That biological fetus

fig.245) Barely thirds, figures behind the secret of all things at once (x2)

"Goodbye," says the wet man. "This womb is mighty big. It's been a singular sack indeed." These are not the times of us so much as the place where the clockwork fails. The house is a'clatter in shifting gears and torn fabric. All of the tools of modernism have finally blinked and so goes the glass.
Gender is a lean and wary host, it's a comfortable friend, and the scary story on this broken bus out of town. It's a biologic frame with long social tendrils that delicately obscure the face of the hosted. We are blind, the sun has made us up. We are guilt with chance and dumb fingers too. The bath of my moment in the day of my job. It's around the corner, Hi-Ho! O' Ho, the superlative mange. Trust is any blanket that puts out all the flame.
Blue house with an orange dot behind the shrubs, it's a calculated risk. There's an Arthur C. Clarke novel in my back pocket. It's thin and sweaty. The pages are well dogged and they're very stained. I've been raking these leaves in the sun for hours and man, do I feel ripped inside. I've got abs on my abs as the cars roll on by, "That's right baby drink that cola hard."

"There's a playlist, it's all David Lee Roth and Rush. The perfect blend of Karma and Us and Them that will take it all away. I know you like that stuff by Air Supply but you're killing me. This isn't a damn submarine race. You have to fall into it. The whole thing is sweet as shit."

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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 ...

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