Theater of Operations
I. Alan Sidris: Garcia and the Dead. Identification of Zarathustra. ~Pangaea
II. Transubstantiation: Lacanian Paean to Moloch, via Partch. ~Atlantis
III. “My daughter’s wedding…” Waning influence of gesture, hero, invective; but contains
intimations of transcendence. ~Americas
IV. Stockhausen/Blount, Sirius/Saturn. Shuddering, wincing. Ill luck.
V. Cunningham/Braxton. The whispers.
VI. Djuna Barnes, Bison Dele, Milford Graves.
VII. The secret permeating an epoch; the grimace of lucidity.
VIII. She fructifies the perjuries of a memory. Dreams, farmers.
IX. The foyer. The segment. (Two fetishes of the Corn Ring)
X. Her pursuers circle wagons. The public refutation.
XI. Her aversion (Cf. Manual, Ward IV). “Everything’s Canceled. Zero.”
XII. Ovid Uman; “the Benedicent Affabulation.” Finance and facial paralysis.
XIII. Tarkovsky. He builds things American poets don’t build.
XIV. Rose like exhalations, “lacking a sense of the ridiculous, a question of training.”
XV. Passage from heresy, Spinoza abetting.
XVI. Wayful overtures toward Meaning, deviations from tangible Quality, and repeated
gestures becoming engraved with news of the perpetual first/last war.
XVII. Ray Davis: Brute luck and a synchrony. Running the risk of hiding what’s essential. L’Inutil Precauzione
XVIII. The thumb of mercy, the sign of revealing, serifs of an unreadable legend. Hissing, emanating. To the last
IXX. Dan Reynolds, Don Brown, Tim Bradley: Initiatory journeys. “Radiant nodes and clusters.” She makes friends
– she hasn’t got time.
XX. Pidgin Valence/Harmar’s Humiliation/Ajtys. She opens a weird map.