Imaginary Consultation With Saturday Night Live’s Jimmy Fallon

Imaginary Consultation With Saturday Night Live's Jimmy Fallon

Imaginary Consultation With Saturday Night Live‘s Jimmy Fallon
-concluding with a phrase from Dan Reynolds

Are we really all complicit, Jimmy?
“Maybe not, maybe not all the time.
Maybe, if yo’d been the squirrel that
almost hit you you’d have a case, right then.
Maybe if you hadn’t been it because you
were the ants who were taking the body
of the spider. Maybe if you’d been the spider.
Maybe if you’d been the growing grass
and if you’d been the hand that cut it
and you’d been its growth, its cut parts,
and the route that brought the spider to the steps.”
Maybe if I’d been the things I missed?
“And been the way you sensed them,
and sensed that you are and that when it
happens is the least likely time for you to know it.
Even then, you couldn’t (“nor should you.”)

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Paul Perry I: Who Wants to Be a Millionaire?

Paul Perry I: Who Wants to Be a Millionaire?

We have to call it by some name –
and if we are looking for new things we shall
find them more easily in (but less easily than) the ancients.
You have heard your own story, you recognize your children,
will you reward the poet?

What usually happens in dreams happened to me.
I abounded in happy curiosities; why should these things,
every one of them, in all their hues and semi-hues,
in all their fades and coita, be faithfully represented
by an arbitrary system of grunts and squeals?

Please do not read reprobation or disdain in the foregoing words.
Surely the merchant did not lie this time.
We, who do not look at one another, will be able to contemplate
the treasures that the stars have promised.
The time will come to count the bodies – but we are
impenitent and even unaware of the implications.

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Search Warrant

Search Warrant

Search Warrant

1. Homegoings
2. This business of getting hit in the head with a lightning bolt
3. One dyed afternoon
4. Cinema mother
5. Throwing bread to ducks
6. Her new breasts
7. Horn, flip of hoof; the operators call them “angels”
8. Plasticity
9. A few things are immediately obvious
10. It is stable at high temperatures
11. His most
——–A. Fantastic
——–B. Wild
——–C. Dazzling
——–D. Brilliant
——–E. Tremendous
——–F. Magnificent
12. It was hardly even a question
13. Making arrangements
14. Numerals
15. Cold legs
16. Evacuation
17. Blueprints
18. The most erotic thing that there is

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Paul Perry II

Paul Perry II

Paul Perry II

There is only one proof
and you are touching it,
as am I.

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Poem for You to Write

 Poem for You to Write

Poem for You to Write

Reality in, plot-character relation in, adventures in, and allegory, theme of.
Destruction of, as infinite, man in, and future, reality of, existence of.
Rhyming in, in dreams, mentioned, followers of, dream of, on allegorism, and story, and music, sacred, in 17th century, nature of, symbolism of.
Verbality of, poetry of, as literature, characteristic of, of Hell, in universe, in idealism.
History of, and return to past, in Creation, in literature, and movement, and number and forms, and God, relationships in.
Application of, and science, and politics, on universe, on time, abstractions of, on reading, on rationalism, on fascism.
Nature of, on silent reading, battles of, on self-knowledge, on life, on suicide, on theology, and language.
Refutation of, knowledge of, effect of, magnification of, relation of, self-evaluation of, characters of, basic subjects of.
Conception in, as universal, and heart, existence of, as knowable, and theatre, wall in, as absolute, dimension of, as a sphere, language of, and individual, on consciousness, and death, on immortality, in world, and aesthetics.
Beginning of, and man, circumvention of, to fact, and law, as eternal, order in, outcast of, as cerebral, as a dream, duration of.
Characteristics of writing of, on contemporaries, time in, and own poetry, and humanity, eternalness of, syntax of, correctness of, and critics and reader.
Silent reading of, credulity of.
Race of, on geometry, destiny in, on proof, vindication of, and novel.
People of, and painting, individualism of, aims of, and precursors, opinion on.
Belief of, on archetype, revelation of, meeting of.
Life of, oral-written relation in.
Interpretation of.

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Manual (the mind, becoming a vagina, grasps the finger)

Manual (the mind, becoming a vagina, grasps the finger)
for Gherasim Luca, Intermezzo I for D. Allighieri, Intermezzo II for Ray Davis

I.
Next time we will collect that murmur,
knowing full well a set of silver forks
will not fill the heavy spaces
that sometimes fall between guests.

By dint of a half-seen reflection in those avid suspecting eyes,
the other three of us made sneaky faces to the effect that
there are ____ such that it is impossible to try to separate them.
There probably was, in fact, a sign, but who among us (least of all, me)
would presume a solely nominal concept?

~Intermezzo~ Nine bars of extemporaneous cussing.

II.
The derivation of forms was down off the bluff,
by the river. When would the building connect?
[by the late 1880’s, for two reasons]. Some of us hipped others.
The Apparatus (we’d seen it!) had grander plans in mind –
to go down to the train tracks, to go down to the mall/fountain area –
a lever, as opposed to a switch. Oh, and I forgot to mention,
it’s available at the library. Try not to lift whole chunks out of it.

III.
For my edifimication, a parable:
A boy graduated from school and realized his neighborhood –
previously assumed immaculate…bustling, community-based, industrious,
all the shopkeepers, uncles – emitted a noxious odor. When he arrived
at the city, for university, he –

~Intermezzo II~ Six lines given away.

IV.
By dint of the way your fork scrapes your incisors,
the other two of us made furtive glances to the effect that
there are ____ such that it is useless to try to unify them.
There probably was, in fact, a sign, but who among us (least of all, me)
would presume a solely nominal concept?

V.
For the price of a joke, this judge will burn advice, his tongue will glide toward the spill.
__________________steers clear of the oddest feeling.
Draw me a round circle – nope, fat chance, brother. A fake smile is an admission in any language.

Approach work to find patterns (by reusing a fimiliar example or to help overcome this problem)
to find patterns that had gone unnoticed before – the conventions that we must teach are arbitrary,
beyond being unconnected to learning; we should not claim for them some inherent moral or logical superiority.
Most attempts to defend prescriptive rules by logic don’t hold water anyway, and it’s better not to pretend otherwise.

VI.
So, all my bad luck today was because I had to see you.
I bought a small coffin, because I reckoned that the one
under the ground must have rotted long ago – I suddenly
felt very happy. I was floating in the blissful haze that
characterizes religious transcendence and the onset
of alcohol poisoning. I had an appointment with
People magazine.

“Now I know it’s for places and money and things – not people.”
(Mrs. Leo Warren, 1972)

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Ibid

Ibid

Ibid

When putting the yams into boiling water, one should select an odd number of roots, not an even number. A pot should contain yams of only a single color. The vessel of water should be wide so that the yams can spread out naturally.

Whether one is boiling three or five yams, or thirty-one or fifty-one yams, they should fall straight to the bottom of the pot in one mass, neither crowded together nor falling around loosely and leaning against the sides of the pot. This technique is called “resting soundly.”

Some of the yams should stand up proudly, while others recline at angles. Some should be high and some low, with some small space in between, to keep the meal from becoming stiff and unnatural.

The yams should not be disorderly and the arrangement should not be stiff. If one uses onions to flavor the yams they should be hidden. This technique is called “rinsing the mouth of the pot.”

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