Have you followed me closely through the long four years of being caught into list like thistles do make this white stuff, fluffy July of it, caught pale against purple and green indelible sunsets. I appreciate all kinds of writing and sometimes a product has a good line like, rain and dark gold the podium and ringtone, we’ve got to get ready, there are some stones that remain. For memory and in VHS.
Something happened which I could not write about, and it was scary. Summer is smoky, you see it all around and when you don’t you know it’s still there, if you know what I mean, everywhere you look and don’t see it you know. The smoke grows lilac from the country song and it’s a new one, drawn from the old one, Waxahatchee is also known as Katie and I like how sobriety opens a songwriting and settles. Not that a loss does settle. This is a week and more soberly in the poem, reflecting the dust bits, it’s not clarity it’s cornflake crushed beneath foot. Tonight is my exhibition and a stupid person cutting the lawn, I try to look outside. The curtains are just gauze and Mau texts to say there’s something funny about ‘gossamer sounds / on the porch’ as a line and we agree all spiderwebs are kinky because ‘entrapment / constraint or binding’, and spiders eating their mates and like, how this conversation occurs mint green on lilac as in nature, bad NYC illustration, having whatsapped the last chalice or lapped from, critical, I owe you a whole month of blog there’s a backlog, the real foxes coming around the lot. Joey says a blog is useful if it has a playlist, music is useful. I’ve been reading his pamphlet again, let’s do it, which he wrote for / dedicated to our reading group, and thinking about poetry and collectivity and action. And what you can do on the face of loss. An old woman chides the speaker to not plant vegetables on private land and the speaker replies by ruminating on the conditions necessary for flourishing, I love this line ‘some people think its cool to have / shit / like a forest what the fuck but it doesn’t stop’. I am reading this poem for its labour and dreaming in a flat it’s not mine, for its fight and for what it makes me want to do, this it which is like the it of a pop song, more of a doing and pronoun, Ily, who do you think we are? What do foxes think about music? I hear a gate creak outside as I write this and imagine on the bare patch of grass where the bins are the block became meadowed and fred gets targeted ads for hydrangeas, having told the story of the hydrangea wars one time too many and I also want my targeted ads, if I must have them, to sell me wildflower seeds and the bulbs of potential vegetables. I bought an album and it had two flower bulbs and a cassette tape included, everything wrapped in beautiful tissue paper. Hungover I am thinking about that and about Joey’s writing on the pale yellow paper you sensed was artfully stolen. There are lots of important thoughts in this pamphlet like ‘it’s dreamy to dream when the real & necessary work / is ugly like steps clogged & knotty with nauseous / exhaustion’ and what does it mean to say something is dreamy, I wish I could ask Bernadette and get her poem for an answer like an answer machine where the words are crackled but everything you need to know is in the tone of the voice and the space between sound and how there is a breeze through the line, a wise one. Or just like, the 3 second double space between songs on a playlist where you turn to the other and know. Time pass. Calcined eclipsed as if I scrolled mortality site with its many many awful ads about products for tooth decay and viagra and thinking is this the absolute dramatisation of death on the internet, can we not have something clean, a kind of writing. After our phone call all my targeted ads are for lingerie no person would wear, it makes me alien to say so? Someone tells me that the databases are inordinately complex and there’s nothing a layperson could do to pull out that code and so you have to trust the abyssopelagic practice of software developers. The speaker wants to find things in the gaps and ‘that’s something’ like when knowing your neighbours, I smile at my neighbours say hi, my old neighbours were good we swapped books and furniture and talked about work and what we were reading, one of them was always reading long, historical muscular novels but he also loved Lispector like me. One of them a ceramicist’s apprentice. What of a poem encased in clay, all the animals of this room are poems, more than we could know, as I swallowed the memory of their crumble and form. This pamphlet of Joey’s is always worrying about what poems are and can do even as it stays true to the ethic of let’s do it, we keep pushing even as we question what it is we are doing; I like this, it’s what I want to call ongoingness. It’s poetry that makes me hungry a kind of lush hunger like the dew upon new gardens and sparkling water that is also natural, holding glass to the light and clink and chime, we share a bottle, we share blossom, ‘i only want to read with friends / in the actual field of experience / in the garden of ourselves / exactly not edenic since we built it / in the future’ I want to epigraph, keep this close, eternal bindweed in the garden of ourselves and something to build in the future, let’s do it, like kick off your trainers into the sun, it’s so funny but I’m crying and sneezing. Ever since I moved I keep Gloria’s poem, ‘dig it some no place’, ‘a real-time no-time edited response to Bernadette Mayer(BM)’s “Utopia”’, as a printout by my bedside. I got this from a Zarf launch G. read at back in 2019 at the Glasgow Women’s Library, and I remember wanting to live in this poem in a way that rarely happens, I wanted to understand its address and who was living in it, what was happening. It was a year of climate strikes and the fucked election. I didn’t see any butterflies for a whole year. Joey’s poems make me long for the good things we learned in lockdown and also to be with friends and doing ‘preparatory work’ which might mean learning to cook for ten people or just learning to hold space, be present, show face ‘& we hold it far away’, this garden we built and are building. What can this plant do. How do you like your tea. For a while it is a Zoom garden. The roadside wildflowers are great this year, tall and showy purples and yellows. I ride the wave of heat and instantly miss it to wake up shivering at unsent texts in my dreams; in the middle of being held or not held by you. I learn this Irish phrase about it being so hot the ground’s cracking open or it’s hot enough to split rocks, I don’t remember, and once or twice this has actually happened in the saying of the phrase. Kirsty works in a glasshouse library by a motorway. ‘back in june / when it felt like everything / was cracking open’ and the ‘visceral’ like how I read this poem in February along the canal, like how I walked with it and wanted to do something like punch thru glass or send an email, but mostly I wrote instead and to hover where that scream was, placeholder, what was inside the rock of the day, how I gave it to the air of the field in Lambhill, how I miss those walks. ‘Theories are ok, but what patterns of movements will we trace through the streets as we go about our lives, who will we pass there, and how will we pass them?’ Joey asks in let’s do it. Someone asks me the time and someone asks for directions and someone is asking can I stash my booze in your pannier bags to my friend. I watch the police call children away from the fountain and I sip water and cycle home. Sometimes like the speaker, Joey’s speaker, ‘I’m dissociating from the city’ and I don’t know anything about it, who built this, how am I gonna do a wash or refresh these conditions, how am I gonna drink coffee on a Friday morning and wake up to the songs that I want, how am I gonna tell or not tell you. Nothing anyone can say and being scattered, needing encouragement, our friends are elsewhere, we hold each other through words because it is the flowers we have, gifted or put there, not to wilt, speculative to put anything in the soil and see if it grows the way I write a paragraph on discord, that’s something. Heart fires tripled and inboxed. Joey’s poetry teaches me to go beyond realism but not be complacent about something in the present as if that was enough, the eruption itself as utopic. I’m excited about what happens next once we begin changing, as if by the inward and outward transformation we would get to the place, hug emoji, to speak on the radio against enclosure and the ‘no place’ of Gloria’s poem maybe where you ‘Leave page […] to begin this’, and what Joey says: ‘If this place is so radically unrecognisable that to get there we would lose ourselves, then perhaps this imaginative effort is the beginning of a willing self-transformation, which we might hold onto in the midst of all we do in the hope of its eventual collective completion’. I imagine my face in the mirrors of dust shop windows, becoming something else when you say in the dream We shouldn’t… There is nothing left to buy but time. I am still trying to write about that thing whose impossibility is the basic problem of how I can feel and look around and know you, know me, how we are here and still have breath and like food, and like mornings ahead of us still possible to hold and break fruit and run for trains, share music. I appreciate the way this work is a writing back to itself, as if to reclaim the errata and do more with the adjacent claims and forms and changes — to acknowledge that anything we write academically exists within a context, it has this limit, something weathers through it and what is afterwards done is gonna crash through the words. I wish I was cycling long and hard along the canal today, I wish I was breathless and flush. I like what Joey says of poetry’s ‘glittering / incomprehensibility’ and how it disrupts ‘capitalist (etc) subjectivity’ and how at the exhibition everybody wanted to eat the sparklehorse, Jack’s sparklehorse, like it was this giant animal-shaped sugar plum cake with hallucinatory and erotic properties if you just had a slice, a small bite, a scoop of the horse. People want to imbibe the air magic they want to transform and be more than flesh, I think that’s poetry also the wanting to tip all the glitter right down your throat and come up rosy, aura, in excess of yourself, beyond consumer. Morvern’s dream of white horses on the beach. To read this, you had to be born and you had to feel something opening, hydrated, sapped of sense. In the pamphlet one of my favourite things is the scribbles, curlicues, tumbleweed gestures drawn on some of the pages, the sight of photocopied handwriting turned asemic scrawl — this gesture of something in excess of the language, a tending of the page, a tender unknowing. That I made a mark and remarked it. It is something to long for. Whose hand do you hold when you say let’s do it, not to ask what follows but move into that shimmering space of the it, which is always in motion. I want to work harder, have stronger hands and language.
One day I will be champion at hula hoop or retire from the athleticism of the long poem, the turbulent manner of a short moan, long-term loan, poems to unravel barbed wire fences, and how I had the library book but they lost the library book, found it. Everything turns up sometime. The turnips are good this year is a financial statement for racoons all around us. I want to go slow but I keep speeding up. Riverside champagne and bicycle, some of your Guinness, Pinot Grigio, Cava and fern, curl inside me a thought of the night and night club, lilac book, not yet. Ice rub, hot flush. Everything good in my room is mint green and white and nightly
I want music to be everywhere, remembering
slenderly the first month in your new place
and all these milestones of
the lake at twilight, Elliott Smith
“can you play it for me”
I’ve been here a month, I am getting to know the roads
I’m supposed to buy furniture
I get home
Kind of still drunk at 2am I watch that film about London, 2007, Giddy Stratospheres and it felt really lonely. I longed for more party scenes and more of the beginning running to ‘The Rat’ and you’ve got a nerve, more of a carelessness of the edge of history where you still have money or you don’t, sinking a wine and running for trains in the capital city and not falling asleep and the timeline’s messed up, how did we get there, landfill I die, the country is lonely. I love the whole boy/girl friendship and especially what it means to wait or go meet someone and the thrill of being out with them, swap hats, wrapped around each other, unconditional, laughing and wholesome and immune to other ppl. Platonic hold hands. I’m lucky to have had that. In 2007 I read NME every week and collected a sense of what was happening in London. Squat raves and indie discos and gigs that ended in broken glass and fights and the end of any sort of neoliberal consensus about to be voiced and soon. I was just walking the empty crossroads, smoking menthols. The girl Laura with the peach-orange hair is an artist and wants to claim club promotion as a kind of art, I get her, I get that she should be able to do that and contribute to the living as art, and nobody dies. Anagram of my name is ‘lame red armies’. Clubs always felt total elsewhere it seemed impossible that they really existed and now even more so, what is the fee, but I want to be in them. Who cares about satire it doesn’t care about anyone. You never see her without a hat and this is protection, wearing a beret against the world at the fierce mercy of cab drivers, “look after her yea?”. Everyone is wearing leopard print and looks good. We should be able to do this and nobody dies. Ventilation. The coloured tights and short skirts. Art school. When I cried at this film I cried for the twist, was I prepared for it, the way it screams something
against that hedonism, delusion, but they keep going on. The film isn’t sexy at all and the only sex hinted at is kind of gross, creepy or regrettable. I knew even drugged it had to be better but bad sex in films is so British. I felt the moral message was too strong. The boys in bands are more or less all annoying and druggy, sometimes endearing but mostly dumb, the long familiar ket nights of blurry talk. But the music is good and the guys are fun, it’s just acting. Besides, I miss that. To be a dumb boy in a band with the boys I alight from my slip and reach for the door, it’s always open, do you have a light. Now I go out alone if I go out at all. It’s a lonely film because something of the isolation of the pandemic overshadows it. What does it mean to care for someone? That I watched this on a sofa alone, that it was filmed in 2020 and they had to do artful camera things to simulate a bigger crowd, that we could only get one limited slice of the action. How to ask for help. I wanted bigger party scenes, more of the hedonism, rat sightings, I loved seeing people take drugs more or less constantly. I felt completely neutral, then indulgent, until I didn’t. The film confirmed my fear of bathtubs. That somehow you will never get out again. Some people feel like it’s a womb. And afterwards I was crying for the friend I lost. Everyone is wearing hats and I remember when Camden was full of hats you would go to just buy hats, and everyone looked cute and cared about clothes and music in this way that doesn’t seem possible now, wearing a bowler, there are so many ways to be serious now. What do you take from the film with you, having seen two decades compressed and the living room where you can always bounce.
The Long Blondes — Giddy Stratospheres
The Walkman — The Rat
Arcade Fire — Neighbourhood #3 (Power Out)
Bleachers feat. Lana Del Rey — Secret Life
Angel Olsen — Gloria
Oneohtrix Point Never, ROSALÍA — Nothing’s Special
Caroline Polachek — Bunny Is A Rider
Porches — Okay
Sharon Van Etten, Fiona Apple — Love More (By Fiona Apple)
There is much I cannot tell you. I’m not going to be autobiographical. I want to be “bio.”
— Clarice Lispector, Água Viva, trans. by Stefan Tobler
Hidden gardens where a bioluminescent frisbee, in imitation of the mysterious diskettes that roam the deepest zones of ocean, drifts upon the late May breeze. It is unseasonably cold. We take pleasure in relishing the ‘unseasonably cold’, as to say something is unreasonable or unforgivably it. The thing. The heating is on all through the month of May. Rain-sodden trainers left to dry on radiators. A documentary about nudibranchs had revealed to us the secrets of experts. Experts in general. How you really have to hate the thing you study, in order to love it. The thing has to perpetually withhold from you what you want, not knowing what it is, but always in pursuit of it. So the nudibranch in question, this pinkish one, does what is told as a ‘dance’ for the diver, who has gone too deep in the song. The sea tells nothing after the bridge. It is barely a chorus.
I am a heart beating at fish time, deep in the abyssopelagic city along with the dumbo octopus, the cookiecutter shark, the shrimp. I will not say much about these animals and how they came to adapt to such aphotic lifestyles. I myself was once a chaser of light. We are circus anomalies, dependent on a phrase of unseasonable coldness. The freak quality of not-to-want oxygen or like, having been left here then stubbornly I will stay here. Make of my heart what you want — a jewel or rock, a piece of cold life, swallowed. Bare and beating. Something is getting dark around us. Darker yet.
And so never to leave the perpetual lockdown of the not capital city, and so to leave it for gorse and blue realms and the haar of what is by the sea, in a wavelet transformation. Having to go inland to escape it. And so to give up one’s limbs for the personal study of human impossibility, as if we had also been persons all along. I wear a delicious, impermeable bracelet of kelp. The order of adjectives tends towards certain qualities, for instance when I say a blonde soft hair it is wrong somehow, touching the thing in a wrong order, when everyone wants a soft blonde hair as delicacy. To be in this month and spearing the secret fish of the story, one after the other meandering down this channel. At the bottom of everything, when you see it. When you see the story.
Let us go deeper yet. I have these new glasses, you have these hands that will brush away masses of silt and sand. You have the order of words corrected. Living in a grammar of ceaseless helium. Lamentation of the soft urban fox you were once, once were. The frisbee glows quietly in the grass at night. At dinner, J. gives the lowdown on *********** and various fish glow quietly in their sadness and having been farmed to believe I too am in this story, eating. The very delicate scarce thing we would toss to the word of the mouth, the open wound of it, melted substance. Brushing a fork through soft blots of cream and saying is it so, deep sea, very scarcely. This instant, speared, you are the story also. Salt. Twice removed from the lavender thing twigged from the garden and drank in gin with soda, so the ice knows more than I do. So the ice clinks in the quiet night, which is never a night. So T. confesses the end of dark lunch. I read it.
The cold fresh lenses allow us to witness how the deer get sick, how the white deer especially are beautiful by any standard of “I love you” said between the innocent eyes of how we are also roes, taking our glasses off to see better the way faces exist when brushed together, clicked and twisted, kissed. And the gorse so yellow, sky so blue. Immediately, to have been tourist for mourning. The most disappointing best hot chocolate in the world has all the good sweet silt at the bottom. I finish it, feel sick as expected. Flush. I throw up my arms or something. Wash the cup, recycle it.
So the nudibranch’s name is derived from the Greek words ‘nudus’ and ‘brankhia’, meaning naked gills. They have no special skill in discerning between light and dark, often using chemical signals to locate what is needed: food and each other. They possess a pair of ‘oral tentacles’. Soft-bodied, dragon-like, losing their vestigial shell during a larval phase. The extreme vividity of their being works as advertisement. I am obsessed with them. The sap-sucking slugs, algae rich. They produce solar power from munching on corals, absorbing their chloroplasts to photosynthesise nutrients. Bright colours result from their diet. The month of May has a toothed structure that tongues the very campion and jewelled aurora that passes for what you want ‘pure total nature’ or sweet poisons, for which I take showers to exhume from this system.
The writing, at the bottom of everything, is colours. They come from what we eat.
Null cerise and sweet neutral grey, back into darkness again and gently.
Now it’s 10:29 of Sunday morning and last night’s song thrush and the afternoon skylark and none of this heard on a podcast exists — it is all true and continues. The frisbee flies sentences through the wan air and hark is it early to never want to leave, to always be entering the room spreading butter on toast and holding a glass up for persons, wild-cats, in a language the daylight speaks and speaks along, another dark lunch hidden from the universe only to be camembert nightmares of rosemary — whisky — do you remember this shadow man or his shadow step-daughter, do you remember the riot, do you remember the castle of gold, clearance and loneliness? This place is tricky to heat. Black tulips, white hyacinths. Coming up the stairs is the question.
A nudibranch bristles into coral and kelp bed. At the bottom of everything is the nudibranch. Do you see it? Do you see it?
I burn my tongue on the question. What will be coming around the mountain of bleached consideration, haunted and lovely through the haar and more blue to come exists as breath, underwater, this pause before each born to scrub our hands with sea kelp soap from the isle of darkness and safety trending in the United Kingdom of the girl, with her voice of crunched glass abolishing sky castles, sand castles her salad days her spectacular glands her nudibranch heart
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.
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 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
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
Not long ago a blog was destroyed. Inside the blog was a forest; what they called forest but by all intents and purposes was more the unknown contribution to chronology which made up many pages of codes and trees. Codes and trees. The liquor in a small pool was seemingly endless dirty martini, where olives float in lieu of lilies. I meant to say it was destroyed and the incident being customisable, now to look back, I see a particular man at sunset wielding buttons. Pop, pluck, glock. Boys share the same blouse as me. Then gingham and dungarees to write in the blog another hour or more, sleeves rolled, plunging seasons into seasons. Keep yourself sewn. Don’t get shot. This winter will you change your life. This summer will you lose it. All of the paper incineration. Sound of artificial camera flash in the dark, razor the code from the trees. This change, not the life, not necessarily. Scrolling the trees.
What will it take for the server to work? There was a dark room of my childhood filled with blinking lights, layer-bake hard drives, wires and cables. Bringing you coffee, I go there closing my eyes to the electronic warmth at the heart of the office. Whose office is this? How can I work there? Will you give me a job? I am a fine typist / I like the word ‘twilight’.
But not long ago, a blog was destroyed. We were in generic city, you know the one with buildings, and something swerved into us. I was scared at first, weren’t you? We kept left-clicking the breeze to stop, but the way your hair looked, lifted — I could’ve almost gone with it, the hum and song of the breeze just pink. Remembering lines like ‘January is endless’ and ‘the Northern Line is the loudest’ as I consent to give cookies, consent to be multiplied in the archive of giving me moments in capital city; where is my iPod? Small things you can do, exchange of fruit, the scale of it. Something swerved into us. I was scared at first, weren’t you? My blood was all scattering berries, clots, poisons. We knew the album was amazing. We said this many times. I said we have to see a doctor. Just a guess but the crescendo fucking kills me. I breathed too hard it was scary. The road was quiet but something swerved into us. Couldn’t tell if it was a truck or a set of emotions. Kisses from France. I was climbing to get to the good bit. This is a painful song coming on I won’t talk about further, being dull and adult, seeing old college friends lost. What is a moon. I said we have to see a doctor and we did, we got in line outside with our masks; it was a time before masks but I add them. Losing your pearls, losing your solace barometer. Remember X overmind of me. We were turned away at the last. Did not see doctor. Jellyfish. I wore the blouse that all the boys wore, proudly.
Driving to Brighton, not driving to Brighton.
The ocean washed up masses of cash, bank notes sticky with kelp and salt, tons of pennies in lieu of pebbles, bits of glass. I paid for a book of poems with a cheque signed on behalf of my father. I paid for my life. The blog lived inside of the sea. It was being destroyed and so the blog called tsunami. It had a world in it. Tsunami_93. Commission you tell me the endless failures of Wednesday, Thursday, watching the ants by the ocean accumulate broadband costs. Watching the ants and cash. Spiralling ants and cash. I said something swerved into us, it was fucking horrible. I saw it, the long hard crash of the numbers, upwards. The colony of allied ants just clicking away in the dark like we already knew them. A politician comes and goes from the hole where you fall through, nightly, clutching at sand. A burlesque of sleep. The patent glitter of policy, it gets in your body. The ants made a moat of the hospital.
Silently, you came to town in my closing dream which was killing our molars from kissing too much in any forsaken house by the sea, endless you climb inside me — figure this in, you figure this out. Sometimes the text at the bottom of the page just disappears. Tell you a blog was destroyed and my concern is for glutinous sentences, stretching. Planetary hardship was relative. Tell me, hold me. I write about dying in my diary, how will it feel to be six or five and not knowing about the dying, how will it feel to look back knowing you lived through it. Tear off the blouse the boys gave to me. There is a coming through of such dreams I have had, splashes of sick pink light, infinite distance — and can I say the animal I never met was nice, they were so nice, the album was amazing. The animal pronoun that therefore I am. Something swerved into us; it was the whole fat year of pink rain. Where a blog was destroyed, you put down the stone. It is shaped like a heart that needs convincing to beat.
Kept diaries of numbers kept easy job kept crying. Felt like portraits of femmes in rose blush and yellow and emerald green, leaking, felt like looking into you back from Matisse or wherever it was in generic city we saw what doesn’t is seen. Domestic bliss. I remember the wires in my childhood were totally opaque. Quiet symphony of dialup and call you. eBay and a “flurry of cosy ideas” says eye, closing for the last time, plated. Down a long gold tunnel and DNS error. “Are you alright? Are you alright?” I hate this question but whacking a drum and bass beat right HERE was good, if originally ballad but easy
to me, this song is less about a particular situation, and more about that feeling you get looking back on things that have meant a lot to you, or you feel could have meant more
I hide the application anyway. It is spring 2008, no forests exist, the bathroom sounds of lemongrass scent and harshest bleach. I’m sick. I’m sick of parks I want genuine forestry and a place to be lost and call you. I remember football on the low green, barging into silver, not knowing a wave meant more disease. Not knowing the waves as anything other than the earnest self-abuse of the sea. Salt heal. It hurt to listen by the long thin phrase of your cigarette, smoke getting up in the hours of my eyes. I remember kissing in tents / remember running home drunk from school. Remember who watched us. The man who squared-up for no good reason other than the sound his own voice made, which was a sound of bright cash howled from the sandy reminder. There are memory dunes where stuff piles up, stuff gets sucked or dragged away. Stuff gets pissed on. Something swerved into us and we did not phone the cops. I carried the hurt for a while instead. Walked from one end of the green to the other. Now in the city. On the mobile phone a big red sound passed beta-waves through us and you asked, “what was that?” and pleaded “please don’t die”. I minimise the year, I always reply. I fantasise portals to London.
Dreamt the prime minister was crying on Mars for the ninth time and it was a ninth wave and it was very bee loud it was glandular. Second wave, third wave, watch out for next winter. A man who swallowed all of the cash of the sea was blatant in wanting to touch this and ruin my life. It hurt to listen. A novelty sermon on visions, ecstasies, roses and bread. Something H.D. says about a jellyfish and will you sign up for infinity melt club — it requires the overmind, sad to miss, buoyed up by salt water always. We passed the number we wanted not to pass. Will Alexander writes that poetics is ‘a place where language becomes a fertilised concentration that explodes’. I’m talking about everything we used to do. Another life. Voice barely makes it to audible status. Every month I turn fifteen again and my mouth tastes of Yorkie bars, acid, ice cubes painted with crude sweet oil, Diet Coke, extra salt. Maria, it says, and I wonder. Someone is a shadow they are painting the walls with it, more and more, the paint fizzes up. Crude sweet oil, the blouse of the boys. Softly you bring me the water, more of it, enormous with cash, I hate it. I mix all the paint with us.
That person who used to work, I miss her. January is endless. Should the blog be destroyed? It was Platonic like kissing the stone at the place where sunflowers grew upside-down by a crumbled temple, they let us go. You say, “this is wretched” then turn on the radio. Elliott Smith in front of a mural, covering The Beatles. That I a girl from Maybole would like to be consulted; would like consultation. Because. The doctor turned us down. The river was frozen. Salt. Pretzels of fallopian tubes. Someone on the radio said poverty. The blog consolation of be love because you. Remarkably clean air I remember? What comes next is older and older, how early the cruel was, forecast, thinking in paradigms and not glassware. “You look young!” It might be I always hold out. Still you smash, the failures of Tuesday, no melatonin. Blissing Chamomile Mountain. Payne’s Gray, Davy’s Gray, Naples Yellow. Salacious impression of what is a gesture. I have all these dreams about ladders like—
The problem of the marry a cloud of the martyred morning In the soft-touching laminate space of the morning The promise of a landing, striped by the morning We edit cumulus, collect yon fish by the morning A rain passed wetly over our morning The actual cat got into the morning My proletarian alignment against the morning Is only a maths class happening this morning Did you want palaces in the light of this morning To feel you never got hurt this morning When it swerved into you in the morning Of comparative hotness at morning Equivalent to mattresses morning That planets lie down inside us, warming
And the flowery agenda of what they would do to avoid this scarcity. Kept saying science, science like a car advert, £500, kept you awake at night. Salt. The technology trusts us! Liberating production to what freeing from labour a person being careful would order milkshake. Water this artificial strawberry. Audit the communal blog was destroyed. Salt and oil. A wheat field in a movie. I remember aspartame sunrise at which close to the not-top of Louise Bourgeois’ many ladders was a droplet of hooch blood, red-to-punk-pink. Under the fairy lit trails of Tuesday, I said FUCK YOU to the motorist, I said OUCH! Today is Blue Day, tomorrow is Green Day; expropriation of serotonin to Bad Day, it is quite a state; put back ice that you stay on, tulips; a sugar-lift etch to keep say [“I miss the nineties”] belong to my early days of still love indie. Weeks become necklaces I am choked inside them. Tending the forest, drive out of the city. Impossible tacos in landfills pass us, having never harmed animals. Nothing swerved ever in heaven; you get really close.
Study the lightning-shaped graze on my knee.
Burial – Chemz
SOPHIE – Is It Cold In the Water?
Honeyblood – Super Rat
Billie Eilish, ROSALÍA – Lo Vas A Olvidar
Sharon Van Etten – Serpents
Widowspeak – Sanguine
Infinity Knives – In The Mouth of Sadness
Lana Del Rey – Chemtrails Over The Country Club
Xiu Xiu, Liz Harris – A Bottle of Rum
Fishtalk – Hummingbirds
Los Campesinos! – Got Stendhal’s
Tim Heidecker, Weyes Blood – Oh How We Drift Away
The Antlers – Solstice – Edit
Songs: Ohia – Boys
Field Medic – chamomile
Vagabon, Courtney Barnett – Reason to Believe (Karen Dalton cover)
There is a place where these supermassive roses might be planted. A harsh place that exists at thin resolution, we have to resample; I am doing the maths to know how 100gb permits her entrance. The process slows because this behaviour is not natural. Her entrance with the roses bundled in giant’s arms, and the long tresses of foam and seven neat words she has tucked in a satchel of crocheted pea proteins. She is attuned to a certain instant where it works that she plants the roses. They are gnarly, monstrous, thirsty. The roses are not sober. And the girl? She stumbles on her third negroni, abstracted, poured by the silent one who inhabits the hedgerows. Vermouth of sun, gin of moon, aperitif of the bitterwort and marshes, garnished with wedges of orange from overseas. These seven neat words I will not tell you with her lips sealed blood sugar, femme confection, a certain rain, a squall.
The clarity is lost a little when we adjust figures. But the girl is still there, in the corner maybe, bundled from sight with impossible flowers. What do we know of a girl and her flowers? She could be a waitress, a bridesmaid, a funeral attendant — but no, this is extravagance to belie all such professions. The flowers won’t fit in the picture this is. It is not merely to carry. Some say they are hyperobjects, but if so, what of the girl? She is also beyond human proportion; she would live a thousand years. Sprinkle hundreds and thousands of leap years merely upon breakfast, and yet at nineteen does she not look a million? If you were to splay the fine skin between her thumb and forefinger, you would begin to see the star stuff which flows in human capillaries. But at such resolution!
Of her face since nineteen, the narrator of Marguerite Duras’ The Lover [L’Amant] (1984) writes: ‘But my face hasn’t collapsed, as some with fine features have done. It’s kept the same contours, but its substance has been laid waste. I have a face laid waste’. So when the girl lay down for another of her size; they were a cloud, it rained, the girl awoke with child. But she gave birth to nothing but roses. She was a fixture of the processing plant. Initially, sealed in mousseline baubles, they were not even roses but rosehips clustered among thorned vines. And you would imagine these vines entwined with her spine, climbing them as if the destiny was always her neck. She would speak at night, tapping the fine glass, warming them as eggs. Give everything away: the rose-meat of petals and their pale, inward jam, hatching saps, their crying.
A cloud always passes, it creases the sky. Cars go in and out at night.
The fruit of rose, especially a wild kind when I write of a Mary Sue or brush her teeth, when she is more tall than willow and yet I have set her colours inverse so in reaching for rosehips she must reach into shadow and isn’t that all in the working day of dreams is deferral of Edenic cinema, she grows in wilderness also known as the fortress of lossy compression where trees are shaky with original pixels and her clothes are torn as mine would be crying forever by the sea with my dairy allergy for twilight ‘The blues are because you’re getting fat and maybe it’s been raining too long’ and if she is me then I am she rehearsing definitions for litany via prayer, supplication, complaint am I a melt vector on cutting board you call me aslant with the knife tucked close to cupid’s bow of my lips ‘she was noted for her command of dialogue’ but no one said anything lipsticks: sweet chestnut, amarena red tender rose and orange delight shaking the rosehips all night for Roman god of erotic love is just rare labour of the shepherds in pleasantview, saying sorry or what colour your blouse is, mine is damask you could press to make attar so I know how I love is mother puts glitter on a wreath of ivy and dying hydrangeas to hang on the door, entrance Mx I give you generally acceptable apples the shop called jazz, they are wrapped in plastic we look up to see the planets ‘almost touching’ but they are something else entirely easy, lucky or free. These green diamonds don’t occur in the wild; she makes them from slices of apple glitch effect plumbob oil of rose is condensation a playable simulation novelist in decline as I lick the sea wall cast this upwards to where another hour is ravished you start to read.
PART TWO: SACRED PORRIDGE
Perhaps this would be enough of the rose-girl if she would stop haunting me. I dreamed Bernadette Mayer wrote a novel overnight, it was midsummer, she was 27 and had a fountain pen the size of the Eiffel Tower. Tell me what she was smoking, was it Marlboro or lemongrass? Maybe cloves? I get mixed up, I’m darks and pastels, nobody likes me. Open a beer to share regardless / Crude oil streams from her words. I became suspicious the rose-girl was a fiction of Bernadette’s, that I was stuck in the internet fiction and whittled away. There was a poem called ‘Thorn’ about a penis. Brexit or no Brexit, I was anyway hoarding tins of beans in the hope they would get me somewhere – a similar purpose to breakfast. Recite to me from memory these stats about lactose, creatine, muscle enhancement. I lift my arms to reach you, I am hauled to the new wall painted mint to match the green iris tea of your eyes, it’s Greenwich Park / I am spent with apple pips and cauliflower hallways. I want to be hurled across continents sprightly / put acorn in pocket. I am not her but she is me, here, in a harsh place. You are the smoothest nut! What was the novel? I don’t know, I have this line: ‘the negative capability of raisins’. Don’t kill the squirrels! Sunday you make porridge with peanuts, sour cream, biscuit, honey, drops of chocolate, muscovado sugar, extra milk of oat – why not acorns? The rose-girl watches. Her breath is a draught.
She is so huge you would miss her. All December the faint scent of her pea satchel follows me so I know I couldn’t possibly have corona. Plunge my nose in vegetal folds. I would be the aura of plasma around her sun, that’s all and merely. Does it rot? The size of these roses, really, is impossible to measure. Expect several hundred metres or miles, stumbling in the world of error where we go to buy bread. Is it for months you have been a tile, a talking head? You are very delicate and I stroke your nice hair, which loosens through the screen to meet me waterfall. I climb to the top of the beanstalk we braided from eating well. We read Lee Harwood in the rain, As Your Eyes are Blue, and drink mulled wine. I guess I am riding horses to catch up with the size of these roses, blue ones also, fat and mellow. Jackie Wang calls this ‘outlaw jouissance’; a phrase I wrote in my notebook, quickly. The line gets whipped! I think about Cy Twombly. The horses are all kinds of colours, but mostly the pearlescence of inside seashells, or mollusc aurora’d in a way that seems Björk or genital. I suppose the rose-girl arranges them nightly as saints do, genial; I suppose it is like Sylvanian families. Sometimes from copses of rowans, the tops of the miniature or minotaur trees, red-berried painted I read her SylviaPlath. My poison voice must catch the wind exact, ‘The water I taste is warm and salt, like the sea / And comes from a country far away as health’, as health shall be a human dimension, unrhymed, the rose-girl considers. She is the only one of us who has seen a corpse flower, in a third-floor apartment where somebody important had smuggled the seeds from Chicago, where was she. The corpse flower is not a singular flower but a cluster of blooms, and so is she. It all stinks, I say, so I don’t have corona. If you touch the flanks of these horses so smooth your hands will vanish in gossamer, they become other materials, still smell like hay. This viscosity to friction feels good, it’s lush with endorphins — why don’t you try it. The water is warmly you and me, like the sea; it comes from the eyes of the rose-girl, crying.
There’s still time to shop, you collect from store towards a possible come on let’s go of the literal it stings, who you would be in the dream not the enemy’s eye or the unripe banana I stayed in bed til mid-afternoon writing feel-thesis, correcting citations of Clarice Lispector it’s Christmas, you know I don’t have corona on the phone to Avanti the songs are played in such intervals of 45 seconds as to make you hate the very nature of a chord progression is desire’s deferral and will you secure a seat for us at motion sickness what is necessity feels like Velocity is I am washing my hair with tar shampoo and cider vinegar. Come close, wish soon, revese December. Should I call someone? It might be you, explaining multiplication to me, you carry the one and the two, and then I never do read my old diaries smelling of blood and sleep deprivation acrid bulimia, spray of A7 garlic mussels, scarlet muscles my brother says he will donate his plasma for medical causes, have I fear of needles? Lady bird shell collect bathroom dust, antibodies, I am clean and typeset like the stars. You open my coat because of this Reynauds, too cold to unbutton. My anhedonia is cyclical, I stick little poems to the wall they go like
once upon a midnight weary came the lovers on a ferry they were drunk and very old but never had they had a cold over the hills and overseas they could be you or even me
It’s like the Friday of 2019 I read Hannah Weiner’s clairvoyant journals from low-res pdf festive darkness crying in trashland and couldn’t stop tasting purple for a week of otherwise phantosmia, what I smelled was the crushed illustrious rose of infinity pinned to my bittersweet nasal cavity as I am to watch corpse flower time-lapse resemble green diamond, they erect an umbrella and a rare titan arum bloom beneath you typing at the library am I bike spoke, a concept strike for closing the erstwhile windows? Click to know mood… We keep going We leap in a pool of pure negroni and my lungs keep coming up blossom of orange and call you “Hey everyone welcome back to the room, you can open your eyes now” Like probably I have told you before about the band I am starting, a synth-punk deathcore revivalist outfit called Yoga with Adriene I have her permission, she says May all beings be happy Move from a place of connect Present and awake Love your neighbour Things get better, they have to It’s a revolution of the muscular laxation of the life you find cored If you have apple belly thick-skinned of futurity, there will be a chorus and verse for this that goes like scream Motive, Trust, Floor, High, Kindle, Salve, Soften, Strength & Harmony My thighs are burning brightly, it’s the end friend of my Norwich or Brighton, Manchester, Glasgow and some kind of New York resemblance is ‘cracking America’ at the top of your list I have never been to the south coast of an average celestial body yet watering your houseplants I won’t go viral in the night with pills and tweets There’s no cheating in yoga, you make it your own as I do cartwheels on a leap day of acid comedown they say I do it too fast the flight gets in and distant cat miaows as I do kiss you a lot they say catharsis is found in the blues and green laps up the rest is stretching if you can only find it like the sweet spot asana with arm across chest I am become rowan tree, flexing queen of the prom you pluck fruit pastilles from inside me the sea, first try is easy.
PART THREE: TENDER ALPHABET
A. will write in the time of commute B. prefers spearmint toothpaste C. is inside of me D. the size of Paris cumulus E. is all you can eat, ecstasy F. who I love G. has grown H. the hendecasyllabic I fail to write I. doesn’t rightly exist J. sends endless emails K. is a joke L. for loosening jewellery M. with dark sweet cherries and doubles N. conspicuous passionate weekend O. checks the notification P. of classical pleasure Q. minds the gap R. is a rising rat-souled singer S. supposes the cognitive deficit T. exists in lyric saloon U. then driving me up the highway V. to frangible lust I am W. of shimmer lamb X. into cowbell rhythms we go Y. yellow warning of wind has been issued Z. is a property of citrus
PART FOUR: FLOWER SHOW
In The Besieged City (1948) by Clarice Lispector, ‘the flower was showing off […] it too was untouchable, the indirect world’, ‘exhausted’, ‘What is the flower made of if not of flower itself’.
OPEN LOOP ( BOUQUET ( ) !!!!!!!!!!!!!!! ) )
The flower exclaimed a soft orchestral impression of breathing. Adults no longer snack in movies. Spent five hours on a train, six on Zoom, three in the outside air is nice. A time-lapse corpse flower, the music being used, pace of light. Heat syncope of the sea, we dive. Someone is hired to recover her pearls or pears. My skin is peeling from sanity gels.
A fault language of shiningly happy teenagers. Rosettes for the nuclear pony. It’s all total showers today. Condensery of lemonade gemstone, sertraline, the lapwing massacre in a Sufjan track / so I am endlessly sorry.
PART FIVE: NATAL SMUDGE
When everything started to wilt, the moon was too late. Untouchable stem of a name, yet the rose-girl knew what to do. She swallowed the world like a gobstopper, a lightbulb, a tulip. The arrogance of sundown was only that it knew how to try.
Turning over, see the supermassive rose in her belly.
Superstitious gemstones include violets and opals, sleepflower, nightshade; don’t @ me if you think they are cruel or kind. Marlene drops cranberries from the wall and you piss twice as hard in Scarborough Fair, are you sad, buy me blue cheese, there is vigilance in the dead. Rosemary for memory, thyme for a life you led, who sells it. Marlene says she misses Alisha, that’s not-me. Pray you arrive here safely, smudge of tarragon, mushroom photography, lines of flight.
We, after Sophie, after Frank, say Ask for everything!
Regarding conjunction, something about publishing, spirituality, knowledge and authority figures. There will be tension with Aquarius principle. A slip of paper. I was born at 06:20, in a thunderstorm.
[Oh yes! x]
The rose-girl had an overture: she tore wedding pearls from her branch-sized clavicle, let them scatter from the tub where she lay and the tub was a cloud, the pearls were snow. At the great conjunction of Jupiter and Saturn, she was a divorce child with her hair in two plaits we would climb up to kiss at the nape of her neck, that’s it, I play all my aces so we won’t die. These cards are beautiful, we turn them away. There will be no dying, not here or now. I thresh the rest of my skyluck, lager, my skylark. I’m lucky the mirror is showing up nowhere. Sometimes it is Freud’s voice, or an oil pastel. The foam from her brushed-down hair. Of the past you have given me everywhere, Andromeda, minipops, electronic renaissance. In writing the poem I am playing the cello, I am playing the cello of poem to death, why not?
It’s up to you It’s down to you
Don’t be so mournful…
PART SIX: SCENTED AND GENEROUS
I had a dream about the diary with the days mixed up. Each day had its own fragrance:
Cognac, cannabis, dill pickle, mown grass, libido enhancer, sweet vanilla, jasmine, ylang ylang, who shares all, heart notes of shrub, blackcurrant, oak moss, popcorn, peppermint candy, lavender, ginger castoreum, chypre, neroli, understory, wooded and tonka, ambery, orris, top note, emily brontë rose, cinnamon, hot shit, gold dust, brine of ocean, roast aubergine cologne near airstrip pheromone, oil pipe explosion, special cinders, vetiver, slots into psyche, balsam, absinthe, cassie, frangipani, saffron, strawflower aka immortelle, black liquorice, lactones, myrrh, sassafras, fruit loops, chocolate ice, pamplemousse or french for grapefruit martini and rockrose, peony, tobacco, peppercorn, petitgrain, scottish myrtle and soft fir, nutmeg, new car, coffee brew, pine needles, indole, musk of course.
Pitseleh means little one. Elliott Smith sings, ‘no one deserves it’.
I’m turning a petal to see you better / that I am someone’s difference.
If we were to wed in the childhood memory where you circle the prairie with diet cola and you always know what to do, I see the cherryade reds in you, sanguineous of first degree and alacrity pitching your letter. The post office is closed. I eat more peanut butter than Elvis and nobody stops me, I get it from Aldi. The day feels closure and we edge towards lockdown, I’m texting, Starbucks is open on Christmas Day, will you bring me something? Again, like the time we ordered starlit capitalist fuck lattes and dusted methamphetamine before shift; we were exquisite, fruit toast, the nourishing glitter in our hair was ace; we served 200 covers, sixty quid in tips, and you were scarlet in the uniform poem called A Scarlet Letter. Not the one or the many, just any. I knew this already. We had written them all! You have to have dashes of green to make red, tell Hilary, which is why I am writing to you from my rowan tree, fred asks is this a rowan bush, I say a rosehip, I don’t know what to do; the inchplant is coming up fast, it will ingest the television, I look forward to it. Brockley Station, Nina Simone, stomach cramps, star flood. Must learn how to climb / the branches brightly.
Write to me of conspicuous passions, such as aging, or the fairy fountain with permissible agelessness. Crystal arpeggio. The various glacés of Rome, ornamental corpse flowers, pistachio and your deep, carnal desire to dance. I brush all the sea-foam from the rose-girl’s hair and she would collapse in panic. What the heck is in this carpet. Can you send me again the dimensions, dots per inch in terms of the plant, or planet? There is much to do. I am sewn a yellow word and kissing you cherries to lemonade, black to blues. Needing earth for it, rich stuff, thoughts on allotments. Omnidawn is the word, when the camera pans out and one million people have streamed this song, the credits come up. O blush, Love’s refrain in summer! 500,000 ampersands, can you imagine it? My new grand dreams of porny conjunction…
You taught me how to shoplift the various accessories of girlhood; I’ve given it up. See how my brows disapprove!
December is cruel, the dark green foliage of tinsel and shrubbery, poinsettias, it’s kitsch. I learn a blue-grey song on guitar but it sucks. Mum makes paella for xmas eve etc. Pantone named yellow-grey the colours of 2021, Katy is raging as I might too; I had a poem about this from before f-sharp, it was all about cycling, snapped ankles, absolute melt. Get to you. The way you arc your arms just so is centrepiece: everything will be the same as the sum of it was, serving us dinner. Cryptocurrency, wrong-name, Tony Blair of bad air was trending, you do it last-minute, pronounce it soft, you wear a blue velour lace thing, fka misty. These are the suburbs where doors were slammed, and these were offered cookies. Fuck a lawn. But you dip your feet in scant oasis, you break off a piece of the dark chocolate donut. I have dreamed of this. Stillnesses are not without purchase. Another spam mail arrives, dear pal—
I am going out to buy us blowsy hours, belong and casual distortion. Black forest gateau and log of the roasted poem, emitting steamiest lines, pleasure days, no breaks just ganache is that thick language. We lay together, birthday of shadow work, wrote sunlessness. I draw dark green liner on their eyes like vines. Wish holidays longer. We enter the alone wood with natural lights they are strung they are simple, leafage pressed between them. 1800 dpi, virus gone, unmute the sea. You are warmly invited.
Mermaid Chunky – Gemini Girls
‘Til Tuesday – Voices Carry
God Help the Girl – Down and Dusky Blonde
Sunflower Bean – Moment in the Sun
Phoebe Bridgers – Graceland Too
M83 – Karl
Tomberlin – Hours (Katie Dey remix)
Gia Margaret – apathy
Felicia Atkinson, Jefre Cantu-Ledesma – And The Flower Have Time For Me
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
For a brief eternity, nobody was fucking anything that already got fucked and that was when the leaf started falling & another then a whole earnestness of them. Fuck. The way to keep strong is being meticulous about noticing clouds and writing shit down I stopped wanting to rain, I’ll fall asleep smoking. I’ll fall asleep smoking in some movie where my brogues are black as the wet night this all was conceived, draw my red curtains away from the moon that Nasa had a claim on and think about salad days, my nails painted trademark Billie Eilish lime. O salad days pacing restaurants, the rain is on; I remember the leaves swept in the door and they too were victims of a fate in their genes, once green. So I took samples and pressed them crisp between Moleskine pages in the sleep dimension, my writing was automatic and sullen, chlorophyllic, squeezed between menus, I was windswept inside it with the beach pouring out it was heavy. File this under the brush, bush, brush it back into language. I listened to the intricate complaints of the shrubs.
Between myriad Tuesdays, I became a psychiatrist of seashells, pressed to my ears their exquisite misery.
Time was a month of afternoons and then rivers of weeks and the sexual appetite of the hours then none. M. said in emails it all feels like soup. In no time I drink echinacea tea and wait for you in black velvet trousers, my pretzel crossed legs. The black velvet night is missing from other suns. There is no time. My chest is clearing itself of the leaves and a mysterious spore they call viral but is it just metaphor, is it the just continuum of falsehood, heavy as my tongue in your words and letting the owls out is only fake news. A black velvet night full of owls. The way to keep going is smoking at the window notwithstanding the smoke, I mean lean out like me and catch it. Someone drops loneliness pills from high windows, highest, like the song about throwing pieces out a twenty-storey flat…Your browser does not currently recognise any of the video formats available. And yet that song and for the love of bread and jam and here in our crumbling houses. Seedless. My brother does not understand tenement lust, the trend for it, but a tower-block remains in our town. Black velvet surrounds us, slapped between lunar slices cut from the nightmare of twenty-twenty. It isn’t your vision.
At five, he would drink all day diluted wine and snort at jellied nature. I love receiving your comments and photos and learning what is an amethyst deceiver and those in history who wanted us killed. If I am held down by world, I had a cold shower and lived in the hades of a woodlands that didn’t belong to me. Smell of tomato all summer in the glow of my window. Smash it all over your clavicles, the insides of your thighs, between your toes, the secrecy of your neck. Flesh of a very red vitamin C. Imagine owning the woodlands. Not to eat, I typeset all night to the sound of sentences, insects, let them lay me down later, I am all this humming snow. What sleep is it that comes three hours at a time, at a time without time that is never quite dark and five hours late. If the clocks go back. You say it’s impossible to write in these times and you are right, as anyone is to say of the impossible I feel it, here and closing in and peeling the skin from my cuticles. Not this. Backwards. When you ask what I’m doing, I’m quietly bleeding. In the hazard assessment, failing to be meticulous is not this. Failing violence. Touching green. I have a good kick at the heart and the head. The men are all down. Held down. You and I get so tired.
I want to know how she dies before the novel even opens. Lain down in the grass; the spine is split, our folds are torn. Because you say nothing I go into the orange department and juice my feelings very slowly in rapture. Waking up is to know not what happened. A blade is working in spiral formation – a blade tornado. What would rip us from orange and up, up to our tower block office at home? Dream pith all over the air around us, sticks. Walter Benjamin is very anxious about this, that you should not write dreams down before breakfast, should not attempt to narrate them. You break fast to break with your dreams. I dreamt I wrote copy for an orange juice company, who wanted their ingredients relayed as sonnets. It seemed impossible that orange juice should be so teeming with things other than oranges. The names were beautiful: canola oil, sodium citrate, beta carotene, cellulose, sucralose, Neotame, potassium sorbate, yellow #5, yellow #6 – and what could be seven? What could be less than seven! We are, we are…In the mix, at the end of the nineties, “soft drink turned a girl yellow.” I remember this as though I had been in hospital and the walls were all yellow for how much I stared at the pale and acceptable middle-class blue. Where was this, surely not in the news. I paint my eyes girl yellow, the colour of soft ghosts; I practice quietude, then sugary schemes of rhyme.
So what is the meaning of soft in your work, is it ordinary eggshells around the thing itself, is it orange peel, goldfish, autumn maple. I tread lightly on the question of being at all. These terms are so loaded. K. is reading novels where people casually set off fireworks, they do it all the time: they grab them from supermarket bins and set them off in the carpark because why would you wait. A catherine wheel for Asda and my blues is spinning, my blues in the washing machine, O rocket, a felt sense I could hug you then and the blues left a stain on the radiator. Dashes sparkle. We sit in old meadow in mud and the dogs roll over each other. We are not drinking cocktails. The transience of dalmations. What is the meaning of soft. Softness as a kind of value. I wish I could learn precision in language but it goes running over my senses and to be soft is to experience aphasia. Say in the meeting we stammer and get to the question, late morning before this, zoom before zoom, arranging the clattering scale weights and spices. I slept with Bachmann’s Malina under my bed. A blue skirt stain on the radiator. Blue heat rises. Dad says, “have you been listening to seashells again?” I fantasise gas flames.
Conch, scotch bonnet, wentletrap, simnia, drill and murex. Rose and sharp-rib, American carrier, Gulf oyster. Marmite mushrooms frying on the stove. You know there is a shell called ‘Coffee bean trivia’. In Brighton you could buy trays of them for a fiver. I bought Guinness instead, a half pint for you and I on the last hot day of the year. There was a kind of listening to sunlight. Softness as what could be damaged inside us: organ spleen, aura lamina, the shell of our bodies. Your cells soft mint as the cure. People are cycling to work; I barely leave my sofa. Various adrenalines assemble inside us. So far the shells have daddy issues because of the sea. Scrub hard and anything shines. I am under the influence of rainbows, umbrellas, a rim of salt.
I was fired from the orange department for wearing this blue on my sleeve. In the atrium standing there with Styrofoam coffee, swished blue from my dreams; compliments from the manageress and frowning at the meeting that never would last, and something we didn’t say. ‘Divine aphasia loves us dearly with some exceptions’, writes Jackie Wang. I sat outside Perch and Rest with lemongrass steaming from a cup I had purchased and the leaves blew into my face with rain, they were soft and important, licked and wet.
We were about to make love but one of us took concussion from the piece of citrine beneath my pillow.
I dreamt rabbits were climbing my beech tree the way goats do in Israel.
A small porcelain jug of milk, a blue jug, was all I could glean from the orange department, after my passing. Carried it home in cardboard, I passed through the walls. It is all because the clocks go back and a crack on the wall. Anhedonia, that I hold breadcrumbs and nothing left to imagine. At the late-night snack bar, composing these empty sentences. Do we get paid for the hour we lose? A soft wound is still a wound. “I would like truffle fries, I would like oysters…” This is something I once seriously wondered. Pools of oil in shells, a meltable system. You break crockery and throw it at the sun. It goes like fuck; it is fucking you brightly. There are still exits, listen.
Thee Oh Sees – Goodnight Baby
Little Comets – One Night in October
The Cure – Underneath the Stars
Oneohtrix Point Never – ECCOJAMC1
Moses Sumney – Neither/Nor
Massive Attack, Young Fathers – Voodoo in my Blood