Skip to main content

Giuseppe's fondness for the canaries of dirt

That painting with its winged penises, searching for macaroni, butter, and lumps of gum. 

"They've come around, they've been around all night. They're here thinking of doing it over and over again, just like its some funny repetitive dance along on the round sofa. Gah, I can hear 'em thinking about it. I don't need to see it. There's no value to it. We can't use the pictures in our heads like this. The damn music's too loud."
Success is a line in here. It's not from somewhere else and it won't succeed without a market to happen to it. There's too much wax and too much wax as the song goes.  What we need is to keep making these markets happen. They need to be everywhere just like candlesticks and crosses in the night. Giuseppe knows us, we're his reckless canaries in this poorly lit hole. He knows us as the cats that know the mysterious language of all the other birds in their holes. I've told him before that they're easy. "They're like open books in a burning library, don't get confused and don't get left behind," I tell him. But Giuseppe's timid as a school bus and he's all over the place after six. He's left again and then he's right until he wobbles off entirely. 
His is an eccentric path and he holds to it right down to the ground. Giuseppe's usually broke or fumbling. He's either in argent or some getaway black but on most nights he's looking as carefree as a clerk. Tonight he's chatty in his tight wooden shoes. "What's that word," He turns around quick to cinch his tall stocking up. "It's the one that means, the land of the tall pines, but it's probably saying, that which lies at the end. What's that word again? Because I for one, I like that word a lot. It's grounded. It sounds so Canadian that it's like its from a time and place that's all by itself. There's too much galavantism and people rushing off their rails. We weren't meant to move around so much. No dance in the pants, No jive, no bulhsit neither. Just so you know, I'm going home after this and it's just going to be me and Mr Kosmonaut tonight. So don't try anything."
At the end of the hall we see the inappropriately named, Ms. Tabby Tabby Tabby on her way to June's. She slips under the bed in the red box room. Her ass wiggles under the dangling flat sheet. The night ends when she says, "isn't it all just right darling?"

Comments

Popular posts from this blog

The apologist and the appraiser have decided to stay put

dashed wet and grim Oh now, Reagan of steel glitter in pants with which to shake them on down. Oh now, I shit you not for these are the things. Yes in any order you should choose these are the things to please please me, Oh Yeah. - Unmarked letter signed, A to A They'll say to me that it's safe to say so much for ubiquity, for disenfranchisement, and the terrorism of privilege. They'll say to me, With all of the effects from these profoundly toxic effects, is the project of our shared humanity effectively being dismantled. Are these the idle thoughts and sad tidings of despots and the tyrant kings inside of their comfortable towers of raised muck. As I've said before, They're not so far gone as to be gone for the good of all. This is plain to be seen in a world of bent backs and gross hyperbole. I'll sit in any unused doorway. I'll be beside myself while every door is locked. I'll dream of the halls and listen as the curtains, the drinking, an...

Piles of leaves: Letters Campaign

Suddenly old but feeling perfect, my wet underwear is on the the floor. It's gathered round my ankle. Myko laughs, just as wet and full of piss as ever. The violence of our togethering already feels like more than something. I reach out, taking the back of her neck with my hand. She's stepping in as I lean over to write; Dear, Temperance, October, and Brine, You are more than a place to me. More than walls and simple chimes, but I'll write to you anyway. This you'll know as you read my words. From here beside the lark's buttered breast, from under the heavy lids and the bright side kettle where we'll hum. We'll hum together, Bunny. Dickens be damned, we're now brightly doomed. Soon enough we'll see, the forest within the trees. To you, Tigre PS. are more or only this bed, maybe the floor too.   We spend the day in, ordering takeout and hiding under the sheets. I get up and pee while Katt is talking about Milton. Her mouth's open, it's as rou...

Not the Willem DeKooning Retrospective (Not Even Close)

Willem DeKooning, Excavation (1950) oil on canvas Yesterday at work I bumped into this piece by Donald Kuspit on DeKooning's retrospective over at Artnet . Then this morning I bumped into this one on L Magazine's site, by Paddy Johnson . I don't know that Paddy Johnson demystifies DeKooning as much as she takes issue with his pallet, declaring it repetitive and boorish en masse. By contrast, Donald Kuspit writes an article painting DeKooning as a sadistic brute inextricably tied to the modern tradition in general and Picasso specifically. Together they make for some interesting reading, particularly as Kuspit never addresses the show itself in favor of drawing his conclusions from individual works. While Johnson seems to wear the show like an imaginary wool shawl, noting it's uncomfortable, out of style, and the zipper is broken. But she doesn't seem to get to a place that addresses what was actually there either, only what she felt was missing or to her mind ...