Another poem for Elizabeth May (our first Green Member of Parliament): entitled "Eaarth"*

I'd say (say!) the mustard seed quartered like silt in its own Spirit
                       & breathing us out
  can even arouse the envy of the doughty-petalled with
                        molten roots

  The difference between deity & the dirt, eh?

—Eaarth by name and cause!—and of all the dirty sunrises
                         the tallest, coral-eye
  at each wrist, & so delicate a weaner can now crush her

And what wouldn't leafy signify? such as the fractious being
   of cicatrices
  (of Life) that rails against an endless Morder of instinct
                for flight, pleasance,

and tears by design, too, and knows even to push a Cajun
                root up & out, rum-thirsty!
 And like the leaden-legged full of her incandescent
                                                                     surprises-
               yes! leggy & swollen to the knee-

 it'd be right lamentable to cull out sap just by opening—ha!—
  & deliver the salty most
  beribboned calf of a smile, wet with work, ever to fall
               on a lord's honey seas

Betrayed by a smile, and caring even less for yr fiery bees
  she's any vine, with leaf, a proud valley
              & Cajun tomb
—for likely to be etched is anything mythical, & what's more
               mythical than the tomb?—

                 -Oh! j'ai l'impression que je la connais-
stately dank and eyes as colourful as envy of the molten root
                  below!
  scintillations ah! only the terrible coal keep & that to late atoll greens
                   like to go

Trying to find bears for relief & depressed vines can hold you close
                   to these inedibles
She, this deep One into which stallions retreat like the plain at
                   the northerly most cold there is,

is the indubitability of every crystallitic, and yes! where the feet
  have indubitably turned crystallitic
                   By so much dearer to thee

She's a cascade away from the likes of me, & deepens as heart, who
                  looks for dawn fully,
                  oh! peaty heart,
& lies hot under the woody detritus of several trees-of-heaven!
                 She who puled for thee

*Eaarth is the name environmentalist Bill McKibben gives to the planet we used to call Earth before global warming.

Some further reflections on 'globalization': and how the avant-garde's been hit particularly hard

Revolutionary creativity does not shock or entertain the bourgeoisie, it destroys them.(from above poster)

There is a kind of collusion between capital and the avant-garde. (Jean-François Lyotard)

But the most typical artworks of so-called postmodernism - installations, pastiche, "language" poetry - when stripped of their critical theory scaffolding aren't all that different from those produced a hundred years ago. They have merely shifted out of the various facets of Modernism - irony - into a dominant mode. (Eliot Weinberger)

Yes, artists are free: they are free to exchange and exchange whatever, but only there where exchange takes place, in the market. They are also free to do whatever, but the violence of this freedom is no longer that of revolution, it is merely that of economic competition. (Thierry de Duve)

I've said in a recent post that Silliman's praises of Christian Bök’s Xenotext project disclose an avant-garde in crisis mode. It's time to be more specific. Capitalism and fringe art cultures are no longer (as they used to be) mutually hostile ideologies since the materials, methodology & presentation of work have been assimilated to the complex networks of global capital. And if they're not, the avant-garde longer have a right to that title. In my view, the complete homogenization of global capital characterizes artistic newness as much as it does the fashion industry & social media. In fact, the latter have taken almost the same trajectories as the experimentalist poetries, and it's worth looking at the reasons why.

I wouldn't say exactly, as Lyotard has, that capital and art conspire to say (and do) the same thing. It's just that traditional cultures have now been underwritten by global capitalism. Barriers and identities that served once to keep arts separate from competing disciplines have collapsed but if they've done so it hasn't been due to the success of any strong-armed postmodernist theory.Time was when a John Cage could decry the selling of Duchamp's ready-mades as a gross concession to vulgar bourgeois taste. I suppose there was a sense in Cage's day that art and business were borders becoming increasingly porous. In the face of globalization significant differences like these, however, fade into nothingness: ironically, Derridean differánce has turned into radical sameness. Now writing class instructors can pretend to be biogeneticists and L-A-N-G-U-A-G-E theorists, neon sign artists without really upsetting any established order of things.  
 
I can now safely equate the avant-garde with any successfully retailed market commodity, such as fashion and social media. Far from destroying the bourgeoisie, it works in their favour. Rob Horning's written an interesting blog article entitled "The Accidental Bricoleurs" that's brought home to me the saleability of avant-garde work in a particularly interesting way. In his N+1 piece he describes the  "protocols of new capitalism—flexibility, globalization, technology-enabled logistical micromanaging, consumer co-creation" as the standard-bearers of the retail world. Trendy clothing stores like Zara and Forever 2 offer fake outlets for personal creativity, & don't just sell newness but, as he says, allow congeries of buyers to "become involuntary bricoleurs", cultural memes of the day literally transformed into fashion accessories. 'Bricoleurs' and 'memes' are his own words.

The language of art & fashion are practically indistinguishable. The illusion of both individualism & choice don't try to disguise, as they used to, the real retail market forces that underlie their success: both buyer and store actually revel in them & have become one and the same "replicable" entity. Horning calls the new product lines 'post-brands' in probably the same spirit in which Silliman, wishing to get beyond a hopelessly outdated term like 'avant-garde', calls the newer experimentalists the 'post-avant''. In this "spectacle of pure novelty" fashion is like a L-A-N-G-U-A-G-E theory that's become handily manipulable. Horning:

If fashion functions like a language, then the fast-fashion firms are mainly interested controlling the underlying system and leave the meaning of the “words” to interchangeable designers and individual consumers. As long as customers are willing to speak fast fashion’s language, the companies aren’t particular about the specifics of the vocabulary. They are concerned only with the rate and volume of change.

As in fashion so in social media companies like Facebook. It's almost commonplace to decry the unscrupulous way they filch personal data and then repackage them as newer venues for personal expression, with users captured in what blog theorist Jodi Dean calls "circuits of desire". The free availability of "design ideology" (Facebook software itself) gives users a false sense of empowerment & creativity. An abject conformism to what Horning calls "well-worked surfaces" (interesting expression!) is mistaken for individualism. Like today's revolutionary artists social media designers bank on the illusoriness of originality &, of course, stand to profit greatly by it. "Social media," like contemporary avant-gardist productions," encourage us to appropriate whatever we want and claim it as our own without feeling derivative or slavishly imitative."

Art-makers have become enslaved to their 'brands' (flarf, conceptualist, L-A-N-G-U-A-G-E, mash-up, etc.) as much as users of social media and "fast fashion". Art's just one among a whole array of 'things' in a neoliberal world of global capitalism that exploits for profit "well-worked surfaces" of tradition, materials and technique. The very tradition of art's been turned into a sort of pastime by academics and writing class instructors. How things have changed over the past century! An avant-garde poster (such as the above) once dared to advertise the "revolutionary creativity" of art (and art-makers) bent on destroying the bourgeoisie "in the streets and everywhere". A nasty & generally disreputable bunch the first literary revolutionaries were, living on the fringes & giving the world art intended to maim. Radical Catalan artist Joan Miró sought to "assassinate paintings" of his rival Picasso while bad-mannered Rimbaud writing during the Russian Revolution— a thug, drug addict & scoundrel by most accounts—offended every aesthetic taste imaginable. And then there's William S. Burroughs who treated the world as so many cut ups, & even appeared in his own movies with "orgasm gun".

 Burroughs with gun

Now look at the contemporary avant-garde. Mostly cozy, well-heeled academics (like Charles Bernstein, Rae Armantrout ) who get top billing at poetry events and have become mainstream to the teeth: the successful venture capitalists of verse. Clamoring for top literary prizes and recognition is what drives them. The advertisement for the recent text art festival in Bury, England, for example, while boasting it's going to be one that "specialises in experiments, in new experiences, in performances and exhibitions that mix artforms in ground-breaking combinations", actually appeared more like a catalogue of the rehashed signifiers and techniques of old. The Bury festival was anything but "new". Silliman's own neon art display paid tribute (if anything in art could) to a universal & homogeneous global capitalist order now put to artistic uses. The radicals of old have become literary 'fat cats' emboldened enough to advertise their wares in big bright lights.

Thirty ways to read a John Martone poem

in
ner
light

in
the
dark (John Martone from austerities)

1. A gem of a universe of "light"!

2. A "light" capsizes once every eon or so, wheeled too joyously close.

3. The interchangeability of  "dark" & "inner light", quoth Willem.

4. N'er a "light" worth looking "in the dark" for.

5. The inner in innerlich is always as light as "light".

6. To see the "light" and steer lustily 'gainst it.

7. N'er a "light" worth crawling "in the dark" for.

8. Upend the "inner" dust in your souls, again Jugurtha.

9. "Light" to the mighty & sight to the lame!

10. Metternich was a "light" to the lame.

11. The last "dark" star to twin.

12. For "light" to work, however, worship turned private.

13. "Night" falls like deepening prayers.

14. Oh, the fundamental cleavage between "night" and Siva.

15. Including any gem, "light" safeguards the safety of all its subjects.

16. Out, out vile "light"!

17. A dirty rain is bound to precede "night".

18. Inner "light" writ in a gothic hand.

19. "Night" is a spur to "in/ner/light".

20. The meddlesome flea of "light", again Donne.

21. Im licht or "in/ner/ light"—or a moistening petal.

22. "Light" is a totalistic principle of love.

23. The violent and idle wild with little sense of his inner "night" (Jupiter).

24.  Freedom from reliance on "night" & the journey.

25. The weak and dispirited "night" in a poet's heart.

26. Could the " in/ner/light" so detected be said to be hot?

27. "Night" never arrives through the back door.

28. The austere fate likely to befall the "inner light".

29. Of the verses which follow the separation of "light" and "night (Augustine).

30. The world was angry and so Martone wrote "in/ner light//in/the/dark".

A Puddicombe Poetry reading

Puddicombe Estate

We have not heard the music of the spheres,
The song of star to star, but there are sounds
More deep than human joy and human tears,
That Nature uses in her common rounds
                                  (Archibald Lampman)

I've usually hosted my poetry readings at the Erland Lee house in Stoney Creek, in the sturdy red plank two--tiered structure called a 'carriage house'. I chose this particular site not just for its historical importance but because the grounds have remained virtually unchanged for hundreds of years: stretching out around you for miles is the same landscape that inspired the great Confederation poets—I think of poets Isabella Valancy Crawford, Sir Charles G.D. Roberts, Bliss Carman, etc.—: the same gridwork of roads and orchards, same lush verdure of weed, grasses, & the forest wildlife that had called a distinctively Canadian pioneer poetics into being.

The Erland Lee, however, is no longer available, permanently closed because of funding cuts. I've chosen the Puddicombe Estates as my new site, a stately 208 year old family fruit farm and winery located just a few miles east in the town of Winona, in what's probably the most lush region of the Golden Horseshoe. Not quite as rustic-looking as the 'carriage house', & certainly without the spectacular mountain brow scenery and quiet seclusion of the Erland Lee household (perhaps the very things to inspire a poetry reading), Puddicombe looks like its more prosperous cousin. A first glance at the place tells you an old Saltfleet Township family farm's been turned into a pretty successful commercial venue for weddings, wine tasting events, & other community gatherings.

The Puddicombe Poetry reading will take place there on June 19th, and in the week or so since I've advertised the event I've already received about 12-13 confirmed readers. Some of them I will meet for the first time while others I have known only through blog correspondences:  there will be, of course, old friends I've read & written poetry with over the course of a decade now. It's regrettable that the outstanding individuals I've met online live too far away to attend: what a delight it would be to share the poetry podium with Ed Baker, Joseph Hutchison, William Michaelian & Vassilis Zambaras.

I consider myself a 'people's poet' in the tradition of Chris Faiers, James Deahl, Jeff Seffinga & Milt Acorn: and I believe the strongest poetic movements have always arisen primarily as a community of friends and supporters. I'm unabashedly a Canadian poet first, impassioned by this country's magnificent landscape & love of cultural diversity. It is to this uniquely rural-based Canadian poetics that I dedicate my readings.

If anyone reading this post happens to live in the Golden Horseshoe area of Ontario, and would like to attend the Puddicombe Poetry reading, please leave a reply here.

Joggers and bloggers: some pretty dry reflections with stick figures



The jogger



and I suppose
any part of us that can only be seen by others
is a dark part (Frank O'Hara)

A simple rhyme (that accidentally popped into my head) has lately given rise to some thoughts about the two things I can honestly say give me the most enjoyment: blogging and jogging, and of the two jogging's still the preferred activity since I've been at it almost my entire adult life. But, as we know, enjoyment has a dark underside. In fact, what could've have easily veered off into odious comparisons between two rather dissimilar things becomes a reflection on 'desire'. Two types of exertion, physical and mental, have actually unleashed a third mysterious autre chose that is anything but liberating but without which exertion of any type instantly ceases. It is, as poet Frank O'Hara sagaciously puts it, "a dark part". It's the dark, elusively real object we're always chasing after.

Desire is, precisely to that extent, the showy gimcrack part of ourselves that makes us visible to the world. Running & blogging are a kind of display with the potential to keep the goal hopelessly out of reach. How exactly can something we pursue for its own sake do that? Firstly, by giving relief only intermittently, for relief from the pain of confounding inactivity is illusory though inactivity isn't, and anything achieved in spurts & starts (as blogging & running are) has a marked propensity, Zeno-style, to continually divide into more parts of itself—the farther we go, the more distant the prospects of achieving success appear— til the agent is seen moving in a perpetual mist, broken-spirited, alone. Anything in the world that actually produces good without the usual tiring, dispiriting intermediaries would, of course, only bring the whole rescue machinery to a grinding half. As Edison Peña knew.

Secondly, pleasurable activities can also damn us from the start by valorizing the work & unleashing some notion of fame or recognition in our heads. Activity gives us too much time with our thoughts. But if the blogger or runner doesn't try to go beyond this half-baked idea that fame essentially is (for most of us), determined to be even a bit stodgy about it, life would still remain unbearable without the next mile, the next line. This twofold desire for relief & fame is the paradox of all activity. A painless jouissance is, as the great Lacan said, life's greatest disappointment. To drive us to the goal and yet make us divert our course at the same time is the engine of the run & the next line: again, the engine of illusion itself. It's the semi-tragedy of life where the experience of human action lives.


The blogger

 And what can be darker, indeed, than the illusion of tying the idea of the good to human activity in general. (That mundane activities only form the limit of my desire, & not something like sex or drink, has the potential to be slanderous if used with force against me!) At the risk of sounding obtuse, I'll have it out with moralists anytime over this intrinsic goodness of the run (or sentence or anything) as opposed to the truer indeterminacy of a notion clearly entangled in its own surroundings. Nietzsche is right: man is "the beast with red cheeks" who tires himself [sic] out trying to place a value on things. Whether in writing or running redness in the face is tantamount to the laughable robustness of the warrior-prince who rides proudly behind the last man.

Is the blogger or jogger, then, saner than his desire to be one? The concreteness of the act is no guarantee of its own intrinsic desirability. That in delineating the outlines of the source of desire thought almost runs away with itself is pretty obvious, isn't it? To see how hilariously robust the idea in motion really is, trying adding (even in imagination) some redness to the stick figures in this post, or even to give a sense of the comicality of effort. Or try adding earth tones to the blogger's squash-sized head, even as he posts his next reply.

The insanity of the avant-garde today: or why "Christian Bök gives great simulacra"

Art should hit, slap in the face, go straight through all interference, and not question. It should present itself as an object of desire, a tangible commodity, and not see itself as a prototype. It should be instantly ready for consumption. (Geert Lovink)

...works that we appreciate and would classify as avant-garde constitute negotiated and compromised artistic expressions that avoid extreme theoretical positions in favor of a self-conscious critical acknowledgment of the world of commercial technoscience. (Raphael Sassower and Louis Cicotello)

Is it the “necropastoral” minnesinger or the “flarf” honker who most succinctly fits the anti-humanism-contaminated-with-bestiality prong? Is it the power-accommodating conceptualist “typist” or the mock-geneticist encoder of bacterial DNA whom “we” ought crown with virtuous alienation’s unsign’d “writerly” hat, or bat? Is the post-takeover lockdown of “J2” the prime contemporary example of cynicism and “mimetic camouflage,” or is it the Poetry Foundation’s move to become a kind of literary Disney World?) (John Latta)

Silliman's recent reflections on Christian Bök’s Xenotext poetry experiment add to my suspicion that the repetitiveness of contemporary avant-garde creation is a type of clinical insanity that results (as Einstein famously quipped) from doing the same thing over & over and yet expecting a different result each time. Bök’s genetically modified poem is one case only of a fairly typical tendency in popular contemporary 'writing class' avant-gardism to imitate, appropriate or take directly from the labour & resources of outside disciplines. (I suspect the active participation of any bona fide biogeneticists in Xenotext may be attributable solely to a Canada Council grant). How else, in the case of Xenotext, do you expect to implant a lyrical poem into the genome of a bacterium called Deinococcus radiodurans and hope for an immortal poetry attributable to one person?

I don't, of course, really think Bök et al are clinically nuts any more than that a poem can be chemically reconfigured to tell its host genome to reproduce itself ad infinitum. But why does he talk this way, lost in a language of unmastered notions? (He's recently said in Silliman's blog that"I am now the first poet in literary history to have engineered a microbe to write poetry...")  Well, because he can and the conditions for an egregious poetry of spectacle are just right these days. Silliman in his post on Bök has sagaciously asked the one question that puts paid to the validity of any type of Xenotext project aimed at taking minimalism to its extremist form: how do we know? How do we know, in fact, whether it hasn't been done before, here or in distant galaxies? "Yet the very god-like scale," as Silliman says," that Bök proposes in the project seems to me to invoke the likelihood that this has, seriously, been done before elsewhere." Meant more as flattery than damaging criticism Silliman's comment does unearth the essential will-to-copy that's at the heart of contemporary avant-garde work. Internet researcher & academic Geert Lovink, however, doesn't mince his words, saying that "The will to subordinate to science is nothing more than a helpless adolescent gesture of powerlessness and victimhood."

Everything about the avant-garde (or post-avant) has been done before: Silliman's right. Contemporary 'futurists', 'fluxists' or crude Schwitters imitators bank on the illusion of originality: again Silliman, "Christian Bök gives great simulacra." He pretty much reiterates the quintessential showmanship quality of the author of Eunoia in his Monday, May 09 blog post. Constraint-based work like this is a "pseudo-event" in the sense first espoused by Daniel J. Boorstin: the same cookie-cutter mould repeatedly pressed on fresh dough. The first avant-gardists (Schwitters, Arp, Ball, Tzara, etc), on the other hand, were to a man a fringe presence, living in very trying socio-economic conditions, even imprisoned or otherwise openly reviled for their work. The Russian avant-gardists are an even better case in point. A far cry from the current fashionable 'academic' playground radical poetries have become where Dr.Bök can hold his writing students hostage to his ideas & books. A far cry from the neon sign art that even the author of the Alphabet, perhaps realizing that the young don't read thick books anymore, has recently dabbled in.

Ron Silliman at the Text Festival in Bury

There's nothing at stake anymore for the contemporary experimentalist, neither resources nor reputation nor even the very materials of life: and work that always resorts, in the end, to wholesale mimicry & appropriation even disrespects its forebears. But, as I've said, the conditions for art by imitation are optimal, and have a lot to do with the forces of globalization. In fact, the fashionable 'otherness' of traditional avant-gardism has been expropriated by global capital, making the notion itself obsolete. Even Silliman's acknowledges the outdatedness of the notion of the avant-garde, opting for something that takes it beyond the indebtedness to past models in which it's mired. His recent neon art, Bök's poem in a genome & Geof Huth's 'pwoermd' as art forms have all been ironically expropriated by a global capital dynamics as hungry as post-avants for garish display & marketability. As Michael Hardt and Antonio Negri say in their celebrated Empire, "it is thus no longer possible to identify a sign, a subject, a value or a practice that is 'outside'" (385). And one of the outsiders devoured by the totality of global capitalism is, of course, the avant-garde.

And so what about the claim (or suspicion) that contemporary experimentalists—and the names for what they do are legion: mash up, conceptual, slam, flarf, fluxus, codework, L-A-N-G-U-A-G-E, text, appropriation, cleave, etc.—are insane? Well, it's more a ruse than anything else & as far as posturing goes, it's a pretty lame one. Again, it's insane to think Christian Bök is the "first poet in literary history to have engineered a microbe to write poetry". (Of course, the claim's not even factually true: biogeneticist Craig Venter has already performed a similar type of genome trick when he "inscribed a passage from James Joyce into the genome of a synthetic microbe.") But the pseudo-scientism of a writing class instructor has been permanently assimilated to a new unitary dictatorship of capital & its global networks so that the avant-gardists have nowhere to go but backwards. And so the crazy repetitiveness. Moving forward in the traditional sense only makes the merger with capitalism more secure. The avant-garde is in crisis mode. Bök's Xenotext is probably the best example there is of how science,the subjectivities of art and language experimentation have all turned into so many garish displays of a cultural consumerism that academia promotes and government bureaucracies fund. Of how predictably mainstream they've all have become.

If the avant-garde is in crisis, do I have an alternative vision of artistic work with the potential to be foreward-looking again & significantly alter the conditions of life itself? Yes. I've lately rethought poetry, and its cultural signifiers, even going so far as to equate the avant-garde with social-political activism of the Muhammad Bouazizi type. In other words, I'm beginning to see poetry (the act of'making') in a purely material way as activity affecting the commons and every aspect of life in a globalized world. I reserve the avant-garde for activity that sometimes must amount to acts of self-immolation or imprisonment or execution by fascist firing squads. A radical form of "self-valorization" never amounting to theory alone and silly academic games. An other- rather than ego-centric Art. I've become virulently anti-avant in the Sillimanesque sense, tired of the academicization of something that ought to mean 'life-and-death' to us. Now, of course, in comfortable North America the very ideal of poetry I'm suggesting is almost inconceivable. And that's precisely the problem.

Translating O'Hara: oh, what fun it is

Translating Frank O'Hara's "Choses Passagères" convinces me the great New York poet wrote French the way I read it: with a good dictionary by his side, trusting more to literal word-for-word exchanges than to a fluent speaker's familiarity with idiom & then relying on a poet's instinct for literary discovery. It seems that if the French appears quirky it wasn't something he intended for its own sake: he wrote here with a view to shaping out a product that only an aesthetic voluptuary like Frank O'Hara could've desired. But the poem may have been also a kind of intentional linguistic ruse.

The poem seems strongly to challenge the translator to make French idiomatic phrases, of which there are plenty, resonate with poetic meanings & eventually crystallize into 'the poem'. O'Hara is said to have written "Choses Passagères" by flipping randomly through Cassell's French-English dictionary, almost Mac Low-style, and forming a purposely aberrant piece collected from random samplings of French idiom. As the title suggests, like "things in passing". He's condemned the reader to steer a treacherous course between the literal & figurative, letting the real poem somehow appear in the evanescence of interpretation. In other words, no two translations of O'Hara's poem can be exactly alike.

I will, however, offer a version of the poem that won't chase after random meanings, and purposely treat the lines as if they were meant to construct a whole poem: as if what we had was a French translation of an O'Hara poem that was first written in English. And to do this properly it'll be necessary to treat almost every verse line as a literal entity whose rough edges (such as in the use of anguille ) may need to be pared down to something like the tenor of O'Hara's overall writing style. I offer a variation on "the poetic is stranger than fiction" motif.

I'd like to thank Magda Viehover, friend & colleague, for her assistance in tackling some of the tougher phrasing in O'Hara's poem.
____________

J'écorche l'anguille par la queue, peut-être un noeud
     d'anguille, ou il y a anguille sous roche,
je ne fais que toucher barres.
Chapeaux bas! mais, il n'y avait pas un seul chapeau,
et moi; j'avais beaucoup travaillé dans le temps.
J'avais souffert un grand échec, mystérieusement.
Qui se sent galeux se gratte!

Hébergement? je suis à la hauteur d'une île, c'est du
     hasard, et je ne suis pas une haridelle,
plein d'impudicité, non, non, j'imprime un mouvement
     à une machine,
la semaine des quatre jeudis, du temps que la reine
     Berthe filait.

J'aime partout les kinkajous.
Hier soir, j'étais un labadens; maintenant? je suis
     un lavabo.
Je mange les morilles moresques, quelle suffisance!
Je suis un homme qui se noie, montant un cheval à nu, et
     mon ciel est courvert de nuances.
Est-ce que j'ai un bel organe, hein? je fais ses orges
     très bien, pourquoi pas?

Ce fruit est du poison tout pur, c'est la pure vérité,
     et pourquoi pas?
ça ne nous rajeunit pas! La rouille ronge le fer,
     c'est un souvenir soviétique.
La trébuchage, le tric-trac, vous vous trompez! dites
     voir turlututu chapeau pointu!
Ce drap est d'un bon user,
pour trouver l'usurpateur utérin. Oui, mais, je suis seul.
Par monts et par vaux, le valet de bourreau vient,
c'est un wattman vulcanien, et j'ai peur.
Il pleut. Je mange un xiphias.
Il n'y gagnera rein, je suis une yole, un you you, moi.
Tu es un homme zélateur, donc? Mon ange, tu as un oeil
     qui dit zut à l'autre.
__________________________

I'll skin the thing alive, perhaps to its very tip—
     there's something in the wind.
Here I go again!
Good job, man! but without anyone in my sights
& just me who've worked my ass off
and suffered much, odd as it sounds.
If you're a dog, you'll itch like one!

Nowhere to stay? I'm fit to reign on my solitary isle,
     surprisingly, and I'm no nag,
no sleazy old nag! and nor am I made of movable parts
     no way! I'm no paragon

I love sleek,yellow-haired critters.
Last night a friend but now I'm just a sleazy ol'
     shit.
I gnaw on exotic things til I'm satisfied.
I drown in misery while riding horseback in the nude,
      & my prospects are grey
Am I as good as anyone else? Damn right! Why
    can't I take care of myself, too?

And the truth can be a poison, that's for sure!
     And why not?
Can't live in the past either!
Hardships harry the poor heart (as the Russian
     saying goes)
Come on, no pompous ass in a pointy hat can tell
     you anything you don't already know!
Under fine cloth the cankers fester.
     Yes, but I'm still alone
Up hill and down dale, death's messenger goes,
a fiery streetcar driver, & I'm afraid.
    It's raining. I dine on swordfish.
I won't kill myself working, nothing but skiffs & dinghies
     for me.
So you're a Zealot, then? My dear, you've got
a good eye for sticking it to others!