Ana Roxanne – I’m Every Sparkling Woman

Zoee – Microwave

Cowgirl Clue – Cherry Jubilee

Laurel Halo – Sun to Solar 

trayer tryon, Julie Byrne – new forever

Life Without Buildings – Sorrow 

Cocteau Twins – My Truth

Kelsey Lu, Yves Tumor, Kelly Moran, Moses Boyd, ‘let all the poisons that lurk in the mud seep out’

Iceage – Gold City

Le Tigre – Deceptacon

FKA twigs, Headie One, Fred again.. – Don’t Judge Me

Porridge Radio – Wet Road

Angel Olsen – Alive and Dying (Waving, Smiling)

Big Thief – Off You 

Perfume Genius – Valley 

Grouper – Poison Tree

Sonic Youth – Providence 

U.S. Maple – The State Is Bad

Sky Ferreira – Sad Dream

Waxahatchee – Fruits of My Labor (Lucinda Williams cover)

The Felice Brothers – Inferno

Bright Eyes – Train Under Water 

Weyes Blood – Titanic Risen

Lucinda Williams – Save Yourself (Sharon Van Etten cover) 

The Dream Turbine

Excited to announce a new installation I’ve been involved in as part of A+E Collective. From The NewBridge website:

This online installation explores the relationship between sustainability and dreaming, offering a space to collectively share our dreams and have discussions surrounding these broader topics. The Dream Turbine was conceived by A+E Collective in collaboration with Niomi Fairweather and Jessica Bennett, as part of the Overmorrow Festival.

A turbine (from the Latin ‘turbo’, meaning vortex) is a device that harnesses the kinetic energy of fluid, turning this into a rotational motion which can generate electricity or otherwise ‘work’. From windmills to waterwheels, turbomachines are a crucial part of our energy history. The Dream Turbine is a speculative, participatory turbomachine for stimulating, processing, converting and sharing sustainable and postcapitalist imaginaries.

From Earth Day to early summer 2021, A+E Collective will be taking to cyberspace and installing The Dream Turbine at The NewBridge Project. In solidarity with The NewBridge Project’s values of cooperation, adaptation, environmental and social justice, The Dream Turbine hopes to promote alternative, non-extractive ways of thinking, desiring, memorialising and living through various ongoing crises as individuals and collectives.

More information here.

A+E Collective website.

Instagram: @a.e.collective

Dear Town Square

Pokemon Let's Go Guide - In-Game Alolan Pokemon Trades - Just Push Start

Dear Town Square

My horse disappeared. I had contrived to love the rat
with cheats. Have you considered the ethos

To save your game, pluck acid out of the water;
is communism good code to love you

For bread? In summer I chose the orange grass
with yellow grass, the blue inedible magic flower.

In winter the white grass, blue grass of spring
a verdant seaweed and moondrop flower

Will you take me to school today? I want to learn
the inevitable lesson, in the law of spring/summer

Green-grass fashion, will you describe a toy
flower, sift me from hill, let grow?

I put the wild-grown light in my hunger
I put the coloured grass under soft expense.

I cantered hard across the dream salad
of somebody’s laughter, I lost you

Pinkcat, gathering these flowers afield
before I fell into clement spinach.

If hurricanes come, bless a watering can.
The rats will carry me gently

For every yield of our life, soft rain
the average shipping cost of corn and onion

Or a peach tree dies in the sun
as soon as we receive the foiled mushroom.

(NEW BOOK) Sonnets for Hooch: Lemon Bloom Season

Sonnets for Hooch: Lemon Bloom Season
Mau Baiocco // Kyle Lovell // Maria Sledmere
[56 pp.  //  A5 // Perfect-bound  // Run of 100 // 17/04/2021]

Announcing the first of four seasonal pamphlets of sonnets, written in collaboration with Mau Baiocco and Kyle Lovell.

Available to order now at £6 inc. UK P&P.

~

Praise for Lemon Bloom Season

Like a liquid prisoner pent in glass, I once thought the sum total of human ingenuity was Fanta Grape. And then I read this collection, the perfect expression of what it means to write your poems in the mouths of your friends (as I think Derrida said). You know the part of a poem that stays at the bottom of the bottle, collects as crystallising residue? If you read these poems out loud for long enough, the sounds train your tongue to flicker in there like a lizard and the why of the world just fizzes and melts.

– Colin Herd, author of You Name It (Dostoyevsky Wannabe, 2019)

Of all sciences, is our Hooch poet found at the highest. For they doth not only show the way, but giveth so sweet a prospect into the way as will entice any person to enter into it; nay, they doth as if your journey should lie through a fair orchard—at the very first give you a cluster of lemons that, full of that taste, you may long to pass further.

– Sir Philip Sidney, author of An Apology for Poetry 

When put to our focus group, seven out of nine consumers agreed that the tasting notes for Lemon Bloom Season were long, smooth, and ‘distinctively yellow in its language’. One consumer attempted to quote Roland Barthes. Another consumer attempted to put forward a new theory of ‘Bitter Poetics’, before being given some more Lemon Bloom Season sonnets. Everyone was glad.

– Philomena Zest, SMOOCH™ CEO

Playlist from Hooch Launch Party

Sample Poems

This Place is Rammed

It’s Aries season and here’s a poem for Colin Herd’s birthday last week.

🔥♈🔥♈🔥♈🔥♈🔥♈

This Place is Rammed

The canteen was a dream canteen. No, it wasn’t on Mars!
I sat beside Colin Herd in a supervision that seemed to exist
horizoned on the kind of table I want to call cherrywood
is the word for anything darker and 
sweeter than pine. He asks
if I’ve been writing lately. A poem, “The old 
acid pit of the heart.” I turn sideways 
to offer him a Ready Salted Walkers Crisp.
We talk publishing. I am courageous and yet 
worry about waiting for lunch.

“O happy birthday!” 
it occurs to me
that I am a day or so late. 
I know he’s an Aries because 
everywhere in the dream I see red. 
It’s so busy. We’re not even
just a vibe. The packet 
of crisps is obviously red. The flames
in new-lit candles. The irate cadmium
aura of waiters, who should get better pay. 
I’m wearing red corduroy flares 
like in the Bob Perelman poem 
we heard last spring on Zoom. I’m showing 
a loss. Is cherrywood red?
I’m stuck in my chair. The sound of the crunch of
the crisp is red. Colin’s drinking 
a bright red thing with Campari & grenadine
Denise would approve of. Everything
is totally youthful. Will Colin eat
the big slice of blood orange? 
Tell me a glorious story!

Playlist: March 2021

musk wish

the orange in the middle of daffodils was a song and when I saw you thru the blossom portal say all is well, you weren’t saying much but when I saw you thru the well with pennies, when I threw in the well my pennies well are they heavy? I made a wish on the topic of better, getting light or better, patterns on the vase aren’t like pollution or lightning storm at the top of Blythe Hill, but I noticed the temperature in California is 26 degrees right now

is it always the mild wet winter of narco swing and blithely fixing your bike to be rare in comparison, zero rate exempt from tending the flowers. I want to be a raw kind of feeling you peel me from bed I am become rosemary or behind the wall is a spring it gives, who delivers, there is pollen to breathe or not to believe I am warm dry summer as a mattress tastes of 

wanting to embody the reading, its sweat I listen back, the baroque life of water, agua viva and what cherished of haunting, not this, or more classical forms behold, memory dream on the back of march and not taking the air for granted, blisters and songs I would listen to what if I just get sick what if I am nausea after all 

reality I have a cheat code for bearing the rain like Proust didn’t have to, I hate food, what name do you give these creases, I am less than and tenderly to live in grey now where seagulls are more specific or can you say a herring gull lands on my arm at night or the formerly known as movement

alights at the scene where you ask for more sauerkraut please, let’s pull over, at the very least did we come here shining delete the bell is a girl or rind or grapefruit or very becoming after word marvellous today is beautiful about today it wanted to change our lives but who would assemble that statement, not for police who look in the beehives but scintillation is like, everywhere we study of illumined tinnitus, toothache, their white light crushes but did I establish 

taking the painkillers of chefs, being squeezed out of the area, I dream a fat free cottage for sale and is it your birthday I’m scared of the sound of bluetooth the bad grammar of science daily the refutations of rainfall where your city is better, blood-soft atmospheric I’m simmering gnocchi as we speak

the mile-deep plants beneath the ice of Greenland, birds-eye, closing the door, I fall for the novel corona warm salmon it is a cold-water wisdom dish in the arctic sponge cake taking my place off

the flowers! you held them outside the shut nightclub and from subatomic world you were lovely? I remember the irl as like endless page refresh not knowing which leaf would shake first or press water to go back, up, the ana-cathartic condition of touching my spine obsidian, you know everything

as some of us are in the gutter some of us are looking at mars I’m looking at you elongated and some of us wear musks of various species like white black or red musks my favourite is the red offering and to wear it with chilli tobacco and smoke out my window to spicy clouds will only work in lockdown 

like forgetting to mute in shrine of noise be sufficiently cooked thru a planet does taste like the species of a sex of deer is it tender or am I to make this with butter and yellow as yellow does a lot for itself for orange and musky everyone

unlock with your face, where is nautical the ID

I want to know twilight

~

black midi – John L

Aphex Twin – Acrid Avid Jam Shred

Felicia Atkinson – Lighter Than Aluminium

Yellow Swans – Limited Space

Lee Gamble – Locked In

Aïsha Devi – Mavda

Porridge Radio – Pop Song (Clarence Clarity remix)

NNAMDÏ – ART SCHOOL CRUSH

illuminati hotties – melatonezone

Remember Sports – Tiny Planets

Kississippi – Indigo

Savage Mansion – Wig Wise

Squid – Paddling

Dry Cleaning – Oblivion (Grimes cover)

Jinosaur Jr. – I Ran Away

Indigo Sparke – The Day I Drove the Car Around the Block

Fugazi – Afterthought

Drop Nineteens – The Dead

Playlist: February 2021

you want snow, personally want to know will it end? The snow was a space it kept filling until the light went down and there was no song, just white in a sepia, sepia song. Was friday night, first night, and you could get a wine right now, a wish right now, you could fill it with wine. I do it all the time and there’s another card to prove it. Notifications softly accumulate in organic bright square. I have to stay awake; there are these bordered gardens I walk on the boardwalk I’m bored of walking I do it all the time; we stop sometimes (pensive) we watch each other not-smoke over the Zone. You want snow and I fill a glass of it, crisply; gushed from the tap but I still have precision, white grapes sour my organs hurting. We’re in the milk bar in some novel, some game, is it Clock Town? I am always taking you to Clock Town where the moon’s tears shimmer and there’s always a love affair to intercept with letters. Dearest…I meant, putting these shiny earrings in for you, quartz chips, I lost one? There is a proverb, a space; you fill it. Don’t fill anything right to the brim unless it’s coffee, I’ll drink it, overfull the stars and so on only as old as they think they are! We’re never too young for clubbing, the air is infectious you go out with mittens you glow — I am taking pictures of Kelvin Way, the avenue, the sorry trees. Likes of likes fill up like snow, like pc4pc like another moratorium on the heart react but you are bees. Drape inwards where the nape of a neck is pearl. We are weeping in the reading and we never were too young for this. Her version of treble mix in blackbird, favourite, a yellow call. Stereo. Some things a poem keeps secret. We’re in the milk bar and I am the tender of bar, a bar of milk (chocolate!) that gets you high, highest on wednesday’s the hump day pack it with double the sugar. Let’s grate hours upon hours, shredding plainsong, blackbirds, milk. The calorific value of daylight is only that you live it, don’t let anyone tell you they can harvest good will from the sun, it’s all watts, you know, I always fancied myself gentrified sunbeam for lunch but only on vicarious fridays, like I’m in love and it’s caused by coffee, something S. said once in a poem or essay, it’s easy, you take off your clothes and go swimming in the ice melt, SPACE, it’s sentence. We’re never too young for air, I’m greedy for oxygen like it’s 2014 and having moshed for sufficient number of hours in the outdoor crowd of this gentrified field I will take this body to the oxygen bar. You have the summer bod, the winter bod, the hot bod, the boy bod, the girl bod, the professional bod, the Zoom bod, the new bod, the non bod, the gains bod, the ghost bod, the fire bod, the ice bod, the willow bod, the swim bod, the shame bod. We sat in the oxygen bar anyhow, C. spent obnoxious amounts on a bottle of water that lasted forever, BPA-free, we cradled it all morn like our baby, she was, the clarity in that! Sparkling, milking, added vitamins. It is friday night on my desk there are innumerable pamphlets of poem, wires (no liquorice), f.’s glasses, a pink slab of crackle quartz, a coaster (forever unused) that says ‘please don’t leave’ inside a heart, melatonin pills (I will take one later), the bottle cap from a bottle of nye’s Classic Hooch, a lukewarm of tea (green), three-way pencil sharpener, hair clip, an orange pomander candle which I am horrified to say advertises itself as ‘Harmful to aquatic life with long lasting effects’ — so in any case you won’t catch me throwing this fire in the sea! Special aquarium babies we are. It contains limonene, geranyl acetate – the candle, not the sea – and asks to be disposed in an appropriate disposal site. A film called Dive in which I am force-fed squid in the back of a taxi, now where have we seen that one before? A. has a vegan fridge a white shelf a row of spices. Tell me where do we all go lay rest our candles, how to elegise that which symbolises elegy, say prayer. Is this merely to blog or to bathe in pond life, gentle aquaria, I see through other glasses the reflective lettrism of darknesses unknown to us! And you’re still reading! Snow person melts into people. There is melt poetics. I clip back the starry excess to say wait here, we’re on the brink of something is it the beach in the email the long bright stretch of waiting, white sand, gold sand, brown sand, blue sand under the moon (!) how long it’s been I hope you’re okay and other famous online statements the daffodils wilt too soon is sun they want so much blush pressure it’s barely gone february, melt and blush. A year ago today we all kissed I did cartwheels the vodka was long and delicious, the room was huge, our hearts acidic. Monopoly for dogs. Sharing a space, you hold. Is it to never feel correct in the body, what is correction? Not lighter fluid or erasers, not rubber bullets, silver bullets, see that spray you put in your tea or under the tongue? It’s sultry. Tip-Exx the sky of its sentences: And the man at the station asking about rizlas; I wanted to be inside the movie somehow; grunge boys in their teens wearing mum dresses. On the phone elsewhere I cry on the way to vaccine because of the wind is alarmist and two days later my arm is bruised but something is glowing we call it glitchflu. More like, what do we have energy? I am carelessly humanist transition I walk on pavements I pin my life to the side I kiss your brow I am kissed regardless the stars are yes say here the waves a glissy sensation a wine or is it the dawn so aeropressed. How long? I want a dial-in thesis, drive-by thesis, dive-bar thesis. Double shot — What exists? This is going to argue [that] I don’t dare ask to hold my breath I am falling from air, extra shots, impasse, salted caramel, the jag didn’t hurt a bit but all night the ache and a glandular longing to be again born on the brink of full moon the wires and coming along the Clyde coming up was almost the sea or when the air hit my face it was a whip it was west; I saw you in the loch in july. There is a bird and curlew, bless you, how many times we had to admit this was happening and pangs for an X and cutely go as it does then stain us. How easy to forget a persona. The shape contains us. I was even incubated as a baby for what, for not being able to breathe or die. What remains is the sand and the wind alacrity then scrap matters for how a throat hurts get so leafy. Breath. Swipe here a useless space. E. says I look languid I am wearing all white my hair hurts my breath hurts the glass is apparent, scalp clip, red-lipped to say you are blocked and so far outside and the subtleties in difference between silence and mute. Ecru! Career poetess of the sea except. How to protect yourself and others. The comment section filling with memory snow as the sky is a mattress, let’s bounce from it. There is time after time after time last seconds ago the edit came down from the rain and your tongue and shining. Don’t say it? Don’t say it at all? The arrangement of tulips a mathematics what do people in American movies really mean when they say Do you want to come over we’ll do some trig? Mothers not mothers arranging the vase it is glass the atoms are careless. You see the one yellow tulip had flopped down in the window this is the yellow we are a very strong yellow a limp yellow a lip, equilateral, let’s count stripes or feel inside they are silk, the trestle, assemble the trestle, the trellis. I’ll grow across pink suns to see you, extra life of the indolent, a quoted splendour; the dinner we coated with rain, with lexical deference, with delta waves, with petals, equations. Pass me cigar. I am propped against sunset. The smoke is to say

~

Hannah Diamond – Hi

SOPHIE – UNISIL

Janelle Monáe feat. Grimes – Pynk

CAN – Waiting for the Streetcar

Jeff Buckley – The Sky is a Landfill

Silver Jews – I’m Gonna Love the Hell Out of You

Judee Sill – Down Where the Valleys Are Low

Zella Day, Weyes Blood – Holocene

Porridge Radio, Piglet – Let’s Not Fight !

Julia Holter – Sea Calls Me Home

Dorothea Pass – Container

Cocteau Twins, Harold Budd – Ooze Out and Away, Anyhow

Hypercritique: A Sequence of Dreams for the Anthropocene

Pleased to announce a new journal article, ‘Hypercritique: A Sequence of Dreams for the Anthropocene’ is now published as part of Coils of the Serpent’s ISSUE 8 (2021): IM/POSSIBILITY: ON THE PRODUCTION, DISTRIBUTION, AND ARTICULATION OF THE POSSIBLE AND THE IMPOSSIBLE. With thanks to the editors.

You can read the full issue for free here.

What sort of coming belongs to a dream? Existing suspended, to come, now, is to place impossible faith in the possible: that passion for “something” which answers as closure, fulfilment, echo, return. The conditional tense, “to have given us to believe”, as though this were the very text we were each receiving. And I call you from dreams like the siren, and I am more of each line, the outwards spread which you circle to end, ellipsis, still typing, which you centre but do not settle. The anthropocene, this hypothetical epoch of the lived, the literal extinction, asks us (and could it) to see ourselves coming as pure expenditure, general economy, the discharge of species.1 And so I ate the lure and let me go.

New publication: Miss Anthropocene

Miss Anthropocene is a selection of short lyric, ‘ethereal nu metal’ poems responding to the Elon Musk/Grimes complex, from intimations of emerald fortunes to billionaire shares, conceptual infinity and big e-girl energy. Through academic research, poetry and music criticism, I’ve been hinging on the ‘miss anthropocene’ project for some years now, and the arrival of Grimes’ 2020 album of the same name, on the brink of pandemic lockdown, was the final impetus to write this. Responding to the record’s conflations of misanthropy and our current geological epoch, Miss Anthropocene explores weird desire, gender, material intimacy, temporal distortion, apocalypse vibrations, pop music and a petropoetics of excess and residue within the frenzied dramaturgy of late capitalism and climate crisis. In lieu of the doom scroll, this is a post-internet ecopoetry of ‘massive dance lament’, lyric survival, surface tension, sexy ambience, dreamplay and visions

56pp / 148x148mm
Perfect-bound 130gsm (silk)
200gsm gloss cover (gloss-laminated)

£6 including UK P+P.

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To order a copy, paypal
mariasledmere[at]outlook[dot]com
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For delivery costs outside the UK, drop me an email. 🙂