Thomas Lowe Taylor -- ONE TWO THREE

***************


1

Of course, this. Eagle-bean. and to go
as along of it, and have a red sense edge
often constitute as relapse response across the
figure of essential geometers, into into, like
he said, across into like identification, from
simple food gathering, the means of it & how,
that toward would become the term of it, how
as a lying in, or to be standing through
light (and passages as remembered acts, or
written history, sum-marized and legible.
But that remains, and such angling is
familiar, the appearance of words, but rather
How, to be easy or along and watch
to whom has belonging simplicity as a
string and ease toward crusting wood
beam ceiling red goal split from the
exact evocation of the light.

2

Which I know. Yes to yes, and "of"
being collapsed gender, an identification
that is, rather than be specific, to
hold over into color; their speech, or
acts, precise. I know that. But drive
this out, this and spell it; from & of,
who they are, the four & the two. like
ease belonging in plants, where pressure
the water easing beyond the surface of
it. (of) Beat a doom dog drug.
as long as it takes to do, there, as
seen, & extended, his precision I'll let,
and go, as dust, & blown (corner,
clamped-tight evo-evo-cative, and
sand, to turn turn and head in (over
(the head of it) & on out, to.

3

Which means & sinks along toward wood or dirt trails,
whistling or clapping, either distance or pressure, there is
a space-place (we said) as had, but still being verbed
like a literal, there, and sneaking, said but rough and
wait: three in a row, to have it up & then padded,
soft, close (the skin) rising from (where) and on, but.
to say, there, ear, to be the one & point of (listen) and.
not stopped: you get you get, arrow from & arrow
in, un-done, having the relief of sentences, pattern.
a wove, eagle and bean, sing as done pit, shortened
oh, a slide or (sharp angle, reflection pit speech,
the dog, cow, constant in having to ease on down,
then as moon-flux sharp & here is there, too, here
is then and there, crawling soundlessly. ease.

4

Flat & narrow cone, cave the perfect one, here,
and his name too soon as a sheet, filling like after to
the scale (of) and then: there, mark, first locale,
as shunt or splint, form of the offer, like described,
there blast out red-dust, click one-one-one-one. heave.
and splash-splice total red shift dirt-turn, slip &
name one, through to (of) the specific, marked the
initial to push-out from, have said, and then.
as the routine or lengthening distance. Ah! to
lean out from this marked space, head, in, wait,
bleed, relief and "ruby" or "wet" down &
the over-turned sphere (what?), original face.
The mailing list, erupted to the second as
done, the new easing, & you said "whole"

5

But following & a ring, brass, two of them as
(there) under the paper or being tired, and distinctly
flattened out beyond eye. so. there has as rough
due duty connect flap, or turn momentarily as a
shield, there, familiar/skip/weight, the pole up,
reflect any common of object to have the
total precede, like another problem, though I
don't see it, and cut to the left, as a house-done,
nailed, split & cracked, I don't remember, tho give example
to and shining the done-split red-cart ease phone
drape dirt, red like (coming back on its own, even
I know that, but have it moving over.

6

and I get it, wire, moon, the same, to hold
right, and check the oil, belong as dirt-shovel-
include evening-out as a relapse, the form of the
ear, ridged & caved, island without water (oh!), and
up the back stairs, knock & wait, or the telephone,
(hears!) light through the window (which I accept,
in sequence, where it whines in, roughed-out to own,
then, a weld or solder & over in the corner, split
giraffe, single cluster word-spoke-thought, he
wheels & dives, finally, sings in, to grab, focus out,
the hand; the hand to ear, what there, or no longer
silence, the dogs quiet, and shut the car tight.

7

Though he asked, and remained, all the one
in me as locale, an "idiom" or mode, said,
included in naming and then rush-out to get it
in collections of five or six, to recall close
whole, to listen over which way to spring besides
up. Ahead & unbroken. Color a particular. There!
and have that done, once anyway, I have,
driving around, a hill-over, dotting the
line on an eye-done sail, has writing down,
shield. First location sent, noted, and scaled.
to here (not me!) and right there, hear.

8

Though his left eye was red, and muscles slipt,
the doing of then, as now, and slight seeing, which
I won't know, won't. ok, But red dust, of the
dream-wind-song dusty sand, & how (where) to
be cold, too, having made a vow, there! Another
isolated stage. I get the one & initial, & creep
over transition, & here a shower of lead toads,
inviting, plunk, plunk! as fine a person as.
huh? as-as. So no information there,
retrieve, the absolute: Huh? & gradually
get the hard stuff, under-shore, shelf,
to take hold, farmer & fast.

9

Which I know. term-space: Blind, his voice
& no further reflection permitted, so do. (of).
no back or shed, to have at least two of
them solid before I rest, at least two, never,
heard the gnome-fart, slide toward a loose
approximation (from before); I heard, too,
about who did shadow (Fred Cramer) and the
perfection of taste an immediate memory,
tho I can see practically nothing, &
will have an interruption, easy now, to
be permitted by what the pace is, and
read it so, close, here, heard. Interrupt.

10

Which requires that whom-so-ever; or a tool-shed,
or an orange ball, but, rather, some specific evidence
of a shift in mode, some clear evidence of what
sequence persisted, now that the one has become the
two. was that clear? Before, now is
that; clearly from the second to (beyond) the
first is no lesson but a difficulty & precise. A
low high-level response. right?, or whose.
and there, at least, out beyond beyond, a
post-level of reaction, a predicate. carry it around.
again. or silence, or leaping or stasis, or
hunger, or any observable quantity, how's that?,
and no new law. couldn't imagine. borrowed.

11

First sequence. repeat. a schedule of precision.
roughed-out. uneven surface magnified, closed in
on. Zoomed. Reply? A figure, dazzling and
profound, slight and awkward, continuing through,
and no resistances encounterable by the very face
of alertness, to blurt or spend, and marked,
precise, reduced, as (of), as (on), as (bereft), to
wait, or be heavy, I know, as go on, "to
order delirium", and mark a pass, there, or
here, since there is a difference: more than
one device, or showing more than is possible.
What surprise, outlasting devices of reaction,
and settling, as a disaster might, down.

12

Clear mood of noon-wrestling as doubt
beheld, or a dialect, and discovery skipping
hesitation; that exact, and the notion
of it noted & bent around for convenience
at least like a lesson or reduction
of cause to become act, that there the
matter, the matter rests, & skips and
has its content done, bound, ledged,
or a period of time covered (all of it)
exactly, the story-telling (of) and that
very small notation, again, held
firm (wedged)(sanded), the smell
of tiny feet, an obligation and his
friends, roughing in, her visit (unannounced),
nor that exactly (to be exact)
as it is announced, & a map made,
as it is announced, to hold on, to
hold up who exactly they are, at
least from nothing, or the borrowers.



13

Here I know less. Than that. but the line from
of through from is not indistinct & some form
pursues with or as an assurance. the evocation.
mode of less & less variation, and the observable
quantity (enfolded) (likened) (convenient) but
precise. a collection. & no mistakes, to pick
up speed, flattened out (again, the thirty
or forty exercises to which a progress is reduced,
the one-in-many, first, & then the one, There!
No doubt, must have some inflection to repeat,
but "Copying" is impossible & sustained. Rice.
Any sharp object. it moved. Mysterious plum asset.
Choked, pauses or pausing, an example, too, and another
unheard thing, at least followers, of innocence,
and un-blank. worried. eyes shift out/& blank in.

14

Whose visitor? Preceding, burlap sacks, but why
actually (?) do it? and any other? besides what you already
have done, to be exact in that (memory of feeling) or
to operate with assurance (of). slow. "Verb" is a noun.
Second locus. especially for someone so large, a
severely negative assertion, and no Assistance for him,
and part of the lesson. especially slow/bearing. No Appointment.
not content to describe sleep. a box, a shed, an
opening there, to scan or seem surprise, and send.
and the straps loosed, his seat bent, nor angular,
rehearsal over the balcony, waiting and doing
other things as long as one wanted to, or as short,
so heaviness, there preceded, this blank "before"
and "after" pieced out of conviction and Assurance,
there is that much to remember. trigger.

15

Break: Shaded like (the metaphor/in which to
apply as have over one single, as usual, initial
burst through (now; here, locus one & two set, the
signals or intermissions recorded) and slow pacing
through to exactly what is there to be set against
the whole as reflection into which a work is set.
Now, set as A:B:C and Set as a point or Leaning
one's shoulder into, though, here, what is met is
that very thing one is doing (as, to "others" & thus
to self or "one") to distinguish where there
are no marks out or in, but Done & lain to.
That, as it would be (become): toward, and
through, untouched, but as comes to surround
or be defined.

16

Mechanical contrivances are the levels of detail only,
or a persuasion of emanation, reversal. as a detail
has its set or mark, to which subscription survives,
and out of a known resonance from (our "of" here,
of "of", etc); and certainly not "making" "words" (&
both set off with advice); that what is lost, precisely,
to method, says: it was right to rest.
and that without the underpinnings of exactly that, what-
ever origin was devised, "made out" had a purpose, though
the loci obscure this exact movement, which is
to say, the Meaning of this drift here, exactly, is not
clear, that one might lean in toward the New Locus,
or hang back, hesitate over a preceding station or point,
though simply looking up indicates that the work
has continued through to some established core: there
they are, setting rocks. twigs & logs against the water,

17

while last night they were asleep, & the security of the
surroundings (eg, darkness) is now manifesting "light"
& the sound of water. Burst-off. So in the copy (verbal,
for instance) the original detail persists, leads the copy through
to the origin or source of the very detail which is laid
open in the obscure act (obscure that it has no source
to behold.) each one of them had something to say, &
did that at the same time as he did something else.
but it was not simultaneous, it was vocal, it was "what
he was doing", tho any inclination to description at
the same time was impossible; which seemed to reflect
not so much on the materials as on the view or
reservoir from which speech came; Blip Blip, like
that, like that, again, again, after, after, paired.

18

at each focus, a separation into entities. A hundred
pound waterfall, and she will be surprised, the sun, move,
and details persisting over reflection, there lagged, tho
persistence in that to read-read it, lag-out again,
in this mode of repair, acting on one-self: how, #1 and
who, exactly, #2; how: as "Mechanical Contrivance, tho
seen later as a convenient lie, for the sake of doing
what one could (the photograph) and, Who, to whom, as
the very heart of the obscure matter, "energy" (matter
here as a part of the outline). I have nothing to say.
Pudding. elapsed motor in its green depth, shed-oven,
and leaning as a shape, floating red-gold-blue,
backing or skip-sailing, as a stone-water arm, and
then, out of forward thrust, from feeling feeling
to "direction" and "content". or: to "yes".

19

so: hesitation as a cause of function, as (I assume all that
you're saying as cause of speech,
and the "therefore" of common response
is problem and solution, there,
and the time-mode of space-content, right?
and rooting into (the ground) has a quality of intention toward
advance, toward (leaning or setting); as we had "set" set.
to arrive and go. that finally "work expands to fill the space
required or given" gives way to openings into which a passage
directs. Focal. And response, pause. Out of which necessity
of cause or fact, scarcity: to fill in, to maintain from
the center of outward toward a complexity of movement, to
Cause or neutral predominance, to have caused, to be caused
of fullness and completion & repetition, out of which
reflection (itself unto itself) such necessity of words creates
and dominates the lapse. Carrots, linguaphonic, ear-snail,
red and grease, to have in and out and stopped.

20

The center of maintenance or reflection, out of the progressions of
repetition; to have cause in tension, that is, and maintaining
all contradictions as that which precedes none of them, or
the coherence to dense mass or the density of being, or weight.
tripped, flung face down in the dust, there, like that. Shift.
So absorption would reflect reflection (at least it is apparent on
observation that it is so.) Thus, the increasing maintenance of
contradiction absorbs the problematic mode into a behavior; & the
residues of "image" and "style" lapse into speech as intention
or privacy. either way. Predispositions to "the natural" in
such behavior (Mine) come to darkness, as the mode of self or
of the ideal, the ideal comes to darkness. He said to release,
no pigeons, for example, as adjective, in a whole tomato, of
the car or friends and lap-lapsed, to sit or hear head.
That and no more, to ease or muscles split, the eye.

21

At the third of it. And across to a (The) set of Corresponding
(a) Associations (b) juxtapositions (c) sets, as a course,
(b) or marked, or these
analogies; of refusal and acknowledgement, as motion and furtherance,
and going through the directions of light & shadow,
of image & context, from what is original
to what is original, by way of example, of possibility, how
the patterns & adjectives shift to flight, out of alternation into
support or (where) (as) (how) (who)
the structure warps toward new
information (at the back of it) and into mode.
Though, here, as a going-over-it,
and what the lapses of ground & detail omit is
context, here sought & won, as a moment of purity and origin.
Dove's stomach stuffed out into tabled angular flow: I have the
pauses before me: "Begin" and he stutters off into the precision of
cleanliness & duty. But describable, though the
personal documentation has an edge to it
which loses the matter, again, admission, though
what was "before" known is here totally useless & forgotten. like
afterbirth, after the fact though tough
& emergent nonetheless, a word.
too many rounds of scarcity. a precise figure & change.

22

Such a property of elocution is rare, and the note there, of
equal tone, though it is remembered from the new back into
the interstices of choice, has a morality, forbidden from the view,
precisely that, taboo & selection, though, here, revealed as a warp
of pressure & tension. The terms up for review, clearly, are
maintenance and contradiction, as effectors of pace,
though what resolves as clarity or pace
is the discipline of (rehearsal rehearsal)
(through the content of "the learned act"), the measure of choice
through destruction, a progress of authentics, as I am going
over it again, As a figure of speech, a category and therefore
what becomes isolated from its causes (itself to itself) as
temporary identification, sandy point from which to throw
stones, the medium of selection, to say it again as in
the impulse to batter. "Here!" and moving through, where
it might lodge, as in the poetic, in the center of the line.

23

Who knows, as a statement of plasticity, from the heard,
at least, footfalls and (the alarm, both my arms asleep) Those
imageries of temporary location, that is, to serve as weights
in the easy connection of similarities, after which one pauses,
which is the very metabolism and flow of, source of, the
very thought of being, at number three, and how did it take
so long? Besides which, interventions of hunger and exhaustion
(which are reprieves) the normalcy of hesitation which charges
the impulse outward with its very cause & content, the
numerical interposed with the senses, bypassed in word
and artifact, where this has ceased to be reflective, a
cautious and sniffing hum from the bees and flies,
where is the Food! Though the past, as an arrangement
of stones creates the centrality of presumption, the very
use & need of spoken positions (postures, stances), no mask.

24

Sure, which is a learned argument, that would link
solitude with its fact. Naming, to come to the mark and
form of structure that way, out of one mode into another,
there is, besides that a notion of the ease Force required,
as alternating portions of the same response to different
materials, or the facility for study, which, somehow, is there.
A whine of silence, though what is fed, the Body-Flesh, and
pastured out through selection & vision (there!), to pass in
to the house to find a chair or task, flip and skip, though
renewing central foci, as if (As if!) the causes of argument
could be known (which they are) as partial, though, but having
nothing to do with the progress, which is partially true
and so, entirely true, though partially false: why. and the
hanger, there, the indication of the mode or reflection that
out of the one and toward the two, that in the


25

midst of its alternation, where that equivalence or balance
occurs, there is the initial to the series, three, there, having
fashion or interest in its core, the statement or act or
tendency of cause, that what bounced once has maintained its
force, constant and modal, through its two faces into the
new, to isolate information at its very source, contrary
to all positions of the former (state or field) where it
has paced out into all conditions for favor, experienced
and communicable, the quotient of the factor, the one in
the one, the one in the other, and the one in both. Fast,
too, like something you might pass by and sight toward
the second time around. A vernacular present interposed
within a second space, all pointing toward what is
problematical in the one and absent in the other.
"May I contradict myself?" Yes, you did. "What?"


26

I, myself, here, one, single, have come to the end of
it, where there is nothing left to posture out, where simple
statements collapse beneath the weight of silence and the
widening pace of the familiar driven out of its close ties to
the grotesque as an empty repetition. The so-called human
beings I am surrounded by, like that, wear masks and clothes
of disdain and horror, commit horror upon themselves in
an attempt do drive themselves out out out, where nothing
gains to nothing else/also and firmly, to have held
my breath forever, beat my heart sys-tolic, emptied
all my own horror out, (is there more or the same) and
let it go. Bump. There is no cause, there is no presence
at the center, all resolves out of waste and pity toward
our static core of disaster, paralysis and vulgar
stupid hatred and destruction of all that might
relieve us of our agony and disease. enough!

27

I have cried and masturbated in Greece and Turkey
and celebrated the photographic seasons of observation and
rage to no end but the constant and insufferably new
memory (out of the death of the present death and
confessional despair, in movement against the wishes of my
Body, Spirit, Soul, Mind, Feeling Sensation, Motions, Energies.
And the opening has left me stranded in the woods in
my cavernous plywood house, digging at the earth with
a shovel, no nostalgia, no pity, no disease of knowing,
nothing but looking at the ease and clamor of the
horror, perpetual seasons of disregard, left with
a poetic of information, surrounded with the secrets
of ten thousand million insect confrontations, Apocalyptic
essence of thunderbolt superstition: dulled cow eyes,
the rough and empty edge of telling the truth and
having no response but fear and tingling.

28

Out of what comic disaster of empty effects, ecstatic
commingling of friendships, tenuous and crusty, at least,
here, me, two-thirds of an inch thick. To no purpose,
no relief, to save yourself, out of frightened leaping into
voidless voids, bursting through simplicity to sensation,
all words, images, honesties, frauds. Where the specific
and known quantity of the particular locale, out of
recognition first of self and its freedom & goodness
that what is immediate to us is disaster. Settled like
new clothes. Generative gasps and personal insight.
Causes known and spelled out, programs, acts, collections,
the specific driven out of all disorder and causation
into the perfect and futile literal, to danger, to fear
to initiation, to death, to all the rest. and
How? and the following, the last gasp of hope eluded.

29

Whining complaints, mad visionary panic leap grasps,
drug-static hallucinogenic mind paralytic end-stopped
poses, cynical diatribe Brave standing joke-fear laughter,
absolute earth god penetrative feminine suck vision of
release. Familiarity of devouring ouroboric escape fantasy
limit-of-consciousness/penetration of actual/real/authentic
moon-stammer. Poetic calculation against prisoner
dream fact of culture ship disaster ego splinter grope.
The end, the dominion, the flash and splatter, the
total snip & clank of flying stones and idiot orgasmic
intellectual systematized collectivized hope grin-drool.
The Gross and delicate extrications of the few & the
many. The condition, fact, cause, memory, explosion
terminal pleasure, and no rest, no relief, nowhere,
nothing but cause.

30

What are we to do?, one conceives, in perpetual
failure, how move, how bind, how slip, from whom
depend, to where drive & push, to what repeat, out
of this to where? Silence. The continuum of silence,
to attune ourselves to benign ignorance and futility,
to accept the grace and ease of dominance, to have
fewer and better, to repair, to go on in, to lie
down, to act it out, to fulfill, to preserve, to extend
to pause, shatter, neglect, perpetuate, elongate
define, destroy, to whom depend, out of what love
descend, toward what pleasure transmute, from
this divine to that divine, "from zero to zero".
in what spirit, what obstinacy and resistance, move,
toward what and out of that necessity why

31

For whom descend, for what love and child open
empty rooms, from what hope of the new and perpetual
fantasy derive what act or course and set in what need
or cause to believe or create or generate, if it
if it comes around to failure of the whole, and if
the paranoid source of private life descends into repetition,
from what faith or cause derive the private into serenity
and silence and retirement if the whole is to collapse.
To what alien planet flee besides the one & same
the familiar; who ignore but them? Who exclude
but them? Who calculate (contra) against but
them, to expose the model, to turn the tactic out,
but back, how cause cause but out of ease &
hope; the apocalypse and song.

32

to cross, to maintain, to make sarcophagi, time
capsules, to erase, to loose upon "the world" for
what blankness, how transfer, what to pack and
save, who to leave and who to take, how (who
to educate and who to fail, out of that neurotic
death fact acted upon us, to relieve what guilt,
for what future but time, to whom descend, to
what rite pertain, to whose nostalgia attend,
to what silence release, to where as specific to
ask, how to obscure and reveal, in this mood
or state I, me, here, get to the unfamiliar
and familiar quotation, strain, catalog, glimpse,
to drop what pose, in what self believe, to whom
depend or love, in what day identify, in what moment live?

33

Which rhetorical recognition to encapsulate toward the
good? how categorize the waste and loss as useless, how
blind myself toward failure without loss of cause, what
stiffness to unbend, which question abandon, what lost
and empty sadness deflate, which celebration embrace,
which doubt and exercise delude, where go, how, when,
to whom speak, at whom look, with whom respond,
which "other" transcend, how, which personal self deride,
what act enlarge, with which children exaggerate,
which primitive accept? For what reason or doubt
deny which face or cause? In which spirit accept,
How recognize the true, which cynicism to apply,
what literary bondage accept, what role deny,
which?

34

Is the one in the other true? Is truth the quality of
life to engender act, is consciousness a higher cause of
illusion, has the limit of information expanded to its
furthest? Is one then cold and limp and obstinate,
does cause penetrate? Is faith an informant? Is doubt-and-
reason categorically similar, do accumulations drown?
Has the new face of the child, does one return to
anything, ever; is there time or space for life, have
I lived, ever; stupid season of disregard, impatience and
vanity; is the down and the up a sequence or a
fact or a temporal focus, a state of enlightenment,
a skipped term, a dead exercise, a doubtful
journey, a formalist transfer of energy?

35

What retrieve, which past isolate, what memory
expand, which image distend and why, to which
inclination give in and how? To whom speak, even,
and how much; whom distrust, which paranoia
devise, which illusion grasp? Does the new delude?
Is the new a trap? Do the lovers combine, is the
child of self born? Does life follow death? At the
furthest end of illumination and transfer are we not still blinded
by chance cause? Which questions are important, which
distinctions allow growth, what strangulation is essential?
In what dominion does the left and the right literalize; to
where descend, to what depend, from where elapse, to
what favor subscribe, in which essence know
what for, to what use or perpetuation of love define?

36

Flux time generate warp, force tool, edge growth list
emptiness and shield, noon to term,
a birdshell, this and this, the doom of process,
to drive it up as bread or nose,
to foot or trial, to sacrifice or be or die or have, to plant to
hold to be to honor to name to expand to ease to lie sleep
dust worm cocoon, shape form engage
know, to display to be eager, stopped and
known, command literal, the authoritative,
blurted out, stopped and opened.
What city or tree or gaseous vapor of definition what and to
whom. As response or calm, the water or wave have
or hold or know or be as one & person as deed
or fact as the drift or consequence or
blow or dream, what read or beat? The isolation of response, the
mode of transfer, a detail of the whole, to gain momentum, to
grease the rails, to shift zones, leap across, in this fire, these wet
noses, this act, this strain of attenuation, that and named to
get or send to ease and the gain of new information, to make
the whole ascend, to ride without, to slip or gauge or extend, the
mark or gloss as told, spent, engaged, the word as word, to
heave it make or move, to shout, to grip to come on, to get.

37

Devised, shown, as a lesson.
Up the stairs, she did not answer. This.
She waits at home, she holds & soothes, again,
and sings, the book, office,
or door, as psychic gain, a shift; to say more,
to mediate, to verbalize.
The paper, the focus, driven & clutched or scolded.
A deeper sign, the boundary of the skin,
an experience, a total, a new moon, a white
chair a black chair, a doomed event, a new movie. The rock, water
fair hands a clock, these as details, known as windows; I have
these pictures, the trick won't work, I was there already, a
specific presence, more words, heavy air, the trees speaking,
rehearsed acts, special tones, easy others, borrowing like dirt.
The rocks piled upstream. Responding singing, growth and
zooming a crest, waving at the road, her clocks, the road,
over the hiss, specific psychic entity, I do and sing/to
move in both directions, have effect, to heal,
to sleep, to exterminate.
Where pain, what death or skill or song.

38

Specific residual effect, the personal adjective, to grey-in, as
memory, his achievement, not mine and as each goes, to material
names, and shows, has his release in specific causes, to shelter, as
a friend, the old values known, I said,
that term & cause of speech, to accumulate &
connect, to fill out, having said or done, specific
visual re-experiencing, that wisdom, or a cigarette, causes flow,
her song, too, as a picture, material witness, belief and song,
the actual work must be done, one begins, Start! and has a
direction of flow, that all at once, or over the bridge, to move
one's self, to drive the car, me as one & being, there to love, as
inclusion, as text, as food for the dogs. Through the woods,
warped signaling, as fires and trees coagulate in work, obscure
definitions, drunk in his chair, had his guilt & inherited
hers, they are all bad fathers, or every mood of crisis,
"red fucking firetruck of the heart".

39

As long as it takes to do, and empty spaces, too, heavy with
the weight of it, responsible acts, specific content, or slowly worked
out, there, on the surface of it, moved or made known,
the quality of the voice & observation, that certain preoccupations
are shared, & that movement from one mode
to another, as necessary, engenders the
local condition of each into conjunction & requires total revision as
acceptance and loss redefine the direction of travel,
to turn down, to deny or reject to elapse out of
certain causes into the freshness &
blindness of others, as the readiness to accept a method,
nausea of terror, that information
about death, there, on the shore, the whole thing, a
fire from one match or two, to see bicycles, bricks, leaves, or
sound's mode, the specific act, here, doing and lying a detail,
as I mean something by what I am doing and how I am
doing it, and how we all do these things together, with
that in mind to reevaluate defeat & boredom. To let go.

40

As cause as cause. Has repetition at its center, and the
cold calculated fact, imprisoned in the house, or the door gone, the
food rotting & wasted, the children dead or lost, door open,
strangers from the visual necessity, or presumptions about
the woods, my own reactions blurred by combination, that I
am finding something out in the course of it, heavy air, the
moon sinking through grey & wispy clouds, automatic doors, the
timeliness of this all, as new & modern, as old & modern, as
primitive and modern, as bullshit & modern. To gasp, to
bleed internally, and neatness, over the wall, standing on
chairs, relapses of distaste, no, I don't want to, or the
futility of speech & judgments or saying & doing, or
artistic intentions, or living for others (priestly functions)
but, there, to cause there, some alteration; that good is.
Cause enough.

41

Levels of persuasion: inert, domain, what passes
for intelligence is contact,
"the idiom of the news is personal", having paced out beyond,
but the awkward, or phases of knowing silence,
the total entry, of command, at least, heavy evenings,
when ice cracked & boomed, well it doesn't feel the
same, and on, to a good dinner, or lapses of
taste & judgment, right like that, his ears flapped a
little, seemed to grow, or going out through
the last of it, having been nowhere to begin with,
or having said too much, getting caught there
in the moonlight, cars parked all around me,
lost in the dark. Walking across a vaporous field,
throwing oranges at them, his chest like turned
knobs, on a lathe, sequential differentiations
of attention or sequence, that
each one does for himself and has his causes set out,
laid out, and later, (right?) later has
the specific cause or intention done along, made
out, obscure as they are, or "well turned":
turned & dragged, that such personal gestures
would exhaust (me), in the midst of precision,
is there, to bring it up, out of such long practices
(all of these white rectangles, thin,
piled up in the midst of it.
That I would do as you told me to,
there, going on the river, to speak of it literally, no words no where,
but in what one does, acts, value, there, doing, split out.

42

Final sequences of taste and character, or sighing in darkness, that
the new statement would be more than an implication but an advance.
So I expect some reply here.
How many times (there) (as a catalog, wet,
the door opening, as against quotation, how the field delimits the
door opening, or communicates to others.
If I read this later, the on-top
blue, & listening, recollection, his own special lathe,
of signal devices. of course, this.
But this is that, how one went over it,
later, to see see what happens,
though I know already,
maybe one reading or at best
two, like olfactory exhaustion, a fortunate release, that it is better
said elsewhere, some left, to spin out, dust, the wind, the weeds,
but our landscape, and the terms split-out, whatever. Doors &
houses, ok, his river-like voice & mood, to say so little, to put
myself across, & back & forth, to prove that, at least the
most difficult thing I could think of doing, which turns out
to become the reverse side of risk, but how old were they, to
see whether it is there at all. I'll bring the book.

43

Precise, how it begins each time, garbled, arranges, & peaks
but is all a matter of action & reflection, though where it becomes
difficult or absent is another matter.
Where did they come out? Then?
Who did they think they were & what retreats seem
to become so necessary.
But such letters as become meant, are they sure? I see them too
often or it's the constancy of observation;
squares of cardboard. And
his back turned to me, the voice, or noise, & children, what from?
That easy at least; the small, almost toy-like library, & filling
in the papers, this is as pure an example as I can manage right
here, right now, whether continuous or not, & split up like that
as an indication of attention, and written out, spelled out,
absolutely as the light fixtures, but beyond it all, only some more,
and getting it straight, no vernacular, the line, that is, a knife,
or peeling oranges, the jar slipped off the shelf and broke
the edge, a small piece, off the bowl, what do you say to that?

44

Common misconceptions of purpose arise out of pace equations, as
cultural ballast, to drive the familiar out, and his open
character, but in method,
it would require work, at least, to make it known, that
the doing, in the doing, there is "Collection?,
and not old newspapers,
so how the figure (as man is sometimes called)
arises (out of) where I am,
in the old, in the new, in transit. Surely. & looking
sideways, I can say anything at all. A mark or spot get them
together side by side to relate to each other. The first time I
tried it, on a visit, I was shocked to see him there, so far
from where I'd known him before, it actually gave the release
its cause, or is that a rule for play? He says it quickly, but the
variations of theme are less than outlines, out of the old, and
what he means (though he came (without his wife)
all the way from California
(at least two light years away. More than that.

45

But I think clarity would also arise out of the phenomenal. You're
closer than that than I am, but what the age of it, now, a few
years, surely, though I recall out of somewhere,
certain intensities of engagement which
were absolutely startling, the simplicity of it,
such a disaster, where it began to realize,
or focus, at some early points, of close looking, of
anger & wonder, shut the door, leaned back against it & said some-
thing dramatic, which was the irony, though his (shift) fascination
for mushrooms is obscure, means I have to get clearer in spite of
having no faith in the method here, I know it's the long way round;
but then where are we, to require that. Since I think I'm on
a profitable (There!) track. Get the book, as the candles
flicker out, and slightly uncomfortable, almost seasick (I recall
that trip,) making it here & here, the use of this clarity.

46

Or at least as use would be, initial to it, to get an
image down, there is one statement to be made here,
about which we will say nothing;
can’t; says here what we know as taboo or
"the unspeakable thing" is true enough, where it becomes literal
is the error; no error! The rich man rides his horse, or
persists. No, there are errors,
but where they ease out some specific
information, it would say that we are all practicing; just then,
I turned away, though what is bypassed there, in those shifts
is a specific clause. No dominion but the senses, as one
attends to the close shifts, & here, where it alternates, the
effect of the actual mix is unpredictable. Free-mode, and its
extensions: a tactic, what one comes around to. Such a holiday.
That was, and the wind outside, sometimes, at least as strong
as that, perhaps, only to remind me where I am, inside. You
should, but, won't, and that indicates something. Practice.

47

Unfair not to make a clear mention of it somewhere, about
dispersal, the clause of tension, about scattered tonalities, though
simple alternation is what we're used to, is only interspersal, where
a more logical mode, in some way of looking at it, assumes some
activity here, of assembly (commonly: Participation).
I could be more specific, what one usually says (afterwards)
& indicates the inability to do so. Even gestures are incomplete,
to show the tempo or the quality of the gesture as against
its context as a force, or makes no sense at all, is only something
which seems to be taking place though (by his detachment) actually is not.
What's happening then, there, in that, is the vernacular, which only means that
it needs translation. Toute faite. And what I meant here
was exposure, the photograph again, since, for me, it has become,
due to compression, entirely superficial. Now. Your reply. . .

48

Consecutive response at multi-leveled activity of cautious
engagement, not out of hesitation entirely, but a necessity of
observation, & gets around, again to qualities of misinterpretation.
Though they never leave (he did, said he wouldn't, they never do.)
I'll see about that; some with their heads shaved, benign, never
utter a word. Unthinkable, yeah? No. And out beyond, where
hesitation occurs, we said that the other day, we don't
understand its actual motive. But that displaces effect &
response from act. And what moves us, moves us, has its
cause in the relations of effect. It is from effect to effect or
from cause to cause, all out of likes, & the contrary has to be
sought, there, specifically to balance those likes against
(contra) (with) the drift of the specific, the one, the
cause, the organism itself. Where? Invisibly, cautiously.

49

Balance and turn, there are no levers.
As a formula, working backwards,
at least, if one is on the way, he would shift off from it, to hit in on
what is going on, which movement clarifies the whole thing; as a
reduction of possibility or sensation, it dignifies the quest with
some kind of activity, and all the residues of behavior derive
from the pool, the reservoir, which, by that very same
activity and desire, one has built out of what impulse was
initial to the thing anyway: Any derision is deserved. but the
matter is still open, and opening further than anyone could
guess, I think, that All these exigencies should be observed
& honored simultaneously & instantaneously. Beyond the
mundane historicism of gesture, of calculation & fancy. The
opening is rigid, the mountains move back & forth & sometimes
crash together. It is up to him to dash through.
And of course he does, he did already. We know that.

Arlee, Montana 1972