Leipzig

Exceptions make rules;

Nights constellate jewels;

You dazzled, sweet flower,

At deep winter hour.

 

The route hence comes clear

Hope but also fear

“Obey thy rule-maker”

“Make nothing false, craven”

As I, some keen sailor,

Shall steer by your haven.

of sadness and togetherness

the road of the everyday

carpets a threefold structure

plain, hillock and valley

 

it is sewn together by the traveller

the traveller on the front foot

the traveller of the everyday

 

the road of the everyday

has first-footed a level which is neither

the bliss of total travel nor the desperation of its helplessness

 

this road of the everyday

exchanges rises and falls

and centres evenly on their absence, one way and the other

 

everyday road of the everyday

cannot draw high without taking from low

and ever gone high has to follow-fall low

 

every day road, every day

where happy-travelling is the threadbare question

because the consequence of the highest heights is not ultimately in a route-taker’s favour

 

road everyday, everyday road

a plateau-like sadness travels alongside the plateau-like traveller

no extension of the up-hill excitement to the down-hill roll thereafter

 

road road, road road

the positive pursuit of the everyday every day, surely

starts with not footing-first groundlessly as if this loopy terrain were another

 

dayroad, tomorrow road, everyday

all travellers are peopled with regret

the most successful sadness, has learnt how to keep the needle steady.

 

*

 

loopy routes rooted essentially nowhere

there is a limit to the life of the traveller

and length of course is no necessary indicator of step-by-step achievement;

struggle one is to get/give back all the taken by all the roads taken

two is to leave more behind for the other travellers

a desire to enhance the future of enhancement

whence those not-yet-here will build on our own built-on –

yet adding more to nowhere barely makes this somewhere;

in fact it does not

start nowhere

are nowhere

go nowhere

often the settlement on second-best

which is to make this as easy as possible for one another

as our lostness in loss can burden them

and theirs us

and after that second-best we can do for ourselves is to go nowhere together, with others

whose going should be being made easier by us

which would make it easier for us to go

despite how hard the work of making-easy really is.

What is the person?

beginning to end of

a line

ahead of itself

such that there it is

with its head

feeding

on its own tail

 

but tales, tells

not more self-annihilation

than growth

from something like a self-making self-same

comestibility

 

that is,

starves and satiates

on a hunger for the

meeting with itself

 

whilst also all the time,

of course

spinning out –

out-of-control of course –

fattening itself up on so much more than itself,

yet feeding, and feeding on, foremost

that for which it feeds

(everyday nutrition,

in this sense,

the mere bare bones

of a much more temporal appetite)

 

so, spends time

spilling into itself

after stinging itself

always there also feeding back

 

future biting history

history, the old biting

and old bit

bleeds into the salivation

salvation

of a continuity

that presses forward

by pressing its fangs

probing

into

a hitherto

 

basically, orbit on its own axis

something in time able to time its own questions about time

minimally independent

of the most immediate answers

of an otherwise questionless timelessness;

 

hunger for itself

line forced into contortions

often getting quite fed up

but through that same bloatedness

already layering the appetite

reaching the round-about point

that will be the stomach –

swallowed itself

and out the other way again –

to stomach

the next moment

of a self-nurturing

nutritioning;

 

satisfaction,

the present-ing conditions

of a re-turn to an emptiness

that bites with the fulness of a line

turned to look at itself

 

at once

the opening and closure of something

in time

capable of life –

introductions –

beginning and ending in ways

that do not have to end the way begun.

The fundamental shift of fundamentality

the argument that starts in the in-decision about the right thing to be said

and the right ways to say it

so long on the tracks of generational station-calling

derails

turns into arguments about what has already been said about that

what those sayings mean, stations been

whether they themselves had any answers

and what they might be…

and yet, further to this

calling-station of station-calling

and de-railing altogether

asking questions of the being able to say

and of the how to say

insofar as these two episodes are concerned

railed and derailed

both of them are inasmuch indistinguishable

as still issuing-from as making-issue-of one and the same issue

the actually sayable

a mere change to the pattern of the action from which it is repeated

from talking about talking

tracking the attacks

to talking about text

attacking the tracks

and that is all

Appendix to the centre

intention to attention to intention

prescribes a transition, describes a revision

like square to rectangle made

back to square, to be squared out

and the question in there is twofold

return square can the rectangle made be squared with first square? that is, is there any squarable likeness even despite square to rectangle made? do they succeed in resemblance?

and return square again can the first square be squared with rectangles made? that is, is first square reconcilable with rectangular spillage, at all? do they have any future together?

 

question one is about success and shape, a reaction of space – which is ultimately about impossibility

question two is about possibility and belonging, a reaction of time – which is ultimately about impossibility

 

all squares to rectangles come into squared revision

squared revision is also rectangular, of course

but in difference there are differences

and some possibilities play alongside impossibility a lot better than others

(more spillable in ways that let the freedom of spillage keep spilling out thereafter)

some squares are more rectangular than others.

in transition, in revision

movement is about describing that difference

and making sure of it.

The centre

Rectangle is a square landed

redoubled in effort

training in motion

trailing itself

caught up in a ridiculous self-tease;

 

a square of the utmost cared-for a priority

does not yet matter

but dropped

it starts to matter

at once more and less relatable

more and less stable –

rect-angles step out, tile down, the floor

 

intention and attention

writing and reading

 

square is before floor

rectangle on the floor

neither of which fully pictures the other

neither of which fully opens

or closes

the door of their exchange

 

the door

upright rectangle, ajar

a draft –

of the elements,

the most aware

of the slim enough –

to slip through:

 

squares to rectangles made

and rectangles cutting up squares

in ex-change

 

intention to attention to intention to attention

squares to rectangles to squares to rectangles

all of which some of themselves and some of the other

 

how very triangular

even to the point of being able to throw into doubt a distinction

and the upmost angle of cowardly triangulation

again, the door

not fully open

nor properly closed

unsquarable, rect-agle upstanding waiting for a meeting

un-started so un-finished

possibility

that one day it will happen

 

so, “ajar” is the possibility

of possibility

that is,

the seeping draft –

the back and forth momentum

of squares spilling rectangles

rectangles chopping squares

neither fully themselves

neither properly the other –

describes a movement caught in the action of its own possibility

recounting itself to itself as it happens

that is,

spilling

chopping

 

there is no lock

but locked into an uncertain transition

 

how very circular

and yet square

and rectangular

and triangular, too;

 

the light that glows between the door and its frame

like the draft

and the exchange

also seams

seemingly

with a motivated quality

the fundamental square root of all this (the) un-met.

Company

like from like with me

with me

the sea might call on the sun with me

me-me with me

and the sea might count the nights with me

seas with me

cease with me

sun-seen scenes with me

sea sun­

sea son

sea sin

with me

sea set the sun set me sat with me

with me

sitting with me

setting with me

sinning with me

sands sent on the short side of sea-under-sun with me

with me

coastal with me

it is beach with me

contextual, all that and all that with me

a mess with me

from me: the-desert-with-me with me

have to count the numbers of counting with me

and only desert me with me

and so a lot and then almost no one with me

and then the hope is days long with me

underwater with me

and over the top with me

crystal-ware dolphins on the mantlepiece with me

nowhere with me

contradictory me with me

me with me with me

and someone else not me with me

but who wanted to “me” with me

be with me

“me” more than me with me

seas with me

cease with me

of thirds with me

many many threes with me

meeting me with me

about meeting people with me

me and those people with me

sometimes more than me with me

but always more than me with me

whether people or just me with me

back and forth in population sizes with me

with me

or not with me

many many with me

many more with me

trees with me

on the seas with me

ceasing with me

me and not-me with me

me and me and not-me but then again me again with me

and all that and all that and not at all with me

yes, all that like not at all with me

but always me

with me

 

with me

Zero conditional

desire properly speaking

cannot be stood up

cannot stand down

cannot stand itself standing

but has to fall

 

if walked straightline –

footprints left behind

like impressions made by a hesitant movement

second-wanting to retrieve itself

to go back as well as forward –

this is not desire properly speaking

desire qua desire, this is not speaking properly

 

desire

properly spoken

cannot plan its own route

cannot map a way out

cannot break down to itself its own breaking-down-into-itself

 

if it wants

if it burns

first burning more than it wants

then wanting more than it burns

it has to fall into its own wanting

to be led

and bled

by that groundless motion

the only way to turn

not back

not even forth

but spiral

down into the emptiness

of the fullness

of an unconditional

wanting

 

properly speaking,

falling by a properness that would make speech itself fall behind the falling proper –

indeed, to a falling that, spiralisation, strips the single poem of the singular originality proper to the cosmic Poetry of chasmic Desire

the latter, itself not a poem, nor a series of poems, but the Poetry of a voice

unmoored and unpersuaded

by the ignorance of certain types of knowledge that, level, are just

more distance in disguise

a falling-back

onto a familiarity

that keeps us too familiar

with a certain idea of the self –

in other words,

in words that cannot keep up,

spoken properly,

and so without preface, recipe or annexation

never to let oneself fall behind the falling

but to fall through

listening to desire as “the desire to listen”

wanting to hear it properly spoken

which means never being able to speak it properly oneself

but let its limits outnumber one’s limits

without safe return, head first into the fire of the roar of the world

and thereby vitalising it

inasmuch increasing one’s own volume by, part-taking, increasing its volume

to let that be the case

mounting the case for that to be the case

irresistibly

unconditionally

is desire.