Dorothy’s Opiates is the name of the real Arcadia not to be busted, learning that sleep deprivation is a kind of spiritual death from a podcast featuring the Nap Ministry I set off to sleep under three duvets: one is representative of snow, the other a sleep mode, the other a body. I write to you from beneath this slumberous context to wonder why anyone who ever lived in a single glazed tenement loved the cold. I can think of reasons: always something to look forward to such as the crocuses and milder temperatures, the searching of someone to warm you, wanting to dissolve into their skin this someone who is never cold like you. I can’t explain this cold but I can summarise its various sensations, cold as in a kind of disease that eats your bones from the inside with terrible icicles and lives in your back as a demon, cackling from within your kidneys; a small child dependent on your energy, the cold needs fed. The cold is in your chest, your throat, your head. It throbs in your fingertips until they are red and puffy and burning like nothing else you have ever felt: imagine every orgasm of your life summarised and congealed as an opposite evil — pain — and concentrated in the tips of your fingers, as though a malformed heart had grown in each one, beating out of time, each heart individually failing at the tips of your fingers until the pain spreads out like a juice all the way down your fingers, hot, the nerves pulling into your arm but it is so concentrated at the tips, you can’t really move and to hit them against each other is like clanging vegetal matter against blunt metal, they are thumpy and numb, now the pain is melting it becomes a warm sensation of somewhat release as though only a generalised bruising of the nervous ends of all your digits. And by this time I hope I’ll have gotten home to run them perilously under cold water, bringing them to room temperature as if they could crack off and crumble into snowflakes of ache it takes ten minutes or more; after which they will sting with the feeling of having been battered. And it will happen again the second your blood spikes, you go outside; they may as well have been trodden on or run over by a van the way they feel right now. I ask you sometimes to squeeze my hands so hard it bursts the blue of us. Once I knew a worse cold accordant to body weight this kind of cold is all-consuming for all seasons of the year, a kind of inverse fire that licks your insides with its ice so you feel it as a constant in your sternum, the cold that is eating the meat of your ribs so you become a delicate succulent, always with sugar on your mind, wanting to be watered. Always watering yourself fruitlessly and feathered of flesh, wilted as if to float upon a snowdrift and not leave footprints. Sometimes it is barely to speak or, having dry Januaried the masses, some lubricant of society was missing sorely from our dreams. So we did not dream of touching each other so much as falling from breezeblocks, frosted, the hard fuck that doesn’t come bounding down stairwells to greet you at sun-up with cigarettes and coffee, which you cannot touch, which aggravates your nerves to a passion. Nicotine, caffeine, dopamine. The endocrine systems of our dreams are running on empty and I have fed this day with the manifest boilersuit, as though to fix my own boiler with mechanical prowess, die in your arms and so on. There are parts of the city whose arteries confuse to the point of a general surge, desirous of insulation and drivers arrange the marzipan animals of their dashboard tenderly. Snowfall. The first of the year’s cold drama gone to pick up a wardrobe through the Narnias of other vinyl records caught on the loop of the sweltering imaginaries a slice of life, of liquorice. Flying by the Vogue Chippy of Cumbernauld Road. You play loose with it, as if the rain alone would melt what meadow remains of the innocence. A summary of the movie of other Januaries: asking if I am a bad feminist for not liking such-and-such a book, the enclave of housing utopias, the sunshine duration of the ad for Stella Artois, the scene in All is Forgiven where the drunk kids dance to The Raincoats’ version of ‘Lola’. I want to be inebriated with chips and cheese on the corner and kissing you darkly in the overlit takeaway. Anniversary of another fascist coup. The cold in blunder, spraying my tongue with Vitamin D, worrying about sleep. ‘Dorothy’ is a song by Kevin Morby in the video, somebody plays a trumpet underwater. I drape a cardigan over my daughterhood, pull stories across my knees until I am deep in the grass with you, the snow grass, a long sore note, we have pink faces keeping up with each other’s sleeps, to rotate in the bed, the powdery dreamscapes gathering form. Dorothy, Your warm apparition not to be sold or bought, an account of the aspirin sunlight, too much, taking the flower pill that makes me react as a plant, long stem in your arms and coaxed of sap. Calcium is a luxury to those who might keep their flesh self- sustained and hard and warm. I thought of Kansas and corn with the morning yoghurt as a viscid snow, spoonfuls of what we are missing to kiss goodbye of the freezing streets of Partick, melt in your mouth, the pressure of boilers adjusted by release, the way our bodies incline to the light even when it is missing, how I wish you could trade kisses for calories of actual heat, the truthfeel of one in the morning stands for baggies of memories the prized alacrity of exercise, I insufflate the nervous internet. If this poem really were sentient, this would be the queue for the doctor’s office, which is a location after all, novel in its banality, after the fact of actually being here, a state of waiting requiring the mortal presence of your body. I stopped asking what a poem can do when it seemed like I was done typing with my fingers searing hot white words like arrows tearing the flesh as they wrote, O Dorothy, listening to a band called Trapped in Kansas. I was born. Wrestling with duvets to change the music sheets afresh, up close with the soot-covered mountains, called to the room with thermometers jammed in the hole of the poem, its quavers jostling with old composition, bloodstream, organ, snow. It is safe, it is safe.
Wet-leaved, walking up hills with chain oil on my elbows, knuckles, knees. We are on the eve of the ‘big climate conference’, which is to say, to be a host city of preemptive closure: there will be no more roads so that nobody can block the roads without authority, no more bridges for your tiny feet. I imagine a commute that takes me north to Kirkintilloch and back along the canal, an extra hour and a half of leg power and stamina and to arrive like of a beetroot complexion to the moment when somebody speaks. These streets are mostly broken glassed, and I see nothing to sweep that; I see buildings go up, see extravagant plant life grow from abandoned houses. I dream about bike punctures from enormous shards of glass. A mushroom sprouts in the brutalist building. I should have planned to do something. More tired than words can.
Imagine awaking beautifully at 5am each day, to actual birdsong and car sounds, still going through the night to Edinburgh or the general east as they do. I miss the ocean, which I have not seen since May. Sometimes I forget that its quiet, rhythmic hush is always in my ears, a tinnitus with the switcher dimmed. All summer I swapped the ocean for industrial estates, teeming with buddleia. If I go to a club, it gets full bright. The hush. At 6am I make atomic coffee, await words, say rain. I could tell you about the new university building and how I will never find a space to work there, doomed to circle identikit floors like airports in a suspended time that nonetheless eats into my time of work, a starship, doomed to fill a cup of hot water and carry it up and down escalators only to be cast back outside with scalded hands, cried into blustering autumn. A hazmat suit to be a student, studying the microparticles of your love in blunder. If I could study on the floor, in the street, with the leaves stuck to me. But I am a sufferer of frostbite and poor circulation, owing to damp homes, an unfortunate experience in the snow and damaged nerves, fragile metabolism. I am not there anymore, in the place we have been
Canned words taste better with more salt on them. Fuck you. Sitting on the curb in the 1990s surprised us when a plane went by, it was carrying my childhood. Remember we used to put each other literally in bins, until that wasp stung your ass and I was sorry. We prise open tins for the juicy bits of the story like, what would it take to get the attention of a virulent benefactor? Should you become a red squirrel enthusiast, or take up the statuesque hobbies of sportsmen? What beneficent largesse would require it?
Imagine not living by the anticipatory hormone storm of a coming menstruation, or like, the cramping wildness of the night and morning or blood gushed trying to have coherent thought in the day when your mind is fog. I want to transcribe some of that fog to writing, to remember how it was when again I am in clearing, to be like this is the place, it’s never gone. I was held in it, the tearing itself to shreds sensation to write this at six in the morning before work. Plants don’t have to go through this; is it that they’re always ‘working’? How do trees feel when they shed their leaves? Is it like an annual period and do they miss them? Should I develop fondness for shreds of blood in the toilet, abject bits of me and not? I saw a leaf blush out of my mouth and into a leaflet. Smoking kills. I watch the men in high-vis sweep up the dead leaves, more like dying, into black bags by the side of the road. Someone around here is always burning rubber tyres in secret. It’s kind of erotic to watch people do something repetitive and with great concentration, as if no one else could possibly notice this. To do your work that way. O your beautiful butterfly shoulders. Missed opportunities.
For instance, I could have lived through this moment to learn another language, write a curriculum vitae for the purposes of waged employment, called you.
“It feels so good to walk in nature.”
Blood drop in the shape of sycamore.
Where is Canada?
The revenge fantasy is only that trees are flirtatious as hell, winking pollen so that you watery-eyed have to look up at the stars sometimes and beg, like take me. Let me out of the forest so I might see
(fantasies of committee,
the ground to tie
my own laces in figures of eights.)
The figure of eight in Karla Black’s sculpture which is pink-smeared recalling everything I used to put on my face. The idea is to find a sort of peace with it. School bathrooms where a face was pressed against glass and cruelly examined. I dream of rooms filled entirely with blizzards of eighties-blue eyeshadow. Angel Olsen, 2014, Pitchfork Festival. Having lived with the spirit not for resale, traded on a stark memory of that colour where every remembrance seems to intensify blue, until all I have is the pigment itself, ultramarined into oblivion. To wake into that blue and not see beyond it. I put my sore arm through the right-hand loop of the eight and pulled this out for you.
In the dream we pass an armed convoy and into the bakery with coins allotted to us by authority figures, and we buy pastries adorned by sugar ice drawn in mobius curlicues, and the pastries flake away as we eat them, greedily on the street, so many flakes falling before the guards. And we are butter-mouthed in the face of conflict, war and summit. A kind of shout chokes the air but the golden morning goes on, the falling leaves. I have these cramps and double over in the falling leaves. Men come to sweep around me, where I have fallen. One of them bends down — he is so young to be working — and pats my head tenderly and I see a leaf fall behind him and I know that leaf to be us, so we embrace platonically for one moment, as though I were his long-lost twin, before the foreman calls his name, which I can’t recall—
No, not that at all — he touches the soft part of my ear, goes “are you not young to be leaving?”
In trash, the language of trash, the trash piled up against the highway of your declaration. The men stopped coming.
Azalea, camilla, plum blossom, hydrangea.
Rizla, tin foil, styrofoam, gum.
The noise of vehicles pulling up around the city, emitting fumes.
The petals shed and I sleep on them, dreaming my blue becomes turquoise
Sonnets for Hooch: Summertime Social is the sophomore offering of a four-part pamphlet series of sonnets attuned to the weirding seasons. Structured around 22 intervals of the day and its explosion, from golden hour to gloaming, breakfast to millennium, this bumper book of sonnets is full of clandestine snacks and wavy moments. In celebration of wasting time, biting into the lemon of attention and trading intimacies, this is a long, sweet hit of lilac to whet your utopian appetite. An ‘affordable metaphysics of care’ imagined at the scale of the world as ‘a dream governable / by beginning’, ‘a rare green / species of hooch’ and ‘this hypersonnet’ of ‘a lifetime on tape’. The poets of Summertime Social find comradeship in IDM producers, dedications to friends, calorific density and dreamwork; the brevity of the sonnet form affords ‘a sun net cutting over unfinished’. You want to ask, where does the sun set on the internet? What does it mean to be ‘rat ascendant’”? Here on the ‘skylark octave’, the hooch poets have really come into their own.
by Mau Baiocco, Kyle Lovell & Maria Sledmere [100 pp. // A5 // Perfect-bound // Run of 100 ]
New publication: Soft Friction by Kirsty Dunlop and Maria Sledmere
Here we present you a bundle of our dreams, wrapped in something like a rhythm, or did we mean a ribbon? Soft Friction is an intimate gathering of dreams from 2018, written during a summer of ‘existential soup’, fainting at gigs, pulling all-nighters and panic surrealism. Extracted from a longer diary, these fragments wear the sensuality and sass of an active dream life shared between two people getting high on each others’ brains. From dolphins thrashing in kitchens, to maths equations, celebrity encounters and shopping for underwear, the pamphlet runs through the four stages of sleep and wakes you with a cheeky tickle of incompleteness.
44pp (A5 B/W) Printed on recycled natural paper 100gsm Cover by Maria Sledmere Published by Mermaid Motel £5 inc. UK P+P
To order, email kirsty_dunlop[at]hotmail.co.uk or simply paypal £5 to this email with your postal address. For orders outside the UK drop Kirsty an email for postage.
Lioness chained to hillsides of lavender the sun is streaming oversea entirely conceptual homeland 5G howl like how a fractal glint constitutes one or more endings and is just never never never never never lavender exactly who unimaginable loses when fox does borrowed snouts language of flowers fuck this howl again five dimensions
Is you said to me a common placard stands vantablack in the manacles jason cries his heart broke in your jaw I swam all night to the motor show roseate perfume of the problem being born out of lobster wedlock to be ravaged by the neo-marxist programme of naming us wasp and other wasp sadnesses it is for me as I for you better at swiss twilight when I was community
In the womb wept effort of what insomnia does from the latin meaning wandering policy of “rural lust” I will swim I will swim through hedgerows I will swim I swim this isn’t the song turn up your sleeves we enter the chess in brightness mode I wanted the heat the reat skelped by autofictive descent another coxcomb texts you back O lariat
At that altitude paying the rent in pale world and even if she has lost control what a car does in green light heaven obscenity pedestrian the ground here opal silicate owing you a crush moratorium cheques out after all this is just a modern rock song adjusting styles pane of my old wound, new wound at clydebank the skycastles at four o’clock who are u
Harvest season was accordion sonnetry I lifted my volta skirts for assholes feeling perennially strange in melancholy chord progression of certified orange is this out of the question lazily in the grass lexie and cecil and ariel open your mouth be lucid corduroy when stevie sings harmony on thursday morning exhaustion I thought just swish would do it
Could be 1995 how will I get there painting the ice- course with fairways is all that I have boygirlboygirl varieties of noodles bunny calls it cloudheartedness be mute in serious leaf together is falling the same as time at all / it got claws hi can I have some more bourgeois heroine pastry
Okay to just swim and arrive here my salty fiancé is a type of fish did you enjoy The Shape of Water and other films to which I might fuck glitching in the real world darling is a missing numbering merely the sun streaming feminine voices never never a century of the Laurieston & all of my guinnesses are oxygen saw another fox
And wherever you are I suppose the squirrels are listening as bartender came home w/ three crystal ocean we stub the ashes out we stub the ashes out it’s him that I am smashed mezzanine phoning my dad big blue energy another song about the suburbs / mineral & gem sometimes I can’t believe
Red lions and lionesses are not metaphors but love laura no lies & lilac passion in the first place I wrote about you in my notebook: we might not even be awake in the worldis still in the kitchen scratch at my socialist lichen second paramore whose kisses are madness my counsellor said yeah I like those mornings also London fog, London fog
Oneohtrix Point Never — I Don’t Love Me Anymore
i_O — Castles In The Sky
Quirke — Luxury Red Pence
Mogwai — Dry Fantasy
Salem — Red River
Songs: Ohia — Lioness
Silver Jewels — Federal Dust
Johnny Flynn — Lost and Found
Keaton Hensen — Ontario
Life Without Buildings — Sorrow
Drop Nineteens – Winona
The National — Dark Side of the Gym
Weyes Blood — A Certain Kind
Marika Hackman — Playground Love (Air cover)
God Help the Girl — Pretty When The Wind Blows
Porridge Radio — 7 Seconds
Elliott Smith — True Love
A. G. Cook — Beautiful Superstar
Bat for Lashes — Peach Sky
Lemongrass — Sayonara
Tennis — Tender As A Tomb
The Avalanches — We Will Always Love You (feat. Blood Orange)
Golden Mean — Midnight
Phoebe Bridgers, Rob Moose — Punisher (Copycat Killer Version)
Angel Olsen — New Love Cassette (Mark Ronson Remix)
Belle & Sebastian — This Is Just a Modern Rock Song
Patiency challenges the body’s borders, the fantasy of which converges with a policing function. This means reimagining the body as process without a centre, not a discrete biological or social fact, but an untotalisable set of relations, the body not as a static object, but as the ek-static convergence of processes always in excess of themselves.
(Rob Halpern, Weak Link).
Patiency: ‘to do with the body as a situation of suspended agency and disabused mastery. If this illusion of mastery is a privileged delusion, then patiency is its refusal’. Halpern gives the example of Ban, in Bhanu Kapil’s Ban en Banlieu (2015), who ‘lies down on the street in the opening scene of a riot’. So begins the novel and another historical opening. Patiency might be, I am heckled on the subway and so I lay down in the aisle. Or is that too much of a spectacle? It might be that I is not-I, just as ‘love is not love / When it’s a coathanger / A borrowed line or passenger’. We do patiency differently. So love that is love provides more than suspension or structure; it isn’t the person sitting beside you or even the vehicle. Limerence on a borrowed line. So things are thrown. I am lying down in the middle of lockdown, which feels like ‘response’ as such. In these casual Zoom calls, these meetings, it is like “Oh, well I spent that day lying on my floor, sorry.” I stop saying “just lying on my floor” since, over time, lying on the floor seems adequate. Almost, to a certain thought. We used to call these sad naps and could take them at work, for instance, with head resting on folded hands, or perhaps in the little vinyl benches round the corner of the bar, under the picture of Dylan and the roses, and the painting with the cut-away eyes, whose market value would astound us. When I say I lay down in the middle of a global pandemic, who am I kidding? Sometimes I turn off my webcam and lie down with my eyes closed, still keep talking.
I google ek-static and find a meaning for ecstasy, ekstasis: ek (out) and stasis (a stand, or a standoff of forces). So an experience of ekstasis comprises, as Alexander Riley puts it, ‘extraordinary situations in which one stands, temporarily, outside the normal interactional world in an existential frame of peculiar intensity and effervescence’. There was a night in lockdown I bumped into a friend and we walked along the river, bordered the parking lots of the broadcast buildings, looked at the false lights reflected in stout-dark water until I finally looked up and saw the huge harvest moon. This hour or so outside of the otherwise confinements of lockdown had felt ekstatic — for I was outside, on the edge of the river. I was talking again, for real and wheels were turning. Words, however everyday, had their electric shocks. But was this an extraordinary situation, this encounter? Context matters.
Types of lockdown ~ekstasis:
Zoom calls till dawn
Voices, hear say yes
The word haecceity
Streets without vehicles
The first day I discovered the meadow
Bluebells, daffodils, cornflowers
The innocent coughs of strangers in readings from a pre-covid world, if such a thing once existed
One infinite tin in the park with you
Oil pastel under my nails
St John’s Wort capsules
Applause on the recording from 2004
Misplaced pastoral (nostalgia) inside a sleep
When we didn’t know which window the birdsong belonged to
Coffee, five times a week
‘Like a cat can / See things out of order’ (Lucy Ives, ‘Picture’)
Soft sound twilight of notification
Gentle ASMR of the rain
Carousels of apophenia
The canal, the river
There’s a song that goes, ‘all that I have is a river’ and I remember it from more than a movie. An undergraduate, alone in my small room I was watching this video of a young Johnny Flynn and Laura Marling just sing this together and I thought it was an old song, oldest, the kind of thing you can only think when adolescence still is you. Almost ten years have passed since then. Ten long summers, more like winters…What a gift to forgo all but the river, to be young enough to possess nothing, cover it, or to let go for the water and what it carries. For you know everything is a new current is not even new, it was streaming before and now it is catching. And you let yourself into it or you don’t. You walk into, you walk by the river. You are carried, supine. Patiency.
I skirt the river in lockdown because it is a motion of passing when nothing else does except spirits and bodies, and the days are leaf, they are like easy to peel from the calendar, people are always saying O how the time passes, but into what? Time passes with you, otherwise I am waiting. The song that appeared in a search result. With you am I writing. ‘Dreaming is the best kind of waiting: it overcomes nothing, it does not try to separate itself from what it wants, from everything it wants. Dreaming just begins’ writes Sarah Wood, in 2007, which was a year I learned to starve myself among eons of bad indie. So I would dream hard instead; it was like whittling reality down to return to those childhood imaginaries whose nourishment was almost endless. To be almost endless, and good. It was the year before recession and so I had not learned the societal imperative towards ‘hope’. ‘If Hope can find oxygen, it will’, writes Lena Andersson at the end of her novel, Wilful Disregard (2013), ‘Starvation rations do not help […]. The supply of nourishment must be completely cut off’. You learn to breathe different air; you have to. Oh the rain really came today, I feel like saying / or send you a video. Told to have hope or having hope is different from living towards it. Soft falling hope was not that. In a 2019 discussion with Greta Thunberg, Alexandria Ocasio-Cortez says,
I learned that hope is not something that you have. Hope is something that you create, with your actions. Hope is something you have to manifest into the world, and once one person has hope, it can be contagious. Other people start acting in a way that has more hope.
I’ve had it with viral metaphors, in the sense that I live in the era of post-viral fatigue and my body is sick with the carriage, ‘but I can’t stop expanding with currents convulsive’ (Halpern, Weak Link). Lana sang ‘Hope is a dangerous thing for a woman like me to have’ and the question became less about hope and more about that ‘like me’, a little hinge. I identified with a neighbourly extravagance, hydrangeas, pale blue-lilac from a middling soil; I left the gate slightly open, I smoked in the rain. The danger was in hope without architecture, so a ghost came in. Hope requires a manifest scaffold, perhaps. Weather that rails against it. The trace effects of a fire, of dream languor, particle physics. It was in the sentences we erected, passed on, hammered in, lifted and lay still, remembered…‘my present tense contracting the way love contracts me to the future from whose point of view this will have not been terminal’ (Halpern). The person on the Zoom call, PST, said to say goodbye, If you’re in California, don’t leave your house, there’s smoke out there.Stay healthy. Hope needs to be more than just ‘in the pipeline’. Maybe we need to blow up the pipeline.
2007. I lived in the years of ambient war. Later, too young, I would attempt to read Cyclonopedia: Complicity with Anonymous Materials (2008) and dream about pools of oil filling the end of my bed, like a menstrual stain. At school, we wrote essays in which we had to pick a side: for or against? The Iraq War, vegetarianism, a bypass for our town, surveillance capitalism? I could only think of deserts, not arguments; I wondered what secret plant could stem blood flow from a wound. I rarely watched television. In super rural mornings, December, the air smelled of engine oil, woodsmoke, fertiliser. Shit and snow. Something to-come that never was passing. I felt sanguine, calm without compare, sipping vodka + cokes against gym blocks. Back then, clouds were irrelevant. Instead, I scrolled the internet for answers and images. ‘That hope is just another bloated moat / is worth the ringworm, is it really so cute’ writes Nikki Wallschlaeger in Crawlspace (2017). Thinking in Sianne Ngai’s terms, is this ‘so cute’ ‘a sensuous quality or appearance’, or ‘a feeling-based evaluation or speech act’ (Our Aesthetic Categories). It’s cute that you dreamt it. The ringworm I mean, another parasite. So you circle in medias res, nibble a little of that time, but I thought I could jump the moat into future. Future was just a quality, like cute. Is it really so cute? The tiny things and changes. billie eilish in her video for ‘my future’ looks pretty cute, but it’s more than that. The soft falling rain would fill up the moat, the river, the lake. The dream was a body of water again. Speech fell upon us, fluid, then telling the nude and lime-before-lilac sensation. Something that gets inside us; a tooth around your neck, and pain.
Dreaming just begins. Derrida is beginning his lecture on Joyce, ‘Ulysses Gramophone’, with the signature of a date. This feels arbitrary enough – a date in lieu of a site specific. I would send letters in lockdown for the sake of sending a date. It was an act of patiency, a claim against time that could turn it inside out, let somebody else pop the bubblewrap for you.
I was looking for postcards that would show Japanese lakes, or let’s call them inland seas. It had crossed my mind to follow the edges of lakes in Ulysses, to venture out on a grand lakeside tour between the lake of life which is the Mediterranean Sea and the Lacus Mortis referred to in the hospital scene, as it happens, and dominated by the symbol of the mother […]. You will no doubt know better than I that the whole pack of postcards perhaps hints at the hypothesis that the geography of Ulysses’ trips around the Mediterranean lake could have the structure of a postcard or a cartography of postal dispatches.
(Derrida, ‘Ulysses Gramophone’)
The difference between the lake and the sea, is it tidal? Say I wrote to you by a general lunar insurrection: I refuse to be governed by hormones alone. I am lapped, turned over, the hours are upon me in wavelets. For a long time, months, the word ‘hospital’ also conjured ‘field’, and ‘crisis’, and ‘overstretched’, ‘overburdened’. Many fled cities to avoid this. What would a postcard from the pandemic look like? This sounds like the afterthought of a conference happening years from now. Send a postcard to your future self! I would rather dwell awhile in the mystical, sub bass pastoral of a common place that is billie’s future. The transparent dew in the process of dropping, clearest blue. But it was also the artist’s imperative, mid-March, to say something. To who? A postcard can be read by anyone, if they get their fingers on the mail, if they would risk that trace or touch.
You could circle the drain, if not the lake, like in the video where Soccer Mommy is at Palm Springs Surf Club and conjures an existential state by the weather: ‘I wanna be calm like the soft / Summer rain on your back / Like the fall of your shoulders’. A desert gets cold at night; its ochres turned deep into cobalt. What happens in the turn of those lines is the fall of rain is a bodily gesture, the fall of your shoulders. Like sigh before sleep or hold me. Both kinds of soft between element and form are just memory’s fall, and a longing that is ambient and prolonged like those four hour looped videos where the song is slowed down and rain sounds are added. Its weird twist is dark ecological: I love and you as the other with your shoulders, their fall, I love I am rain old rain we are just that falling or were. There is a sense, if vague, of when it happened, of summer. Somewhere. I would send a postcard with those lines and make a cliché of the feeling. Clichés are like rain; they fall all around us and that too is cliché. In London I learned to long for the rain.
My trips around the Surf Club, is that a name for this desert, some place out and aching, are not knowing what I’m looking for, the lake of life or death. There was a body of unknowable time at the beginning of pandemic that felt like a lake, a dark one with monsters inside it. You were scared to touch. The virus was a hyperobject and it lived in the lake and became us. So I thought what it meant to carry the lake. Like if you could tie it to your Kanken and drag the lake on a walk every day, make it lose weight. Could you test the lake, dump chemicals in it, starve it, piss in it? Was this abuse? My poor lake, resting at the edge of the desert. The lake was too much: overstretched, overburdened. Eventually I would bathe in it, but that was July, just before a morning of rain and the fall of your shoulders / brush back hair. Aeolian breath above the lake.
A thought crossed Derrida’s mind ‘to follow the edges of lakes’ in a novel. A very long novel but only a day. Sometimes we say ‘it feels Mediterranean’ and is it a warm breeze off the sea, a quality of something vermillion splashed against turquoise? Like Dorothea Lasky (if I remember her essay on colour correctly, perhaps there is a colourblindness to memory) I always loved that combination. But it grew too much and mostly I stopped painting in those colours. Can there be too much blue in your life? We compare eye colour on Zoom and there is what, somethingsomething pixelation of the soul, which is almost good, is it. The inland sea of WhatsApp green, or the rising tides of Facebook blue. An irritant gets into the ocean. This is how a pearl is formed, and we worry it into August.
August: the commonplace between seasons. What was formerly meant by holiday. Halpern’s weak link is something about tendency, which is a quality of patiency, surely:
[——] = a common place we can’t sense, but upon which all we perceive depends
In the book, the double em-dash is more than that, because there is no gap in the line. I don’t know how to recreate that here. Rachel Blau DuPlessis often uses the commonplace of a line, this continuity, asking questions like
Did these years have to happen the way they did?______________ ______________. The poem, unwritten is concealed by the poem,
(Surge: Drafts 96-114)
This is from a poem called ‘Draft 100: Gap’. I feel urged to fill in the blanks, but then suddenly don’t. Mind the gap? I am mindful of my tendency to make lines into rivers. This is a temporal effect: ‘The body of water a particular time of day resembles’, writes Lucy Ives in ‘Catalogue’, not answering the proposition except to parenthesise ‘candida’ in brackets (). Parasites again. You can’t starve them so much as you must cut off the oxygen altogether. They want sugar! Like rubbing words out of your poem is a kind of excision necessary to let the reader in: an exchange of space. But is a blank also a body of water? Let us lie down in the blanks, one or more acts of patiency. The edge of my body at the edge of the lake, which was almost erased, became two-dimensional. Was it the politicians who did this, or the semioticians? Surge, surge, surge…
Without touch, I could not plunge into the body of water for several months. Returning was two-sided, flickering. It was turning the river to a mobius strip. The river that led to the lake? No pictures were taken, but words were written…
The other’s body was divided: on one side, the body proper—skin, eyes—tender, warm; and on the other side, the voice—abrupt, reserved, subject to fits of remoteness, a voice which did not give what the body gave. Or further: on one side, the soft, warm, downy, adorable body, and on the other, the ringing, well-formed, worldly voice—always the voice.
(Barthes, A Lover’s Discourse)
In his telegraphic dashes, Barthes evokes the voice on the line, between lines, electric crackle. I am on the end of a telephone listening to what I thought was rain but was only white noise or the manifest difference of space between us. For once, not time; though still there was time between us, before which we could meet. The body could always give more, which is why Derrida would venture the IRL lakes to follow a postal cartography. Here where I received this text, sparkle emoji, a picture of sunset forgetting I’d sent… But what if the voice became a body in tender distance? A kind of tendering in itself? If it was all we had of those months, and could cradle ourselves to sleep in it…
We look back on the years that are happening and wonder if they ‘have’ to happen this way. There are divisions, revisions; something that gives and receives. A year is impossible. The depth of a lake without measure. I could not tie it to my horse and ride away. Salt and sweet. The difference between lake and inland sea depended on your idea of ‘freshness’, but in Cancer season I delved in the water. We called it a loch, though named it was ‘Lake’. Always the voice / settles cool on the water.
Down becomes a colour. Peach stuck, clouded. A snapshot from my enviro-diary in spring:
I realised there had to be exits from ‘lavender country’, even if I felt implicated in the earth forever. What had I otherwise written of the wild mountain thyme, the purple heather. I had.
What Andersson wrote of hope, ‘If Hope can find oxygen, it will’ recalls Angel Olsen’s song, ‘If It’s Alive, It Will’ and you can’t help thinking about the ‘it’. This thin word of the thing itself. Love? The song, the poem? ‘My friend you are unique but not always / Some stranger in the well has surely felt your pain […] And all the things you’ve once said / Your thoughts exist in someone else’s head’. So we are parasites of a mutual speech, second body, patiency. It’s going on elsewhere,, echo,, echo. I saw the police queuing for pizza. I saw mothers outside supermarkets, I saw masks trampled into the towpath. I saw your breath left a mark on the bathroom mirror. If anything is taught now it is that pain is not unique in its total uniqueness. It is also a misting — these noticing moments like the colour of your eyes on webcam, or when I saw a friend by the river or the cygnets when they were still small, and charcoal. Touch, know that we live. ‘A moment of affirmation; for a certain time, though a finite one, a deranged interval, something has been successful’ (Barthes, A Lover’s Discourse). The weak link ( — ) of ‘a common place we can’t sense, but upon which all we perceive depends’ (Halpern). The more we send, the more links accumulate. This is not some metaphor leading into Connell’s chain, or the blockchain, the chain of being or food chain, but something like when I recently went to visit my Nan for the first time in nearly two years I saw she was wearing the gold chain I remembered. It remains a ghost fact against my clavicle. Gilded, some arterial link between times, the artefact worn of all years, not mine.
And did that path or the other lead anywhere?_________________?
________________? The other side of words_______________.
(Blau DuPlessis, Surge: Drafts 96-114)
A path can be dangerous, like hope. So I see it not as a route so much as this mark of the common place, where you enter the poem. Echo. It is not so much I who is writing. Someone is pouring clementine fizz into the glassware someone else will inherit. An embrace is made possible because of this. If it’s alive, it will. The other side of words or the strangers in the well you threw a coin into. I was always wishing on fountains. Could I eavesdrop on what went on inside your sleep? It was trouble enough to listen to mine. Quiet plash. Your breath like the ocean beside me, etc.
Hope and not-hope. I am obsessed with this passage from Verity Spott’s forthcoming Hopelessness (2020). ‘I hope. You hope’, she writes:
‘I wondered if it was enough to extract a sentence and hope something would ramify from there, like crystal’, writes Brian Dillon in Suppose a Sentence (2020). That word ‘hope’ again! To put faith in the art of essaying, you manifest from the sentence, say. But isn’t extraction bad? Verity writes an incredible sentence. Love contracts, there is a terminus, there is no harbour, is it that thoughts overfall or flow before water. There are strange moments where you fall into iambic rhythm, ‘would shrink like necks passed out’ and find yourself taking perverse pleasure in the pulse of that action, complicit. I fell asleep at the desk, put a crick in my neck. If Verity’s sentence is a crystal it is so splintering hot that to hold it I had already thrown it towards you like catch and here we are passing those lines between each other like ouch! or whoosh! as it goes through the air then starts to stream — is it light or water that sprays off the sentence, falling or lifting we get it back up we get going again, so being itself is contingent, there is a feeling of tilting, just touching between something like what Adrienne Lenker sings in ‘Mary’ — a most verbose song with the lines the lines the lines like fractals, repeats, alliterative, the rhymes inside it — ‘The violent tenderness / The sweetest silence / The clay you find is fortified / We felt unfocused fade the line’, it’s a blur then, even if the object is hard, ‘my vested shot’ like bullets are thoughts, ‘get fucked’ (a reminder that we die or desire, no, we could be ejected by the speaker, why not), leave holds inside us and the ullulation maybe of lift/leak/blink/light/love/cryssalis/live/like/laugh/will, hear the undersong packed inside the block, LA LA LA LA CAN I HEAR YOU? to put this in the kiln of language and wait, tender, splintered political speech is the romantic filibuster of ‘on and on and on and on’ worn in a ring without rose, lust, health, being messed up by time and order, ‘and change not come it not does come to who those wait’ as if to be the subject doing object to the thing itself, no is that not right, I’m in the stream of it, ‘where else’, ‘that change’, well I feel gentle to read this to you aloud and think poetry is it never could smile like lift this up what’s underneath, ‘screaching night’ of fizzy things in vessels, ‘pouring thoughts I made them up, so what’, a fall of your shoulders, softly, who cares, ‘wry out’ did I twist that humour is lyric always sincere, I care (?) is it the very empowerment or dressage of the poem that makes it ‘shot’, tongue tangled, get shot, ‘hurt the air’, ‘get fucked’, I love you, whole world is metamorphosis. It’s for love or dream or death, ‘if you fall great down’ a white-hot crystal. Stammering light of I love you. So keep repeating the sentence forever it’s the estuary (ex)change in my head where the diamond melted; I go out like a river, a light, it’s so many; I lift crisp, iridescent leaf to find you in process…‘scarless along the rib, as if to say’ (Halpern). Small wet thing w/ almost wings. ‘Soon come’ is a charm I have held all summer, ‘Where goes? I guess’ / the flight, the train, the swim, the breath…
According to my diary, in 2020 I had nineteen dreams about breath. These are some:
but maybe this is a lesson in being able to let go and breathe deep and keep going, rather than hinge on another lag. Oh hinge is another app right, maybe I should get that.
I started to do long deep breaths.
I would come out in the breaks to breathe fresh air among the tumbling ivy. My aching head, my burned-out lungs. I eat too much!
A lavender girl with this expensive complexion and a close-shaved head was underwater for a very long time and when she bobbed to the surface, numb and curled in the foetal position, she moaned something about “I wanted to give up my breath”. And we realised this was the currency of all these submersions: losing your breath. There were many people doing it, just bobbing to die in the water.
I don’t have a shortness of breath or any particular fever beyond what you usually wake up to after too much sugar
Last night at four in the morning I finished A Breath of Life in a sort of tired rapture, still very awake, leaning back into my eyes and my soul a while, the sense that it might go on forever, whatever ‘it’ is, cross-referenced of course with Àgua Viva
Started to have trouble breathing, a sort of slanted weight on my chest. I guess sometimes I suffer from very minor sleep apnoea, like the Beach Fossils song
Disorientating to wake up from a dream with so many people, almost like I couldn’t breathe, my heart was racing, I had to pull off my jumper
I feel this pressure, like I won’t be able to breathe and I won’t. In the dream I was between two tribes and there were guns I suppose, other weapons. Loosely I was in love with someone on the wrong side and so my loyalties were confused and I knew my life was at stake, the others having pressed knives to my throat to warn me, given me a bracelet I knew contained a location tag. I want to be dazzled by leaves and tiny pieces of unmentionable silver.
She went away and I was sort of left in this state of zero energy, desperately trying to gather up selected marbles to give out to whoever was still left in the boarding house. And then I sort of dried up, paralysed, barely able to breathe.
A few people joked about moshing. I miss the rupture of something going shoulder to shoulder. I miss the general blaze of sweat. How is it to breathe in a basement.
I want to feel like the blanks between dreams, ekstatic spaces between sleep (fall asleep to yr voice again), are bodies of water. Àgua Viva: running water, fresh water; variously translated as stream of life. Another writer who wields the dash, flies on the line, which is also the spray, the beam of light, is of course Clarice Lispector:
Today I finished the canvas I told you about: curves that intersect in fine black lines, and you, with your habit of wanting to know why—I’m not interested in that, the cause is past matter—will ask me why the fine black lines? because of the same secret that now makes me write as if to you, writing something round and rolled up and warm, but sometimes cold as the fresh instants, the water of an ever-trembling stream. Can what I painted on this canvas be put into words? Just as the silent word can be suggested by a musical sound.
(Àgua Viva, trans. by Benjamin Moser)
Who is she talking to, writing to? The fine black lines of moth wings draw up a thought. It is a cashmere reality and I am tugged at the holes. In the subjunctive, only ‘as if’ writing to you; she can preserve the stream, the weave, the cold splash of secrets. This is only towards the act of communication itself. All works of ekphrasis, all spirals of daylight, all times I turned on the tap and for what? Could I wash myself back into a blank, or what luxury to preserve in the mud on my shins, the marks of ink up my arms, mascara’d tears around my eyes, the blood running down the inside of my thighs? In the water, it would all run into trembling lines, purple blur, it would circle the drain, would never stop————————————
The daylight was like ordering pyjamas off the internet. Light blue. Sky broke for when it rained and the hills were seen as old pornographers watching us pass like gifs. I’m grown into us to reach for the kettle, for the internet, wearing my silks, something’s on the boil and it’s not quite tea. I think of some other season and know it is cornflower, not quite light, not quite blue of dawn because it’s been a long time since I’ve seen the dawn. People are buying vintage files to play dialup connection. The old pornographers eat their cameras for warmth. I’ve seen them do it to be secret, fucking careful to be made up in a lovely afternoon with blusher, oranges and Russian vodka. It’s the same thing you lie down for, sometimes lying down because I can’t get a word, or a line, can’t catch or watch. You have to watch it for happening. The daylight was like that, then pulling on silks, moth-fringed, light blue it was like the colour of the internet turned inverse for ‘its’ children. They were still making artillery in the system, so we could sleep here peacefully and not be disturbed by the old pornographers and their bits of camera. The sexual motion / of foliage all up in my software. It wasn’t that we had any tension, there were other kinds of ars poetica, but something’s on the boil and it’s not quite tea.
There were other kinds of daylight the colour of the internet and not the quite blue of this tea. Because sky is making us pass like gifs in such loops as I can’t get a word. The deteriorating resolution of you are not bloodleaf. Because June is super lovely, moth-fringed, pulling on silks. You pass a lot of grasses, long-grown from their natural habitats, watching the drops fall out of the sky for what, for love. I don’t know what shape it is they make on the surface of water, but I watch. The old pornographers were making a nature documentary at the edge of the forest, which was inaccessible, badly rendered. So I could sleep here peacefully, I came out of the shower in cornflower to tell them the best blue spots they could film. The colour of the internet is touching a liquid, then it goes through the lens, fucking slow, so huge, it belongs to this season. Snapped. The tree was just that down the middle, sort of bruised where it had stood, not light blue, lightening out into favourite tone. The old pornographers scolded my aura and told me these pretty white lies. Like. Say your best tree was a willow and we do it lightly, willowy, that’s how I know what tallness is, like pulling on silks in London. It’s the same thing because I can’t get a word, moth-fringed my mouth is pushing up cobwebs. (*) The loop is very beautiful it feels like you are grasses, lots of them exist unmown for hours, how at dawn for the children, light blue, how they enter and trample; only the old pornographers trespass for profit.
Here look at the tiny bird nursing her young which are tinier still, it’s the same thing as knowing it rained and a goldcrest buoyed up on the birdbath, tiny thing, not quite vodka. Because I can’t get a word, there are gilded flakes in my colourless tipple – visceral realists! – like anything we had off the internet, like this particulate stuff that fell from the sky. I want to be fucking careful to light blue the mise en scene of this feeling, tell it slow to flicker. Be made up in a lovely or a line, can’t catch or not be disturbed by the old pornographers, whose interns were cameo sylphs of such beauty as to even sleep peacefully here, or inhabit the air. It was like the dream of Bloomsbury and the supermodels draped over carts that advertised mustard to the masses and it made no sense except mustard can boost your metabolism maybe, yellow it is, so I ride my bike beside them. I’m grown into us to reach tension, summer thinspiration, I dawn because it’s been a long kind of daylight to find this, pulling on silks, dust caps, yolks, some time since the colour of the internet turned up bits of camera. The contact sheet of ruinous cornflowers, raindrops stained; pinned animals appear in separate parcels, how it all looks side by side is not quite vodka. It is yet a shard. Archival. I’ve seen them do it for happening. Warmth. Freedom is the edible mischief of knowing poetry could never. Warmth, warmth is keeping a secret, local to cygnet, melt & forestry slenderness. The daylight blusher made love of your face, I’m fucked.
Sun Ra – Realm of Lightning
Run the Jewels – yankee and the brave (ep. 4)
Spellling – Dirty Desert Dreams
Noname – Song 33
Fleetwood Mac – Storms
Laura Nyro – Broken Rainbow
Connie Converse – Sad Lady
Ratboys – A Vision
Big Star – Dream Lover
Bright Eyes – Mariana Trench
Coma Cinema – Tall Grass
Gleemer – Brush Back
Feng Suave – People Wither
Tricky – Fall Please
Let’s Eat Grandma – Glittering
Soko – Being Sad Is Not a Crime
HAIM – Gasoline
Kelly Lee Owens – On
Tomberlin – Tornado
Slowdive – Some Velvet Morning (cover)
Mogwai – Take Me Somewhere Nice
Bing & Ruth – The Pressure of this Water
Ecco2k – Hi Fever
Lil Peep – driveway
Ashnikko – Cry (feat. Grimes)
Donny Hathaway – I Love You More Than You’ll Ever Know
I am trying to find a narrative arc for this month. It is somebody reaching out to say, I can’t let you be. There has to be a simile to describe white sheets, expensive linen and French cologne, detritus of a Joni song and the world, the implacable world beyond windows. What is this like and is it really like this. Too much world in the song. A crease is a melody also, or a cramp in the song, the bit where you fall asleep in the story. Rising and falling in tempo, you climb right into the album. In a room of friends, all of them peaking at various levels. An arc is a part circumference of the circle or curve. I only have the bassline in my head; it is a soft morning bass, ‘Forgotten Eyes’ maybe, but it won’t get me up. D. had an endless playlist and the hours were indigo, endless. I am trying to find a narrative that goes up, but it comes down and is also left, right, start + a. I forget, I forget. Nobody knows where b went, but that’s okay. Joni I’m sorry but I just can’t listen. I want to cheat and do all the levels at once.
I say there is too much world in the song, but there is so much leaf in the leaf and again it is a thing that folds, then falls. 🍃
She says the cat might look over your face before you fall asleep, paw your features, but it is only because she wants in. There was a fold in the day that we lost, because our heads were fog, because of that blur I think in plural. There were various selves I could not chart because the grid-lines were squint. Can you shorten this? Bernadette Mayer says maybe if you grow your hair long you write longer poems, and ever since she cut hers it’s all short lyrics. I want to shorten my emotions to a cut: yes, this is that, yes, say it. Imagine going into the salon and saying I want a haiku haircut. 5 x 7 x 5. Your eyelids fat wet petals of overlay. Nothing works but shapes, and I pass them silently through sheafs of language, and I don’t say much about it.
Gold flakes off cheeks, mascara blackens my vision. Is it okay to not brush your hair or get dressed or think about anyone else’s necessity. I bring a velvet satchel to the party and empty my grief in lottery tickets. Everyone is happy. It is so easy to pick a number.
At six in the morning, watching him do card tricks.
Is it so easy to pick a letter?
I get home at nine and while everyone heads to work I am watching Morvern Callar again, putting tinned soup on the stove, watching this film simply for the scenes at home with the cassettes and the fairy lights. Plum-coloured nail paint, that’s how I remember it. I watch it on mute, feel eerie.
Google says I have to validate my identity. There is a toll for walking the way that we do, so fast, defeating the days, and I felt the bright sensation of a coming air, like this was performance. The layering…oh it was, surely, 2018 and I felt the first flakes while listening to Songs, Ohia — maybe it was ‘Tigress’. Had I known then I would buy a tiger coat, two years in the future? Drink cups of green tea in the empty morning, stalk my email? Certain messages grow in spines of grass, until they are so tall we pluck them for the gaps between speech. ‘God watched us talking in the mirror’, Jason sings, and I think I’m some anonymous, single star.
Extinction chews us over.
You could tuck me away in the sheets; I don’t protest the air.
saying now when the feeling came strongest: how I miss the future, it’s sideways surrender. — Lotte L.S., ‘As If to Misread Song’
There was a storm, and the streets were quiet for Saturday. It felt really good to battle the weather, to write long email, to listen to Sharon Van Etten and wallow. I would only do this for a while, a week say, and then the threads would release and I’d come home soaked in rain, with extra red in my tresses, I’d say the emails were terrible flowers I couldn’t bear to read. You can read a flower like an algorithm; it takes a certain kind of smartness. Outlook says, your inbox is 97% full. That in itself is confession. My eyes smart. The flowers…they have a strange way of opening and something of poison honey in them warms, and I want them. Cats are allergic to lilies and raisins. I put petals on my tongue and think about the word ‘beautiful’; how pointless it is, and good for nothing but everything. The lecturer asked us to chew on a raisin. I listen to Jack Halberstam give a talk on nothing, the exclamation of Gordon Matta-Clark, ‘nothing works!’. Jack asks, ‘What does it mean to destitute the world?’ and I feel jaded and warm, and an hour or so later I order soup, and the soup arrives late. We talk of failed dates with the children of the sun, and know this is also study. What they said or did not say, that counts. Nothing is hypothetical, only the walls of buildings we move through. Why do you sleep in the middle of the bed.
When I first wrote this, it wasn’t raining; but now, on the flipped side of yesterday’s blueprint…
I like that bit in The Dispossessed by Ursula Le Guin, where Shivek says, ‘I am going to unbuild walls’. This initiates a general phrasal collapse, like how all of us were Instagramming sunsets at the exact same time, all across the country that Sunday. And it felt more important to look at those sunsets than read the news, collating each one, the various colours. In the car, telling F., you know I always wondered if the sun actually sets on the east coast, but now that I’ve seen it…
I can’t tell if this feeling is vertical or searches horizons to meet.
S. says, I’m going to find out where your wound is.
Le Guin: ‘the hand you reach out is as empty as mine’. Why all the letters dissolve on the keys of my laptop, so I type in the alphabet of blur. Why all the luminous grey of Tuesday. Oil in my scalp.
Another question mark, a cascade of candy canes. The sky’s pale outro, my twisting gut.
Jason sings, ‘We’ll be gone by morning or be together by then’.
A.’s hair is curly again like the hair of the girls in Mystic Pizza. I think of K.’s story about the girl, is she a girl, who sheds all her hair and it is monstrous and she is chastised by society. She is followed by the fall of her own dark locks. We share teenage stories of hair loss, scaling cliffs, or in the kitchen. Sometimes I find a tiny black curl in the carpet and think of the commas still between us.
Evan sings, ‘Can I believe in the me before I knew you beautifully?’.
If you let all that hair like a river, if you let the stream continue. All my life feels like content repeated, the last time I saw him was the middle of summer, the last time I wore cobalt and cardinal together. I love like the rain in combination, additive river, a clarity. K. says you just need to be lucid, there’s Clarice for that. Am I also an alarmist?
The sky is a needless worry.
The sky is a needless worry inside me.
I require surgery to cut out the sky.
When they found my stupid heart, they said it was a wind turbine and set it to air.
I had all these essays to write, I was blue.
I see chunks of time as colours: years of purple, silver and green; minutes in violent red; seconds of airy teal; golden months and bloated months of solemn navy; glowing yellow mornings; decades of rainbow; the indigo hours between me & u.
I spend so much money on pens.
I’m such an alarmist! Always messaging, messaging. Why though: mistaking her middle name for Rose, reciting other names out loud, wishing it were June and I were lost on the west coast, feeling the rain whip me out of this slump.
‘You still exist and I feel good knowing it’.
Alison Rumfitt has this poem, ‘Pollution is Just a Mindset!’ and ‘We’re all going to get swallowed up by a big / whale angry at what we’ve done to all the whales’. I want to know the difference between the big whale and all the whales, like is the big whale part of the other whales, and since the speaker ‘had a dream about it’, she knows ‘it’s at least metaphorically sound’. That’s how I feel about the days now, they have to be at least metaphorically sound. That’s just the bar I set. It’s lined with tequila and milk. S. says sometimes a spoonful of milk will settle your belly, like if you are so hungover you can barely keep down the air.
Perhaps that’s just it. The fog in my brain is pollution. I need a spoonful of milk. A glass of charcoal. In class, we swerve from the topic of stars to molecules of oxygen. C. sings don’t piss in my oat milk. There are passive aggressive adverts for Oatly everywhere and so everyone is writing about oat milk but I already had a line about poems ‘brimming with oat milk, / cornichons, kimchi’. Our best fermented days. Alison writes, ‘It didn’t look like a whale but I knew it was a whale’. That’s how I know about the fog in my brain, the long and bulking whale of it.
I swallow myself on read.
‘You left gleaming’.
You shouldn’t feed cats milk.
You shouldn’t feed your child to the tiger.
I had so many babies, they were all just poems, and I fed them to the tiger.
I put on my coat.
The poem is a rectangle.
The whale was only algorithmic.
Is that the same as metaphor.
The tiger was soaked in French cologne.
The tiger was starving.
The whale is a wave.
The whale is a mean old daddy.
The whale ate the rat.
I give it away for free.
The whale and the tiger, fucking each other.
I found the appropriate clip art and dragged them into your golden ratio.
I wish it were really rectangles and not always squares.
Our theme is ‘climate change’.
I need to start deleting emails.
It turns and it turns. Make of the heart a spectacle, so you could pour it with what Sophie Robinson calls ‘dynamic emoji’, so you could feed it popcorn, synecdoche, wrap it in sheets like Kafka’s hunger artist. Harvest each beat until you are ready.
‘I am going to unbuild walls’ from the squares. I am swallowed in the pictures you post on the internet. Some of them simple compositions of shadow and light, black and white. Spooky quality, quiet mew. Sometimes there are people, and this hurts because people are so beautiful and knowable, but ultimately…
Sometimes, in the distance, like at the top of Buchanan Street say, we see the turbines, tressled in lilac.
I draft the email, the sky is a needless worry inside me. The future is or was always surrender, but here I am with my yoghurt, ignoring the sell-by. I want to ferment the future inside us. You can always recycle, but does it work ‘in the end’?
Lana Del Rey bought her Grammy dress from the mall, a ‘“last-minute silver” vintage-inspired gown’. Time shimmies.
There is a pause where she turns just so, a moment prior to smiling where you know the smile is her personal glitter.
You can’t put it on paper.
Time shimmies under the moon.
I start to think of paper as something you have to continually feed, so writing itself is no different from keeping a Tamagotchi, say, and it’s the telekinesis of keeping a pet in your brain. The writing is sometimes a snake, sometimes a rat. I can smell it like new rain or the sheets after sex. Time is hunger for writing. A lick of it. Sometimes I wake with a bad taste in my mouth and can hear him in my ear, screaming THERE’S LEAD IN THE WATER.
I want something sultry.
I want the impression.
It’s as if all the sequins came off the dress and clotted the pipes, and I could die glamorous and pointlessly poisoned. It’s just the old way you die in writing, falling within the rehearsal of speech. I didn’t expect to see you, etc.
She looked good after all. Sometimes the dress just fits and you can get it for six hundred dollars. I sleep in those sequins because I don’t sleep.
After the workshop, M. and I saw a dead pigeon. She took a photo.
Imagine the weather were French cologne.
He is so lovely in the red and the blue He is close to the stream
In motes, the arc of it caught in sun.
You take a photo, then another, another. I love this.
The arc is a nightclub moted with fragments of moving lavender.
Sometimes it’s fine but then I zone out, start replaying these moments. The allowance of volatile quality, another baby, I didn’t open the door, I mumbled down the buzzer I’m sorry. Tesco is so empty. Lorde sings ‘But when I reach for you / It’s just a supercut’. I have to believe it all gets better. D. gives me chilli jam for Christmas, my arms are full of marigolds, C. says hello, I want to collapse. It happens again; is there memory?
Brexit message from the Principal.
All I can smell are the other expenses. Silver and gold are so much silver.
HOW DO YOU DO IT? HOW DO YOU DO IT?
January slants backwards. I forget how to dance.
Type this / typify
Report search prediction…
I dream a checkerboard transparency and see the bars resolve. A pick-up truck is dumping a garden-load of shrubs on the Gibson Street tarmac, a place they’re re-laying; the streets resolve into alien characters, Megadrive graphics, the shopfronts boarded up. This is a different city, believe me. In the dream there is a river, a lavender river, and teenagers go there to play at drowning. There is a whole millennial economy of breath. Someone with a shaven head says, “I just wanted to forget my breath, just for a moment”. No, maybe it’s “I wanted to give up my breath,” as if that wasn’t the same as dying. No, maybe it’s, “believe me, the air is better down there.” I’m in this disaster, it held me too, and I wanted to slip in the lavender water. And J. was holding a guitar, wrapped in fairy lights, and it was just like the movie I saw on her story.
26,240 words already.
‘What also touches me […] is the unendingness’ (Hélène Cixous).
Apparently there was snow, I stayed up all night and I missed it.
And Phoebe was singing I love you in someone else’s song. And that was enough.
Bright Eyes – Hit the Switch
The Beatles – Happiness is a Warm Gun
Big Thief – Forgotten Eyes
Savage Mansion – Karaoke
The Weakerthans – Sun in an Empty Room
Brick Distributor – Another Personality
Nasari – Spoilt Milk
Danger Mouse, Sparklehorse – Star Eyes (I Can’t Catch It) (feat. David Lynch)
Sylvan Esso – Coffee
Lorde – Supercut
Mitski – My Body’s Made of Crushed Little Stars
Pinegrove – The Alarmist
Adrienne Lenker – Angels
Anna Burch – Not So Bad
Porridge Radio – Sweet
Soccer Mommy – circle the drain
Nap Eyes – You Like to Joke Around With Me
Lens Mozer – All My Friends
The 1975 – Me & You Together Song
Frances Quinlan – Your Reply
Quirke – Se Seven 7S
Double Discone – Espionage Industriel
Wuh Oh – How Do You Do It?
Palm – Memories of Winter
Hatchie – Obsessed
Pet Shimmers – Mortal Sport Argonaut
Disq – Parallel
Julia Jacklin – Body
Happy Spendy – Take Care of Yourself
TOPS – I Feel Alive
Katie Dey – So You Pick Yourself Up
Hovvdy – Ruin (my ride)
Purple Mountains – Nights That Won’t Happen
Songs, Ohia – Tigress
Karima Walker, Dominic Armstrong, Bobby Carlson – Blue Thread
Van Morrison – Astral Weeks
Sharon Van Etten – Give Out
Phoebe Bridgers – Two Headed Boy (Part 2) (Neutral Milk Hotel cover)
I felt the only thing to do was to write a Book of Rain. I was reading all these San Francisco poets. Sure, you can get detailed climate data on more or less whatever you like, but it meant nothing on its own to me. I looked at the annual hours of sunshine, average precipitation. How many days of rain. I mean you could say Glasgow was like 329 or something. How many days in a year again. I have never been to San Francisco, let alone lost my mind there. Or maybe I have, the latter I mean. I googled what’s a box of rain and it started relaying info on radio access networks, because I’d left out the ‘i’ in rain. Access all radio until the signals run streams in your mind forever. We ran out of the box and into the street. I had a dream someone was coming for me in the bathroom of a restaurant and I had to escape but the floor was ridden with rats. They were beautiful rats made of iridescent glass, and I was nervous about shattering them. Beautiful soundless rats all around. You could drop a box and break them all. The waitress was crying outside because the boss had discovered her glass menagerie. “How beautiful it is and how easily it can be broken” I was murmuring to her, quoting Williams in some echo of what I had wrote in some essay, forever ago. Not for Emma. She was like, “But what is that it of which you speak?” She had a thick Polish accent and the tone of her breath was like full-fat butter, melting inside me, running down the side of the walls of the box. Animal ashes. I tried to give her a key, a single silver key to my office. I was like, you can hide in here and bring all the plants. The plants were also made of glass. There were avocado glasses, lemon glasses, aloe glasses, spider glasses. I’m not saying it was “unrealistic”. She carried them with such tenderness I remembered the names of many friends I’d abandoned to youth. Everything we said in the street outside was set to music. These kind of Vivaldi swoons of violin, with pizzicato flutes from the boys by the roadside, doing parkour. I felt stupid and reached for my cello. She was like, “do you not have a viola d’amore” and I had to demure I did not know. “It’s okay,” she said, “summer is in G minor.” I took off my dress and walked down the street, shrinking. I was waiting for a bracket to scoop me up. Something of her molten voice had shattered the glass heart trembling inside me. But where, but where! Where would I go. Summer is so stressful, those bloody erratic strings. I needed something that felt more like the rain. Soft rain pouring a chord inside me. What they say of the viola d’amore: with sympathetic strings. Whose love are we even soft for. The extra resonance of the rain lent weight to the future. The future auxiliary is. What did he die for. At the end of the rain, the air is composed of cinders. I missed Edinburgh before the Fringe. I was in a bathtub drained of water, lighting cigarette after cigarette and letting the ash pop the bubbles of thought. When I ask the internet of cinders, People also ask: ‘How did Derrida die?’, ‘How many languages did Derrida speak?’. I want the resilient self-presentation of all this nothing. My mother goes out in relentless rain. I composed a sonnet of the city, it went like All devices lying down and already I’d fucked up the iambs. So I googled it properly, what’s a box of rain. Any morning, any evening, any day. The box of rain is what this is not. I put pressure on the ash to summon a dormitory, the many-bedded archives of sleep. The world is a box of rain. The world is as fugitive as the bubbles of a sad geometry. Whose idea to play. They blew of our world a glass with walls and lid and corners. The rainbowed edges of slender aporia. Container for rain. You could prise open the box, its sticky lid, as though inside you’d find the most opulent yoghurt in the world. Imagine a yoghurt that would fill your belly with billions of tiny, glassy eels. I made of my guts the Hudson River. A lyrical gesture of elements came to count. I can’t listen to the song that makes me so happy I am instantly sad, like being stuck in a dream of a dream where all you can touch is reflection. I had all these stupid lines about gemstones, trying to hold that feeling. Cleavage. It’s existence, you idiot. ‘The reflection / itself’ (Cedar Sigo). They were all swimming inside me and I had a dream about swimming and chlorine depression and all the red sucked clean from my hair. The water would leave me a mousy self to crawl into her former corner. I would let the glass mice eat me like sugar. In the aquarium a sea mouse is pushed quite cruelly towards the water filter by a petulant scampi. Nobody puts baby in the corner but scampi. He was cute though, bug-eyed and orange-pink. Crustaceous slice of sunset, all feelers and limbs. They sometimes add colour to salmon, there’s a whole gradient of petrochemical pellet effects. A dark wild salmon is best. Dark a wildness, swimming. Pure aesthetic pigments. In the café, she spoke of how octopuses feel with colour and then I remembered everything. Everything I loved of your ruddy shade. Politics talking. Glass rats and pint glasses brimming with gold. A clip of the soft, panicky salt of the dark. Then morning relief. I sensed the light through my skin which was also glass, shaved glass reformed into something more convincingly epidermal. I was camouflaged, cold-blooded, cuttled into daily life. I cradled a corner. The eels propelled to the surface and left tiny blots like shingles. I’ve let them swum. I felt sick with all that had happened. In the salon, I read Plath’s Letters Home with my hair in shiny, sci-fi foils. ‘I plan to build up into the lovely creature I really am during the next two weeks’. First blush of ‘“champagne ambrosia”’. The herbal tea in Largs was better. Everyone crusted with salt & waves & exhaustion. Little roses among the leaves, expenses. The silver quality of island light fell on a speech. Someone recited the seasons in tiny, seed-like stanzas. I was handed a hazelnut shaken from the roadside fresh, cracked at the back of my mouth a green sort of sweetness. Yes, Sylvia, it all ‘bear[s] a whirl’. August is almost over. The sympathy of your cephalo-strings. A low kind of aching tremolo, plows through the intertidal zone, the reef, the abyssal depths of later. Paradise froze on a brooch. I had opened the blinds to nothing like light. Your diamonds are studded on tentacles, prodding their way through the window. They were sticky with yesterday’s circadian tears. When I dream, I wake up wanting to see the person. Palm oil on toast. My cutlery grief. People are having sex in swimming pools at Christmas. Tinsel of lindens lining the parks where cats enjoy their kill. A river runs into the sea. I am touched by a terrible language, the jellyfish trying to erase me. There was this wasp, we were trying to eat lunch. My fingers were black with tapenade and wine. You cannot swat this call away. I was a lover in the telephonic sonnet. I need a scholarship to write my Book of Rain. The kind of money that weeps from a nourishing prairie, melts like chocolate. I needed a whole milk scholarship. How to prove I was worth it. There was a green banana, a frazzled conscience, island jealousy. False green money, emoji, insomnia. There was all this ink on my sheets, like an oil spill. I was nobody’s refinery in the dead of the night where life was a story poured out on my shoulder. Oh you are lovely. We have our boxes of rain now, so many. I had not thought the rain would undo so many. Rain overflows its glass. Once again, sand again. It is a crisp apple rain. Held in the ampersand between days. I drew one on my wrist to mark that night where the colours were heavy inside me. I singed the fledgling arrivals of chorus, red-skinned greens. After ‘The Gilded Cunt’, I never looked at a bin-man the same. They are doing the rubbish in the garden in sync. I flung syrup from the window to tint the rain, and all the black bags would glow with gold. We had too much, it was sodden. Woke up at 8:am to find my laptop was streaming a video on pyramids. I watched Lana Del Rey step out of the screen and shake up the car where the cheats make out. Everything became an off-peak day return to the sea. Sunday of twenty-seven degrees. Triangulate clouds to a future point. In my Book of Rain, it’s stopped raining. ‘It’s stopped raining. My fingers graze the yellow flowers beneath my window as I turn back to my desk and write. These past two years have been difficult. I keep thinking of the time I’ve wasted. I was the undergrowth—always underneath taller trees, always wanting’ (Rae Armantrout). I was wearing white and not crying. If you could see my bones underneath. The order mattered not like an emptiness. A sculpted classic of ashes. The rat let out in singular, rain afresh. On your mother’s instruction I hiked in the wild farmland around your dreamhouse to find the Marsh Library, the Library of Marshes. The air smelled of opium incense and late summer pollen and I sat with my brushes, painting false dreams inside the dreams of the movies, and then the dream that held me melted. Directive. Natalie says, I felt cheated. I missed the marshes, required an Air. The broken hyperlink became a book by Nicholas Royle about the plaza of bootleg pdfs and I opened the book which was a sandwich, leaking sweet potato mush onto brown lunch paper. That was so disappointing. I would feed it to the rats; the rain had melted the words into gluten. End of the box of the endless rain. How do we say an object is ‘teeming’. I would bite the brittle stars of September.
Angel Olsen — All Mirrors
Björk — Virus
Tropic of Cancer — I Woke Up And The Storm Was Over
Ariana Reines has this poem called ‘Glasgow’ that features the lines: ‘We wanted life now / But not “real” life / We wanted the exact science / Fiction / We were living in / We didn’t want it’. I keep thinking that just living is so often this contradiction, or Eileen Myles declaring ‘a poem says I want’ and knowing how right they are, Ariana and Eileen, and where are we when we come to this knowing. I mean, why does such philosophising happen in a poem called ‘Glasgow’. It’s clearly set in Finnieston, I mean there’s ‘Berkeley Street’ and ‘the Sandyford / Hotel’. I wonder if Ariana knows the pawn shop is not really a pawn shop, or if she ever bought poppers or condoms or candy from the 24hr place near the Hidden Lane. Here I am with americanisms again. I mean I wonder if my idea of Ariana would bother nipping from her hotel room to replenish the tobacco she ran out of. Would she bauk at UK prices? Does she even smoke? My idea is always a she here and she likes to go into contingent nightclubs more than the store. It’s what we give away. Finnieston used to be not-expensive. I once wrote a poem called ‘Finnieston’, I was younger, it was kind of bad. It was about this release you get from finishing something, crossing a bridge. I used to go through the park to get to my friend’s house or the 78 and every other time the shops and bars along the strip would be different. A kind of fantasy district, reinventing itself coolly around me. Someone in the world is having the gentrification blues and listening to Courtney Barnett’s ‘Depreston’. Like sometimes I just sit and think, oh how about that whimsy! It’s hers, but you can borrow it with a jangle tone. Bottle it like Tango. And we shriek the world percolator into the dark, fizzing stars of etcetera. In the morning order lattes. Goodness sake is this what it is to write now, I love it.
Slowly, slowly. I measure out my life in Scotrail tickets. Walking around cities and trying to carve them into a poem, I mean that’s not what any of us are doing but it happens. Just comes, like orange. This month I spent a lot of time outside of my usual quadratic existence; I didn’t have to count the change in the leaves, there was already so much that was different. Things sped up. Once we live in it, do we not want it? Orange curls at the edge. That feels like a worded conundrum of someone who’s spent awhile on the streets, in some capacity. Not necessarily without home. I was counting the crisp packets from my perch on Uni Avenue, overlooking the construction works. Is it that nothing online is real as well, if you can have as real a nothing as the something of life? We don’t want this and yet it’s what we built, what we live in; we crave the ‘outside’ still, as though it were possible. It’s all in process. The station goes on a real bright tangent.
I like to just say, Ariana Reines wrote a poem about Glasgow. I feel honoured on behalf of my adopted city. It ends ‘Way out’. This consideration of exits, secret passages under the Clyde, riding bridge-wise towards the April I had to trudge hungover from tea-room to tea-room, listening. Hey. I saw Ariana read last summer at the Poetry Club (thanks Colin!), I think she was wearing a white dress and she said she might menstruate at any minute, she said something beautiful about the sun and the moon, synchronicity, and it was exactly what we needed. I mean her sultry voice filling the room, release. I mean I felt validated in my cramps and misery.
Tiny red spots appear like a migraine painting my belly.
There’s the rain now. The rain broke the heatwave. Is it Cetirizine causing my headache, this marathon pain like a marble rolling between my temples? When I go see Iceage play Broadcast, the room is sweltering. There’s a general jostling and adoration of bodies, like this guy is Scandinavian divine and just one lick of his sweat would cure your ills. The ills of a lack of a life. When we are living between. Catch It. I like to use the phrase ‘out west’ as a general euphemism for escape. Like sorry I gotta go, there’s a meeting out west, something happening out west, I’m owed time back west like the sky’s owed snow. A Sand Book (Reines, 2019). If you close it too fast the grains fall out. As though I could make of Kelvingrove the savanna that takes us out of my dreams. In the novella I wrote last year, there’s a whole childhood set there. It’s somewhere in America that you’d find in a song, but it crackles with violence and the fat-spitting fry ups of diners. Or does it at all. Who did she wait for.
There was a whole Monday morning in London I filled alone. It was strange to come close to a cacophony of accents you only usually heard on the telly, the city accenting its vowels to deliver things quickly. And yet we’d roll like beads in jelly, very slowly towards ourselves. I walked along Regent’s Canal with the flowers spilling out around me, cyclists slipping past and women smoking fags from canal boats, smiling their air of propriety. ‘Way out’ I could not go here. I knew if I stuck to the water it would all be fine, follow the line that was not the Tube. In London Field Park, someone had chalked XR slogans everywhere. ‘Rise Up’ was the order of the day in green and sorbet yellow. I tried to recount what had happened in a slim black notebook; I sat there on a bench for an hour and a half, just writing. A man asked me if he’d seen ‘a gaggle of unruly school kids’ come past. I answered in negative. There was only the other man on his phone, securing deals, pacing. Hot desking now meant you’d conduct interviews with iPads in parks, squinting against the light. I saw that also. I was at a gig where the band had a song about hot-desking. The drummer was also a vocalist, equalling my dilemma in the park: how to co-ordinate melody and rhythm. The runners ran past. Rucksack cutting into my shoulders. The air thickened black soot in my lungs but the buildings were lovely. I nearly left my orange socks behind. They weren’t even mine, originally.
When the sun sets on Finnieston, you see it spill syrupy gold and pinks, dramatic skies up Argyll Street.
Rise Up. [?]
That tree was an ash, the other a sycamore. I found myself in St Pancras Old Churchyard, staring. Supposedly Mary and Percy Shelley would cavort here.
I could drink coffee and be utterly happy, in a New York poet kinda way. Better to be the one who’d been to New York. Just to say this happened, that happened, I like it or not. We live this. There is something we want to get out of. Taking the subway in endless circles. Glassware exotica rimmed with sugar-salt.
All the aloe vera on stage was infinite juice.
Why the lack of seagulls here. Isn’t the Thames a tidal river?
People come to the gardens to make phone calls in London. Everyone exists in the cellular orbit of this extra life, the telephonic aura that follows them. Can you call my extension. She sits there with sushi on her lap. “Elaine’s not having IVF anymore.” I live off M&S egg and cress sandwiches for days, it’s good. Soon I would watch the land sweep back the sea from the train, heading north, east-coast. There was all this chewed-up rhubarb, but I sat there regardless. The birds were so tiny and tame, with their injured wings, polluted fashions.
Casual nymph mode: Fairy Pools of Skye and a swim. The car ride singing Joni while the hills just spread their green; we are so deliciously far from Paris. I lie awake with the skylight, listening.
In Dumfries I eat vegan blueberry pie at the start of the month, we talk about American politics. I’d been watching that Years and Years programme and freaking out on a casual basis. When it’s the eve of 2029 and the grandmother makes a speech about the utopianism of thirty years prior, 1999, how we thought we’d sussed it. That got to me, because for the first time so clearly I saw my own lifespan as part of this history. I remember the millennium new year also, of course I do: my hair was crimped for the occasion, I ate pringles and kept my bunny close. Blonde self red-eyed pre-digital. I played Game Boy in lieu of karaoke; it was the latest I’d stayed up in my life. I had nothing to sing; soon I’d be seven. The exact science fiction of this scenario, Years and Years playing out the extension of what was already in motion, terrified because it was imminent, believable, situated here in front of us, the domestic reality of interconnection. But in a way, it felt very English and I realised that was different. Glasgow has its own science fiction and maybe it’s just this or better politics or something more solid that doesn’t result to a haze. I think of everyone jostling at the hothouse gigs. Something we can’t hold still, glass bottle of cider from your bag that might burst. I’m happy. That blueberry pie was so good. I didn’t even care about radiation.
In Sam Riviere’s poem ‘american heaven’ (Kim Kardashian’s Marriage, 2015), ‘the level of heaven we develop within us / is the level it was possible to imagine / of the assorted early 80s, on earth’. Keep reading these articles about local bands sporting eighties outfits, drinking in the same old man pub as the previous feature. A general vacuity coming on like a front, but what can we do, lacking the ‘facsimile architecture’ (Riviere) of a more american heaven? The pie was served without ice cream of course, that was the point. No dairy. I keep five different diaries this month, split across documents, notebooks, assortments of train tickets. Creamy excess of this prose. My purse empties a cascade of rectangular orange. I throw around terms like ‘post-vaporwave poetics’ and mean them sincerely. What if we had to incubate our own heaven first? Lana Del Rey: ‘You’re my religion / You’re how I’m living’ (Honeymoon, 2015). 2015 was a good year for heaven. We hadn’t had 2016 yet; we were almost teenage of a nation. Riot, right?
London is all facsimile architecture. There’s this slime in the canal that’s thicker than lawn turf, extra real. I can’t stop thinking about that. Algaeic esplanade trapping the fishes. Can’t stop listening to that King Gizzard song, the refrain that’s like ‘I’ve let them swum’ and maybe that’s minimal ethics for the anthropocene. You just perform a minor twist in grammar, you make that the way you live:
Our human responsibility can therefore be described as a form of experiential, corporeal and affective “worlding” in which we produce (knowledge about) the world, seen as a set of relations and tasks. This may involve relating responsibly to other humans, but also to nonhuman beings and processes, including some extremely tiny and extremely complex or even abstract ones (microbes, clouds, climate, global warming). Taking responsibility for something we cannot see is not easy.
(Zylinska, Minimal Ethics for the Anthropocene, p. 97)
You could say the hypothetical fishies. We can fish for other things! Sentiment, care! Wholesome lyrics leading towards charismatic solos. Some kind of upbeat. Magikarp! so nothing happened. Things beneath the orange-green we cannot see. How are we supposed to care for slime? That song is a world, makes over the world. I think of powder and glow, contour, blend, gloss — a process of ‘make up’ or making up that structures Kim Kardashian’s Marriage (from ‘Primer’ to ‘Gloss’), that fashions a map of the face, the frontal location for ethical relations. In the library, the girl beside me writes about South Korean politics while listening to ASMR makeup videos. We all have our imminent fictions; not ‘real’ life, but it’s not always science.
Sometimes I want algaeic to fall into angelic, both pertaining to light.
We didn’t want to live in the life we made to live in where we might want.
To walk down the Royal Mile in the rain, bumping tourists, slowly crunching into an apple and letting your hair down into noise, a sort of soundcloud rap of near-distant, muted present. The apple was green and particularly sweet, low volume, like something discovered in the pockets of a pair of jeans you borrowed.
I’m awake at four am again. It doesn’t seem to matter so much. The gulls are morning/mocking. Later I’ll be at the kitchen table, chewing oatcakes with the window open. Reading Peter Sloterdijk’s Foams: Spheres Volume III. Is extinction one kind of what he calls ‘semantic antibodies’? Who is trying to excise that from the conversation?
Mostly I dwell in vicarious haircuts. There’s a thought after the thought. Drink whisky in the park, read fiction. Your pinstripes lack a fly but still.
We fall asleep five times watching this Will Smith documentary about the planet. We never finish an episode. It seemed to stage the incoherence of a Hollywood sublime set to reverie’s overdose, but only the scene where he’s playing with his dogs in the garden remains. Sepia, sleep better. I slept deeper than a rock at the bottom of everything. June still feels like a dream.
I only want to get home to write the day. Every entry begins, another sweltering…
That’s what…good is?
Slowdive – Sugar for the Pill (Avalon Emerson’s Gilded Escalation remix)
The 1975 — The 1975 feat. Greta Thunberg
Mark Hollis — The Daily Planet
Grouper — Invisible
Laurel Halo — Out
Joni Mitchell — Rainy Night House
Devendra Banhart — Kantori Ongaku
Joanna Sternberg — For You
RF Shannon — Angeline
Fionn Regan — Collar of Fur
Thee Oh Sees — Moon Bog
King Gizzard & The Lizard Wizard — Fishing for Fishies