let thermal expression be syntactical. The natural is what

Two committal - bore, and

"held there"





storage


There was him, as if in front - not unlike sensed
them






small spots, more blotchy (that is like spiky-edged)
across the way
assigned - overlaying them



small triangular - like motions,

of one (them?) stepping forth / from out
or underneath it.




Covering placing - there is - range.

while staying reticent, unspoken

This is all,



as occurring, alongside the expansion of:





figures in brief

to pupate periphrasis



relationally slept on




intended, generative


a drift stooped
birth heard aging

torn pages, rewritten face, (a face is interesting).

Concerning into dry, they're - Collaged Poetry

Concerning into dry, they're is a series of five collaged poems I have completed - one of which appeared in an earlier post. I used found text, image and pen markings. I have no conceptual statement fully articulated yet - but I think they are perhaps largely explorations in mixing different understandings of size and representative scale.

- E xx

Improvisational Writing - En Mouvement

Ahead: the sameness of place. Whispering operations are dream-like. Certainty of the
and yet there is potential to get on and off at the same place. Such time passes, surely. But she is looking at Other Times and moving through timelessness. Voices swell. Define becoming that is swollen. Turn over into shrieks. They all remove and now because seats are not taken and she tosses waking in the air, you felt it coming. Remove margins: but then this is not smooth sailing, this is “thanks screw driver” and drawn-eyed explosions. Passing is cold and quiet. Obstructed gaze closes consciousness but that’s just too bad, and she wonders why there’s no, and with her. She articulates the, and that running man. There’s just too much content and goings intent are made. You may well ask her to surprise you with measure but there is a preference to be centring some kind of premium life.

182.

228.

Assured by movements, hands in pockets. It’s a friendly silence now. She is sitting up
of the
She cannot see what, She cannot watch what they are doing or even fantasize that she is one of them. She decides not too move, voicing “bad faith” makes you feel guilty for even thinking she could. This is strange because she does not know what Sartre’s voice sounds like.

Probably just a handful of them:

Business First Transact account (shaped glass explained) and members (all dressed in black by chance, unpersuasively)

Stores.

Cigarette is lit, but not like a film star. Watching her scrunching tissues, balling her tight hands and you ask with a final reduction. Mattress, does this mean we are good friends? She has seen this all before. You watch from upstairs. It is warm. She gave thought to signature, deciphering the knocked up lease. Dry-cleaning. Park Drive.

451.

Cardboard fedora gives her the two-dimensional glad eye. Seamy drips conceal that there is apparently no exit. She walks within the room, framed. Empowering, a question of dine-in or

Does not tell her time. Only railing to a point. Any point. She would follow the guy in your green shorts. She does not see your face but your mouth is moving and behind the signs, she is expecting more, a communication and refusal.

Adult uniforms, adult bookshops, adult entry into, adult keep clear, adult tow away zone. She is situation. Internally frontal at eleven oh and seven. She counts to such even time. Superette conflict, souvenir vault. Rubbing noses focusing on optometry beneath the smoke, intervention and the generalised purpose. Very rarely did she question the ______________ waiting for the and the girls in, crossing the street, between the cars, uncarefully. Leaning over no language she apprehends the taxi rubbing up against her thigh, such battery transformations are temporary. Clearance bounces this game, Yesterday insists you hand precedent asking. She gives no answer. Noon claims lineage. You welcomed her, she sold places and pleasing information – café, coast, country.

1811.

The studio portal invites this month with a full on court and bird-like siblings, such hospitality is industrial. Empiricism is all over her, inhale what is fuel for life. Last night’s woven cloth is serviced centrally. Whim follows and once again she would join the spectacle of watching you light up. Instead she disappoints you by simply not doing it, almost doing it.

She misses the cigarette.

54.

Inquiry makes the journey easier, she is seeing proof.

88.

Only skin, more in home and living and rhythm. Drag if you will: three lamps, arabesque and Thomas Valentine, her one true love. Scripts nestle when this accepted busyness falls into reverie. She imagines such a scarf tied around the neck and it would be an easy death. Wrapped up in flaking breath you tell yourself that she will see fires tomorrow, but slowing here today.

S T R E E T C O R N E R

Forgetting what meant, of that, and this is, beyond discolouration, recognising

around - mouth

coming out of, from simplism described

inability to, and at times never seeking

when said, felt and whispering minutiae. Board, such with insides and having the, and critical, of

when said, were and not to do this since, desire is finding / shivering with life

becoming streets, bodies - sounded

patience

saw planar refusal - bitten wives and we left, to left untouched round in sculpt

Wanting speech to movement, dreamt light on connected surfaces and not back to that

dove broke birth pulsing and wet and wanting to movement

pointing birth realised having edification

against is lies calling, so far gentleness

development cured, drawing on the walls and the liking to be away

looking at the pages wrote on the walls and of the liking to be

footed, highly suspicious of activity.

I have been interested in Stefanie Schneider's photographic projects for a while now and frequently use them for inspiration in writing. The use of long expired polaroid stock offers evidence of chemical photographic process that is typically disguised. This enables Schneider to layer blemishes and imperfections, in what some critics describe as a painterly fashion, over narrative potentialities. I think perhaps what I most enjoy about these photographs is their lack of specificity. There is something troubling about these images, and the unsettled feeling experienced when I view them spurrs such writing, that which is similarly unsettling and meandering, in its syntactic arrangement and vague preoccupation with narrative.