Category Archives: lit

Ian Frazier Thing –

Since May, I’ve been working for the crows, and so far it’s the best job I ever had. I kind of fell into it by a combination of preparedness and luck. I’d been casting around a bit, looking for a new direction in my career, and one afternoon when I was out on my walk I happened to see some crows fly by. One of them landed on a telephone wire just above my head. I looked at him for a moment, and then on impulse I made a skchhh noise with my teeth and lips. He seemed to like that; I saw his tail make a quick upward bobbing motion at the sound. Encouraged, I made the noise again, and again his tail bobbed. He looked at me closely with one eye, then turned his beak and looked at me with the other, meanwhile readjusting his feet on the wire. After a few minutes, he cawed and flew off to join his companions. I had a good feeling I couldn’t put into words. Basically, I thought the meeting had gone well, and as it turned out, I was right. When I got home there was a message from the crows saying I had the job. That first interview proved indicative of the crows’ business style. They are very informal and relaxed, unlike their public persona, and mostly they leave me alone. I’m given a general direction of what they want done, but the specifics of how to do it are up to me. For example, the crows have long been unhappy about public misperceptions of them: that they raid other birds’ nests, drive songbirds away, eat garbage and dead things, can’t sing, etc., all of which are completely untrue once you know them. My first task was to take these misperceptions and turn them into a more positive image. I decided the crows needed a slogan that emphasized their strengths as a species. The slogan I came up with was “Crows: We Want To Be Your Only BirdTM.” I told this to the crows, they loved it, and we’ve been using it ever since.

Crows speak a dialect of English rather like that of the remote hill people of the Alleghenies. If you’re not accustomed to it, it can be hard to understand. In their formal speech they are as measured and clear as a radio announcer from the Midwest—though, as I say, they are seldom formal with me. (For everyday needs, of course, they caw.) Their unit of money is the empty soda bottle, which trades at a rate of about twenty to the dollar. In the recent years of economic boom, the crows have quietly amassed great power. With investment capital based on their nationwide control of everything that gets run over on the roads, they have bought a number of major companies. Pepsi-Cola is now owned by the crows, as well as Knight Ridder Newspapers and the company that makes Tombstone Frozen Pizzas. The New York Metropolitan Opera is now wholly crow-owned.

In order to stay competitive, as most people know, the crows recently merged with the ravens. This was done not only for reasons of growth but also to better serve those millions who live and work near crows. In the future, both crows and ravens will be known by the group name of Crows, so if you see a bird and wonder which it is, you don’t have to waste any time: officially and legally, it’s a crow. The net result of this, of course, is that now there are a lot more crows—which is exactly what the crows want. Studies they’ve sponsored show that there could be anywhere from ten to a thousand times more crows than there already are, with no strain on carrying capacity. A healthy increase in crow numbers would make basic services like cawing loudly outside your bedroom window at six in the morning available to all. In this area, as in many others, the crows are thinking very long-term.

If more people in the future get a chance to know crows as I have done, they are in for a real treat. Because I must say, the crows have been absolutely wonderful to me. I like them not just as highly profitable business associates but as friends. Their aggressive side, admittedly quite strong in disputes with scarlet tanagers, etc., has been nowhere in evidence around me. I could not wish for any companions more charming. The other day I was having lunch with an important crow in the park, me sipping from a drinking fountain while he ate peanuts taken from a squirrel. In between sharp downward raps of his bill on the peanut shell to poke it open, he drew me out with seemingly artless questions. Sometimes the wind would push the shell to one side and he would steady it with one large foot while continuing the raps with his beak. And all the while, he kept up his attentive questioning, making me feel that, business considerations aside, he was truly interested in what I had to say.

• • •

“Crows: We Want To Be Your Only BirdTM.” I think this slogan is worth repeating, because there’s a lot behind it. Of course, the crows don’t literally want (or expect) to be the only species of bird left on the planet. They admire and enjoy other kinds of birds and even hope that there will still be some remaining in limited numbers out of doors as well as in zoos and museums. But in terms of daily usage, the crows hope that you will think of them first when you’re looking for those quality-of-life intangibles usually associated with birds. Singing, for example: crows actually can sing, and beautifully, too; however, so far they have not been given any chance. In the future, with fewer other birds around, they feel that they will be.

Whether they’re good-naturedly harassing an owl caught out in daylight, or carrying bits of sticks and used gauze bandage in their beaks to make their colorful, free-form nests, or simply landing on the sidewalk in front of you with their characteristic double hop, the crows have become a part of the fabric of our days. When you had your first kiss, the crows were there, flying around nearby. They were cawing overhead at your college graduation, and worrying a hamburger wrapper through the wire mesh of a trash container in front of the building when you went in for your first job interview, and flapping past the door of the hospital where you held your firstborn child. The crows have always been with us, and they promise that by growing the species at a predicted rate of 17 percent a year, in the future they’ll be around even more.

The crows aren’t the last Siberian tigers, and they don’t pretend to be. They’re not interested in being a part of anybody’s dying tradition. But then how many of us deal with Siberian tigers on a regular basis? Usually, the nontech stuff we deal with, besides humans, is squirrels, pigeons, raccoons, rats, mice, and a few kinds of bugs. The crows are confident enough to claim that they will be able to compete effectively even with these familiar and well-entrenched providers. Indeed, they have already begun to displace pigeons in the category of walking around under park benches with chewing gum stuck to their feet. Scampering nervously in attics, sneaking through pet doors, and gnawing little holes in things are all in the crows’ expansion plans.

I would not have taken this job if I did not believe, strongly and deeply, in the crows myself. And I do. I could go on and on about the crows’ generosity, taste in music, sense of family values; the “buddy system” they invented to use against other birds, the work they do for the Shriners, and more. But they’re paying me a lot of bottles to say this—I can’t expect everybody to believe me. I do ask, if you’re unconvinced, that you take this simple test: next time you’re looking out a window or driving in a car, notice if there’s a crow in sight. Then multiply that one crow by lots and lots of crows, and you’ll get an idea of what the next years will bring. In the bird department, no matter what, the future is going to be almost all crows, almost all the time. That’s just a fact.

So why not just accept it, and learn to appreciate it, as so many of us have already? The crows are going to influence our culture and our world in beneficial ways we can’t even imagine today. Much of what they envision I am not yet at liberty to disclose, but I can tell you that it is magnificent. They are going to be birds like we’ve never seen. In their dark, jewel-like eyes burns an ambition to be more and better and to fly around all over the place constantly. They’re smart, they’re driven, and they’re comin’ at us. The crows: let’s get ready to welcome tomorrow’s only bird.

https://www.adn.com/alaska-life/we-alaskans/2016/08/14/the-man-who-collects-sounds/

Click to access Knut%20Aufermann%20MA%20Sonic%20Arts.pdf

https://www.thewhitereview.org/feature/nude-in-your-hot-tub-facing-the-abyss-a-literary-manifesto-after-the-end-of-literature-and-manifestos/

http://mentholmountains.blogspot.com/2011/06/jk-galbraith-essay.html?m=1

Click to access the_time_of_roland_kayns_cybernetic_music.pdf

https://en.m.wikipedia.org/wiki/Manichaean_Painting_of_the_Buddha_Jesus

You shall not go down twice the same river, nor can you go home again. That he knew; indeed it was the basis of his view of the world. Yet from that acceptance of transience he evolved his vast theory, wherein what is most changeable is shown to be fullest of eternity, and your relationship to the river, and the river’s relationship to you and to itself, turns out to be at once more complex and more reassuring than a mere lack of identity. You can go home again, the General Temporal Theory asserts, so long as you understand that home is a place where you have never been.

-Ursula K. Le Guin, The Dispossessed

Excerpt from A Berry Feast by Gary Snyder

The Chainsaw falls for boards of pine,
Suburban bedrooms, block on block
Will waver with this grain and knot,
The maddening shapes will start and fade
Each morning when commuters wake—
Joined boards hung on frames,
                            a box to catch the biped in.

                      and shadow swings around the tree
Shifting on the berrybush
                      from leaf to leaf across each day
The shadow swings around the tree.

Lucy Liyou on Mariah Carey

I want to talk about Mariah Carey in a way that doesn’t diminish her music to mere narrative. An artist with 15 studio albums and counting is surely more interesting than a career highlights reel. 

I often think about how many times Mariah has sung the words “you, me, I.” If I’m feeling especially lonely, I think about how many times she’s sung the word “love.” The hundreds of ways she’s phrased these webbed letters. The number of notes she can fit into a word like “so.” In a word like “if.”

In the span of 14 sixteenth notes, there is “you.” No, let me try again. In this span, there are 14 yous. And the 14 you’s are all same-different people who have said “you, me, I, love, so, if,” in same-different ways at certain spans of your life. 

“I love you.”
“No, love you.”
“No, I love you.”
“So… if you love me…”

There she goes again. She sings “you” and I remember what it’s like to see you from above and below. Evening and too close. You are walking. Now half-dancing. Tippy-toes.

Mariah Carey reminds me that there will always be new ways to remember “you” in the same way that I hope there are new ways to imagine “me.” More new ways than I can count on my fingers and limbs. 

To sing is to conjure. Not to emulate. When she sings, she gifts an infinite mythos. And in that mythos, I hear her encouraging me to do the same. To give myself a gift.

Mariah Carey: “Say ‘me’ for me. Now, who is ‘me?’”

Me: I am Lucy Liyou.
Me: I am quietest body.
Me: I am my sister’s best friend.
Me: Perhaps a woman.
Me: I don’t want to know.
Me: I would like to know.

I think this is the part where I sing. I climb, bellow, cliff.

I believe I have captured some of it — “me.”

And then I try many times more.

I get upset when people describe Mariah Carey’s singing as flamboyant, as if that was the only thing that mattered to her. To show off, to impress, to compete. I think she sings with an intention only matched by a handful of other singers, past and present. She has never suggested that melisma was the epitome of song. She has never suggested that an extensive vocal range and proper technique made you a good singer. In fact, she’s admitted that her five octave range, especially her whistle register, was a symptom of her vocal cord nodules which were either congenital or gained. She’s not too sure.

I can admit, as well as we all surely do, I catch myself every now and then getting caught up in the absurdly supernatural ability of her instrument. Regardless of its origin.

But I stop and I think about her name. Mariah Carey. How quickly I overlook the fact that before there was the voice, the “songbird supreme,” there was a name. A sound.

“Ma-ri-ah Ca-rey.” 

I try it. My jaw hangs at the end of -ah and then swings up with -rey. The pitch curls slightly sharp with -ri and my vocal cords at “Ca” await a swoop to finish the landing. 

Why does saying her name force you to open your mouth and keep it ajar? Why does it feel like an invitation to say, speak, sing more?

Because to sing is to conjure. Because when you sing the way she sings, with that much intention, you gift yourself an infinite mythos: the music of your words favorite and forgotten, scattered into syllables, pledging a nostalgia and epic that feels so ordinary, if ordinary could ever feel so large and so like…

“You, me, I, so, if, Ma, ri, ah, Ca, rey.”

I conjure up a memory. My head on your stomach in my mom’s room, in my grandparents’ apartment in Korea. You draw circles in my hair.

“I love you.”
“No, love you.”
“No, I love you.”
“So…if you love me…”

And then I imagine what you would say next. What I would say next.

(Look into me.)

I think this is the part where I sing.

Ariane Reines Poems

FKN ZIGGURATS

My thighs r so stacked
Steep steep steep
Fkn ziggurats
4 u

The Four Seasons

Eight stars make
A soft solfege
 
Above this motel
Where there are never
 
Stars.
I let a skinny man
 
Put his long thick dick in me for you
So we could break our hearts
 
The way you want me to. Somewhere a white
Wall stretches up behind the backs of a tribe
 
Whose obscurity protects its secret from the common
World and the connivances it ordains.
 
What time is it. What season is it.
I don’t know.
 
The moon blows green
Gas into my skull
 
I want to hide what I dream
In a big boot, and wear the boot
 
And starve as I lean upon the boot of my destitution
And drag
 
The truth as a gimp would drag the weight of her body.
That would give me a feeling of honesty.

[Trying to see the proportional relation]

Trying to see the proportional relation
Of one memory to another
One is so strange, and then
To try and see what looms
And doesn’t for the other person
Who was there, it gets stranger,
Especially when you’ve read
His email.
I don’t know how people
Understand their lives, measure
Their sensations against “objective”
Or so-to-speak democratic estimations,
Whether people accept the externality
Of events, “events,” as things
That happen to them. I refuse
To accept some coagulate
Of other people’s
Impressions in exchange for this
Privacy, no matter how flawed it is.
This is lyric poetry. It has to be. It has
No other hope. What was it
About you and me that made whatever
Happen to us. In New York
Everything fell apart. What I dreaded
And expected.
But still. Tonight
It is dark and the weather is cooler
Than it’s been. It has taken
A while for Fall to break; the global
Warming kept me in summer
Love with you like I was under a
Fermata. Now that the times
Are changing, I feel
Even more for you; or I feel nothing.
I can’t tell; it’s kind
Of scary. I was sick of thinking
About you this morning but
I was listening to Bob Dylan and Leonard
Cohen in order to think about
You for literary purposes.
When I feel nothing for a person
I get scared I’m losing my humanity
And that turning cold means
My heart’s been botoxed: we’re
All fucked.
I watched a movie on YouTube
Called Ladies and Gentlemen, Mister
Leonard Cohen that was made when
He was still just a poet and only
Famous in Canada.
He’s a pretentious little nerd
In it, self-important, teacher’s pet wit.
I think that, making music, he became
So much nakeder, much more desperate.
The talent, real, even pure, even
Natural, had to ripen in
The artificial man.
Alain Badiou, on the day
Of his class, said, “Because an event
Is pure rapture, an event disappears
Immediately: it does not exist
Objectively, but only by appearing
And disappearing.” This is both
Precise and vague; it is attractive
I guess. I guess since you and me did not
Disappear immediately, it was
Not pure rapture, not in these
Terms, but my smile
Was real each time I swallowed
Your cum. Getting
Fucked by you was great; I could
Feel it in my organs, but
You didn’t make me go insane
Except for maybe once
Or twice. Actually maybe I am
Being unfair. Maybe the fucking really
Was that great. In this moment I
Can’t remember.
I just read a poetry
Review in which the reviewer
States that a certain book
Made his cock feel as though
It were tall as a tree. That’s
Nice. I have no idea
What it feels like to have
A cock. Sometimes I feel
As though I’m getting close
To understanding and then
Something happens to make
Me have no clue again. When Sinan
Fucks me, we lose our individuality
So severely it’s like we’re both
Gasping after an animal that’s his
Cock that is beyond us and I lose
All sense of the world. His cock’s
Not even him, and he’s not him either
And we aren’t anything.
It’s strange, the possessive. Didn’t Thomas
Mann write a book called Herr
Und Hund or something like that?
Man’s best friend. What belongs
To him. Me and Sunder
Talked about how scary and arousing
It is to watch men masturbate, cos
Everyone relates differently to his.
Like dicks are always almost but never
Quite another. Je est un autre,
Said that brat Arthur Rimbaud.
I am definitely in love with you
As I write this. You are so petty
And superfluous I cannot stand
You. Sinan is definitely
In love with me. I know, because
I saw him tonight. I love
Him too. You are gracious
To accord me the space and time
In which to develop, or to elaborate
Upon, as the French say, these
Extreme emotions I am, despite
The odds and certain lapses,
So capable of feeling.
It was good to slap
Your face and to admit
That your asshole
Made me nervous.
Your eyes had a way
Of going soft and shiny
When you said the really
Tender things. We admitted
It was intimidating
For us both to hear each other describe
People we’ve fucked and been
In love with. I’m proud of what
We accomplished together. Alain Badiou
Ended his class with a reading
Of “Ariane et Barbe-Bleue” which
Is an opera by Paul Dukas. You
And me had gone pretty far
By the time this day came, and
Something very fragile in me breaks
When somebody says my name, or
Even a variant of it. I was tired.
I think Badiou discusses “Ariane”
In Being and Event which
I have not read. In class he said
That the story of the opera is
About the relationship between law
And freedom, and that it shows
That the desire for freedom is not
So simple. Ariane experiences an Event
That causes her to demand freedom, Badiou
Said, but she is unable to convince anybody
Else, any other women to want freedom; she ends up alone.
She genuinely falls in love with the wicked
Bluebeard at the beginning. Bluebeard
Who previously got women by having a castle
To lock them in. This woman Ariane
Does not have to be taken
By force. When she enters
His castle he hands
Her seven keys, six
Of which he gives her permission
To use, and leaves. She hears the cries
Of his other, imprisoned wives,
Coming from behind a door. So she uses
The forbidden key, releasing them.
Meanwhile Bluebeard is assaulted
By the local peasants, who want
To free Ariane, fearing her fate will turn out like
That of the women who came before her.
But Ariane is already free
In herself, and proves this freedom
By bringing the wounded Bluebeard
Home, caring tenderly for him, and then
Declaring that she’s leaving him for good.
By the end Bluebeard’s shattered, sobbing,
Bleeding. Ariane
Invites the other wives to leave with her
In a wrenching aria, pleading
With them one by one to taste
With her the freedom awaiting
Them, The World. But they all prefer confinement
Even though they had longed
For freedom before Ariane opened
Their door. Once liberty arrived they were no
Longer capable of it, preferring to serve; even a gutted,
Hollowed-out power. Ariane exits
Alone. The end. Badiou narrated
This with emotion and
I cried. Maybe cos I was tired and
That thing about my name or because
I am not heroic or free.
I had missed half of Alain Badiou’s
Lectures messing around with you
On the couch by the fire; in the women’s
Toilets; up on the hill. If this were a suitable parable,
And it isn’t, I would try to tell myself
That those very early mornings in Brooklyn when I sat
Up in your bed feeling wrong and
Got dressed and walked away, I should
Have stayed away cos I don’t need you.
Maybe I don’t need you. But I want
You. Maybe I don’t love you. But
I am getting to know you. Maybe
What made me cry in class was how tired
I was and how sad and hard
It is, and how rare, to undertake an act
That’s truly free, and not just a response
To a confused surge of drives and  fears.

A Partial History

Long after I stopped participating

Those images pursued me

I found myself turning from them

Even in the small light before dawn

To meet the face of my own body

Still taut and strong, almost too

Strong a house for so much shame

Not mine alone but also yours

And my brother’s, lots of people’s,

I know it was irrational, for whom I saw

Myself responsible and to whom

I wished to remain hospitable.

We had all been pursuing our own

Disintegration for so long by then

That by the time the other side

Began to raise a more coherent

Complaint against us we devolved

With such ease and swiftness it seemed

To alarm even our enemies. By then

Many of us had succumbed to quivering

Idiocy while others drew vitality from new

Careers as public scolds. Behind these

Middle-management professors were at pains

To display their faultless views lest they too

Find censure, infamy, unemployment and death

At the hands of an enraged public

Individuals in such pain and torment

And such confusion hardly anyone dared

Ask more of them than that they not shoot

And in fact many of us willed them to shoot

And some of us were the shooters

And shoot we did, and got us square

In the heart and in the face, which anyway

We had been preparing these long years

For bullets and explosions and whatever

Else. A vast unpaid army

Of self-destructors, false comrades, impotent

Brainiacs who wished to appear to be kind

Everything we did for our government

And the corporations that served it we did for free

In exchange for the privilege of watching one

Another break down. Sometimes we were the ones

Doing the breaking. We would comfort one another

Afterward, congratulating each other on the fortitude

It took to display such vulnerability. The demonstration

Of an infirmity followed by a self-justificatory recuperation

Of our own means and our own ends, in short, of ourselves

And our respect for ourselves—this amounted to the dominant

Rhetoric of the age, which some called sharing, which partook

Of modes of oratory and of polemic, of intimate

Journals and of statements from on high issued by public

Figures, whom at one time or another we all mistook ourselves for.

Anyway it wasn’t working. None of it was working.

Not our ostentation and not the uses we put our suffering

To, the guilt- and schadenfreude-based attention

We extracted from our friends and followers, and even the passing

Sensation of true sincerity, of actual truth, quickly emulsified

Into the great and the terrible metastasizing whole.

To the point it began to seem wisest to publish only

Within the confines of our own flesh, but our interiors

Had their biometrics too, and were functions not only

Of stardust, the universe as we now were prone to addressing

The godhead, but also of every mean and median of the selfsame

Vicious culture that drove us to retreat into the jail of our own bones

And the cramped confines of our swollen veins and ducts in the first place

Our skin was the same wall they talked about on the news

And our hearts were the bombs whose threat never withdrew

Images could drop from above like the pendulum in “The Pit

And the Pendulum” or killer drones to shatter the face of our lover

Into contemporaneous pasts, futures, celebrities, and other

Lovers all of whom our attention paid equally in confusion

And longing, and a fleeting sense like passing ghosts

Of a barely-remarked-upon catastrophe that was over

Both before and after it was too late. We were ancient

Creatures, built for love and war. Everything said so

And we could not face how abstract it was all becoming

Because it was also all the opposite of abstract, it was

Our flesh, our mother’s bloodied forehead

On the floor of Penn Station, and wherever we hid

Our face, amid a crowd of stars for example as Yeats

Once put it, and for stars insert celebrities

Or astrology here, your choice, and even when

We closed our eyes, all this was all we looked at

Every day all day. It was all we could see.

We were lost in a language of images.

It was growing difficult to speak. Yet talk

Was everywhere. Some of us still sought

To dominate one another intellectually

Others physically; still others psychically or some

Of all of the above, everything seeming to congeal

Into bad versions of sports by other means

And sports by that time was the only metaphor

Left that could acceptably be applied to anything.

The images gave us no rest yet failed over

And over despite the immensity

Of their realism to describe the world as we really

Knew it, and worse, as it knew us

https://patch.com/massachusetts/attleboro/highway-crossbow-killer-wants-new-trial

https://www.cigarboxnation.com/page/how-to-make-a-cornstalk-fiddle-from-1886

https://drive.google.com/drive/folders/1fkzU5scaUPMYANmEtsevprw4W_Aeakfa

“As if poetry makes it possible to move freely in time, as if linear time is suspended while you write and a corner of the future becomes visible in a brief and mystical moment.”