Cage John X Writings 78-82
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Transcript of Cage John X Writings 78-82
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C O N T E N T S
F O R E W O R D i x
Writing for the Fourth Time through Finnegans Wake I
'There is not much difference between the two. " 51(Suzuki Daisetz)
Toyama 1982 51
James Joyce, Marcel Duchamp, Erik Satie: An Alphabet 53
Another Song 103
Writing through the Cantos 109
(untitled) 117
B. W. 1916-1979 119
Composition in Retrospect 123
for her first exhibition with love 153
Diary: How to Improve the World (You Will Only 155Make Matters Worse) Continued 1973-1982
Wishful Thinking 171
Muoyce (Writing for the Fifth Time through 173Finnegans Wake)
VII
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F O R E W O R D
I am as ever beholden to R. Buckminster Fuller. His recent booksCritical Path and Crunch of Giants clearly tell what our world sit-uation is and what must be done if life on earth is to continue.Though some nations have tried, none has succeeded in becomingsupranational. Only business, industry, most of it American, Coca-Cola, for instance, is downright global in its operation.
Nations belong to the past. They merely fight one another. Wemust study carefully the ways of large industry, so that we can im-plement the fact that there is no limit to the place in which we live.Patriotism? Take it with you out into space!
National differences can be dissolved by global problems. If wewere to be attacked from outer space we would all quickly get to-gether. Industry is now beginning to suggest that the differences be-tween currencies should be eliminated. It would simplify the count-ing of profits.
The title of this book, like that of M, was found by subjecting thealphabet to chance operations. It signifies the unknown, place wherepoetry lives, tomorrow, I hope, as it does today, where what you see,framed or unframed, is art (cf. photography), where what you hear onor off the record is music.
Years ago in a review of Silence Alfred Frankenstein wrote thatmy writings were the story of how a change of mind came about.From the beginning in the late '305 I have been more interested inexemplification than in explanation, and so I have more and morewritten my texts in the same way I write my music, and make myprints, through the use of chance operations and by taking the ask-ing of questions rather than the making of choices as my personalresponsibility. Or you might say that I am devoted to freeing mywriting from my intentions, and so, in those cases like the writingsthrough Joyce's Finnegans Wake and The Cantos of Ezra Pound in-
ix
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eluded in this book in which chance plays no part, I merely followthe rolling of a metal ball (the name of the author through his work)which serves to free me and the reader not only of my intentions butalso of those of Joyce and Pound. I am confident, however, and somefriends support this view, that Joyce would have been delighted bywhat happens when intention is removed from the Wake, and I haz-ard that Pound, if not delighted, would have been relieved. CantoCXX: "Let those I love try to forgive what I have made/7
X, then, as I write in the Diary (CCXXIV, 6th remark), is onebook, the most recent, in an ongoing series: to find a way of writingwhich comes from ideas, is not about them, but which producesthem.
It is illustrated fortuitously by twelve photographs made atmy request by Paul Barton of twelve weathered images on the SiegelCooper Building, first balcony level (eight images on the Avenue ofthe Americas, two on i8th Street, two on ipth Street, New YorkCity). I call them Weather-ed I-XII. I did nothing to make them theway they are. I merely noticed them. They are changing, as are thesounds of the traffic I also enjoy as each day I look out the window.
x
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In January 1979, Louis Mink wrote me an excellent letter saying that havingbeen reading my first Writing he noticed that I had invented the impuremesostic. A pure mesostic, he said, would not permit the appearance ofeither letter between two of the name. This criticism fascinated me and Iprofited from it by writing a third time through Finnegans Wake. That textresembles the first, whereas the following fourth Writing, which followsthe same rule, like the second does not permit the reappearance of a givensyllable for a given letter of the name. It is the shortest of the four writings.
W R I T I N G FOR THE FOURTH TIMETHROUGH F I N N E G A N S WAKE
i
wroth with twone nathandjoe 3AMalt
jhEmShen
pftjschuteOf finnegan
that the humptYhillhead of humselfis at the knoCk out
in thE park
Jiccup 4the fAther
My shiningthE
Soft
JudgesOr helviticus
sternelYwatsChfuturE of his
I
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febel 5And
heed it May halfhavE
hiS back
and the derryjellybies 6arOund
fancYmudereCtion
dimb hE
fjordhis bAywinds'
hiMhEr 7
innS
JameyOur 8
paddYis a ffrinCh tip this is
bullEt that byng
mons injun this is theAlps hooping to
sheltershock the three lipoleuMswith thEir
book of Stralegy
Jinnies is awillingdOnephillippY 9
dispatChto irrigatE
2
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Jinniesto fontAnnoy
bode belchuMbonnEtto buSby
waxing ranjymad 10fOr
hneYCry
willingdonE
Jig-lAnthernMonth
and onEand Such
Jist IIdOes
till bYes will befliCkflEckflinging its pixy lighting
Job of 12bAndyMounds
likESo
mujikal 13bOx
mirYinCabususEd
3
1111
-
mammon lujiusin his grAnd old
historioruMwrotE
annalS f.
up Jerrybuilding 15tO theYear
aCrossus frEsh
Juniperyor Alebrill
Mahan it is 16wE
kraalS
Jutelet us swOp hats
YutahhasatenCyi trumplE
i rimimirim Juteone eyegonblAck
ghinees hies good for you Mutthow woodEn i not know
old grilSy
Just 17hOwbY a riverpoolClompturf
rEx
4
-
of objects 19Alfrids
corMacks andarE
See
Jadesses withmOuths andsaY too usniCk
sons littlEsons
Jined 20mAy his
MudsundErit cloSeth
Jarl van 21lamphOuse
la Y ingCold hands
on himsElf and his
Jiminies cousins ofcAstle
derMotprankquEan
a roSy one
up the Jiminywith sOft
mY earin stopto tauCh him his
shE
5
-
Just 27doAt with his
postMan's knock roundhis oldE
lauS
Jane's acOming
theY're surea tourCh of
flamE
no Jugglywugglywith her wAr souvenir
MurialassurE
a Sure there
majesty 31who wAs or often feigned to be
froMinquirE what
had cauSed
JubileedrOgheda
sYmbolising puritasdoCtrina
businEss
6
-
JomgrAy
in his house in the MourningcrustEdroadSide
the Juke 33at One time under thehaY
C.suggEstion of
Jesses 34ripe occAsion to provoke
theMwhilE
iS
thaw tool in Jew me dinner 35Ouzel fin a niceYou-do
in poolblaCktimE
Jurgensen'sshrApnel
goodManovEr
South at work
and commutative Justice 3 6nOttYpe of heidelberg 37
mannleiChmannleiChEthics
7
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Jointly kemthe quiet dArkenings of
MraftEr
callouS
Jesuit's ^gclOth
Yet inthe faCts was
sEcondary
Jenny 39eglAndine's choicest
housingrooM 4abidE with
my horSe delayed nom num. the
many Jiffies 41
pOtlidstheY
CuriouslythosE
Joined 4^Apply
toMorrow casual and avariEty
juSt been
Juiced after 43Over at
tarrY theClings
hEr
8
-
mountjoy 45of All
MilkopEnair
choruS
mr J.f. 48colemAn offenn Mac
nEachpaSt with
Juxta- 51explanation was put in
exrace eYeslokil Calour
arE said
with Jedburgh 57Acquitted
contestiMony with 5 8clErgy
madthing haS done him
JudgementsthOse
malrecapturable daYsin whiCh
widE
9
-
John 61leAned
MoultinstEnch ofgladS ome
hejirite 62,silentiOussuemeant under
deep YourluCtuouspEasant
Jink ghostlyAs were he
to condeMnso thEy might
him firSt pharoah
Jumphet 64frOm
plaYingon the raglar roCk to dulyn
prisEd
astrollajerriesfor the love of the sAunces
Machinskyor othEr
muSclebound from being too pulled
a large Jugful 65sOmeplaceslY where
he CouldmixErs
10
-
swift and Jolly 66mrs hAhn
dorMant ina hErm a
houSe of
meatjutes 67On
said simplYCaptain you did
in Error
Josephine 71with inkermAnn
MidnightbiblE
tyrannous blau clay tight
in conjunction yggArrotted
whiggissiMus 79incarnadinEd
opposition the feeling that
two Jars 82and several bOttles
Yethe vermiCular
with a vEry oggly
ii
-
JokinglAying if
coMpanion who stuck still toinvEntion
Strongbox
I- 83befOregaY
whiskwigs wiCk'sEars
Jennerously exhibited 84to the pArts
it proved MostfortunatE that
and Six
whole padderfagmartin 86cOpperas
chrYstalisations of alum on evento stiCk
firE to
Jew's totems tospite of thescAttery kind when
MainsatE
Selling the gentleman
gale and roaring o'crian Jr. 87bOth
dalkeYs kings of mud andCrimson
o'donnEr ay
12
-
Jowl 89the mAthers ofhircuManswEr
Siar i am
it Jah 90i shOuld
Yeshow suCh
bEginall finally struck him now
punic Judgeshipstrove with penAl
stucckoMuck 91fEw
jurorS
and highajinks 94nOw
minster York do i mind i mind the 95rossies Chaffing him
you do todo north mistEr
Jonnieshold hArd
i'M gladsEz
lankyShield gobugga ye
Jackass harik harik 96the rOse is white in the
rhYme andContradrinking
ninE
13
-
Juletide's 97geniAl
MullinahobthEn
upon tankardStown the outlier
the Jenny infanted thehOux
awaY 98a dutCh bottom tank
undEr
asia majorflAtty
of his oMniboxhE
almS of
JamstO wards
he and YewevereaChbird from golddawn 99
glory to glowworm glEam
JestrAce
fieldMarshalprincE
with a moliamordhar manSion in the
Jutstiff ioobuttertOwer
the wasting wYvernbaCkwords
or morE strictly
14
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iuld van dijkecertAin fixed residents
through our systeMbE
Still o
Jeer and 101zhanyzhOnies
had given his eYe for her bedand a tooth for a Child
till onE
Journey to 104never hAs
with the cooMbing ofof aEgypt
wiSh i
my o'Jerusalem 105and i'm his pO
train trYhe Can
Explain
what JumbomAde to
MouthstoppEd
Should flow and
15
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Jealesies 106childsize herOes
and thin dYediCykiCyksEx
a Jolting series 107long lAne
Mountback against a 108usE of
Style
Jungle 112yOu
maYpiCk
a pEck
JustifiedthAtluMililts
asshEfolS
Jullyglad 113when christmas cOmes
aYe to 114noticing
linEs
Jew 116fAr
in duMbil'syEar
Sea merged
16
-
majestybOrn
uggamYg hapaxleCountry
stilEs
Jeers 117for the grApe vine
ruMhis End for himoff Sooth
dejectedly 121diapered windOw
baYleavesnondesCript
a palmtailEd
final always JimssAhib
exhibit ionisMof thosE
capriciouS
rubyjets 122amOng
as daY theloCks
you'rE
fjorgn 124first instAnt
nor the huMpharstill kEpt
Small
i/
-
and loojingtOrba'saY and would have as true as
muChonE's half
Jhon 126rAtedMic
thEm andartful diSorder
faypees and 134theban recensOrs
the maYds was midst the hawthorns 135pimploCo
to stand for suE
on a fjeld duiv 136ruz the hAlo
on the lodge for hyMndapifEr
magnuS
Juts 138he's cOme
shampaYingClouts and
pottlEd
18
-
Jorn 142-bArty
and toM8 and how war yorE
anSwer
Jeff's 143gOt the signs
but YurninglovemutCh
a brEf burning till
Jumps 145so she sAys
so Mushnot takE it
courSe i know
JumpyOurtrYsting 146
buCkinghopE in
gilda hilda ita Jess 147kAtty lou
reforMatorypravidancE
waS
Javanese i will give all my 152Old
hYbreds andharped on his Crown and
out of his immobilE
19
-
Juice of 153hAdMust to
hie sor a stonESingularly illud
kelkefoje funcktas 160kelkefOje
crYing toreCoil
with a grEat
sotisfiction how his abject 161is nothing so much more thAn
the dogMarksof origEn on
Same time and with the
Jaw 162mOuthful 163
butYrumut sCiat
malum Et
Jeffet 168four-in-hAnd
buM and dingo jack bybrokE
to Say
20
-
Jem is 169Are
sheM'sgEtup it
Skull an eight of a
tragic Jester I71
sObbed himselfYellagreen funkleblue windigut
applejaCkto hEar him twixt his
Johns is 17 2-next plAce
for luvvoMonyhopEd or at
among morticians
Jansens chrest 173JawOuld
samtalaisYmerchant
bElfry
and Judder on the mound 175heAthheMpalheMpal
poursuivEpoursuivEfrownSfrownS
in Junk et sampam 178his bOnafide
straY whizzer sang outto avenge maC
jobbEr
21
173
-
Jymes 181wishes to heAr
druMcondriacrEallyShamiana 182
objects 183cast at gOblins
YoungClippings from
toothsomE
Jos 184giAs neys
the stoMachfair chancE of
tumult Son of
JigsmithdOdginess
whites and Yolks andCinnamon
and asthEr's mess and
Joyntstone 192let him pAss
with your cruMbs 193tEll me
not a loanShark look
Jigs andinnOcence 194we Yield our spiritus to the wind
the pole the spaniel paCkthEir quarry
22
-
ijypt 198sAw
nyuMba nooErring
aiSy-
changeable fade that 200rObeYou'llCloak so
dEaf as a yawn
tipting a Jutty 202pAlling in
when MaidswhEn
Stood
Jub 204verOnica's wipers
is it a pinnY or is itstarChsmEll
or Jude's hotel or 205vArtryville or
ikoMtipsidE down or
and morriS
23
-
piped und ubanjees twanged withr O tundarkinkingnYne 206
tell me quiCk and dongumaguE
Join in thegigguels i cAn't
by the holy well of MulhuddartswEar i'd
killy'S mount
and a Jetty amulet 207clicking cObbles and
eYannushka lutetiavitCh pufflovah
lEllipos
of injonshold your peAce and listen well
it MighttEn
allcloSe or the nexth of
Jary 210saccO
and llewelYn mmarriage a brazen noseCraig and a
harE
JonesloAf of
Morning forvalE
and outflaSh
24
-
Jill 211brOth
tYneviCtor
rakE and
JoyssAintMoor
sawyEr andtropical Scott
Jane in decline and my 214mOngrel
laundrYmanCollars and
hEir
II
opal who having Jilted 220seAngeMinally about caps or puds
a pattErnSet and brought home
Jibsheets andsupercargO
gugnir his geYswerks 221his earsequaCk
milldiEuw and butt of
Jestsfor the wAke lent
M.fmnEgan
hairwigS
^5
-
and Jean 222sOuslevin bass
claYbladeof Clubs to part from
fEar acts of
djowlreleAsed
shehind hiMs backunhErd of 223
mary louiSan
Jawrin the frOnt
givin Yoe upwith searCh a fling
did diE
an injine ruber 224At his thinker's
freightfullness whoMhis collinE born
She
ploung Jamn 2,25sOYateman hat
stuCk hitsalthrough his spokEs and if
would Jused sit it 229rAte in blotch
in hyMnsignorancE
Sorey
26
-
worth leaving nej 23zOkrahsing
pumme if Yellwhile itChish 231
shomE
by Jove chronides seedsumm After
MalthosrollEd
Snivelled
Jerka redhOt turnspite
whY was thathis spurt of Coal 2,32
dilutE
Juwells 236fAns
foMor's in hispaaralonE
dublin'S all adin
thejthOu
straYedof pa's teapuCs
as lithE and
Juneses 238duel mAkes their triel eer's
coMbshonEyyourSelf
^7
-
her eckcot hjem 242his flamen vestacOat
Yahrds of annams 243Call
wrongEd by
Jempson's weed decks 245bong bAngbong
how Matt yourlukEd your
mugS and troublebedded
bij de -246whO
fifteen YearsCampus
thEm
lerkoffeAtsoup
yeM orworth hEaling
muSt walk out and
Jasper and 249fOndance and
curtseY onemettenChough
thEy
focubus nic for 251stAnth
Mun in hissonsEpun
wiSe
28
-
Jacquemin 253accOuntibussweYnhearts 254
meeresChalipsE
wijn 256withouten pleAders
Masis huEd
fumingS
on our Jambses 258nek nekulOn
Yea let usloud graCiously
havE
Judges orb 263gAyMill 265ElmSkole
June 266fOnd
thYselfattaCh
with thinE
29
-
Jeg suis 269thou Arr i
MaidbiggErthat;S
fillies and 273bOmbambum
maggYCastoff
dEvils all
Jelly 274shAkeforkluMps 275
or any otthErbaStille back bucked up with
JinglishdolphinsdYeing to 276
zumboCkyEt
Jr 279he inst my lifstAck
piMp andnaturEnourSe
la Jambe de marche 2&piOus and pure
plaYed 281belletristiCksb
aux tEmps
30
-
aux Jours destrAnslout
Mail socowriE card i
Sad
hoojahs 282dOwn
Yerthereunn enoCh 283
Endso
Joke 290will hAve
synchronisMs allquatrEnwhoSe
in par Jure ilOtherYves 291
so inseuladed as Crampton'sEurn
Jup 294cArpenger
centruM and olaf'scyclonE
aS
Jukes 295private properties
the YulessundaClouths
hung up for tatE and comyng
3i
-
Jeldy 2-97this is whAt you'll
Mygh and thyspit of dEad
diScinct
armjaws at the 300de vere fOster
sprY him 301miCk
varsEs
apolojigs 302thAnksleMan
jow low jurEplumpduffS
ajax 306fire at the sOuth
sYstem the usesand abuses of inseCts
pEnny post 37
Jomsborg 310tuned up by twintriodic singulvAlvulous
tyMpanrEunionaSkold
3^
-
till time JingshOst
the keY of efas-taem o 311a ketCh or hook
alivE a suit
Jewr of 312plebs but plAbs by low
Mint 313liquid couragE
Stowed
apullajibed the 317pOwer
Yon peakwith its Coast so
knEw
Jelks let be buttercup 321bAll
you scuM 322turnEd out
alaS
lavantaj 325ahOrace
YsnodsCat
doEs
Jodhpur 329smAllsi. Magnus
good lifEbarkonS lough t
33
-
Juinnesses 333rapin his hind and the bullingdOng
staYs outsize herblanCking
dronnings kissEd
Jude if you'll 334stAy where you're
Mizzatintcanins to ridE with
caninS that lept
ajaculate 338the glOwrings
bruYant the brefsing Ching
lEw mang
fupes 339grAze the
consoMationrEntS
the dfublian 3trulOck
nYeto reguleCt
stragglEs for
his mujiksy'sfArst
which seeMs 34J
to sharpnElSpool of the little brown
34
340
-
pamfab pgrOss
hermYnwith dramatic
rEproducingr
pojr 343greAtes
qwehrMini grandthinkEd
obraS after
nodje 3in the pOestcher
his chimbleY photloveCurling totakEcups
Junking 348the pAlposes
of woMth andlysE
Screeneth hulp
what we warn to hear Jeff is 359sweecheeriOde and
Yoreswift sanCtuarygang oiboE
Joh 366beAuty
Mask 367kullykEg
viSiting dan leary
35
342
345
-
Jiffexby 3^9rOde
the rhYmer that lapped at the hooseCourt
sEight of that yard
Joynes 37trAynor
to puMpfirE
into thoSe
Jameseslane begetting a wife 373which begame his niece by pOuring her
dizzYCrops out
in your flEsh 374
that Juke built 375wAit till they send you to
woMhoods twotwElfthgaSping
of a rhutian JhanaralwidOwer
me prhYseCaulking
any shapE
and a good Jump powell 376cleAn over
the Massus for tobarrEl
Slick
36
-
Jitters 377yOu'll
Yores the strake ofthe Cloth
to forE of
so hattajocky only 383quArtebuck 3 $4
interiMsfor auld lang synE
palmS in their
Jules 386with the hOughers
Yamanfrom the Curragh and 387
and the authoritiEs noord
fibhAirshirt
reMindsvillEm and
blank print S
of lady Jales casematethe fOurth
raYburnthe old Conk -388
yE gink
37
-
for a Jool 394to breAkegotuM
dEprofundity ofpancoSmic
mummurrlubejubes 396mOtherpeributts up
lethargY's love at the end of it all 397Community
sEnior
III
and as i was Jogging 404dAwdling
cluMpdrEamta Shaddo
without prejuice 405came alOng 406
gaulusch gravYwith seCondand thEn
Jistr to gwen his gwistelprAties
MockgurglE
to whiStle
Jamwhile the lOaves
quaYnuCkling down to
nourriturEs
38
-
Joust 416tAntoo
o MoyhEartily
Swallowed the
Jiltses 4i7gracehOper
in the mYreactually
and preEsumptuably sinctifying
Jetty 4^0noon sick pAsonopened by Miss
nighumplEdanShout at
contempt and dejeunerate 422
a skillytOn be thinkingi buY himhalfCousin
of minE pigdish nor wants to
Jeune premier 430fAirest donesMilingly
broad by brEad andSlender
39
-
Jaun asking kindlilyhillO missies after their
tYke 43ibenediCt
world and his lifE
Jomping 441hAul
libidinuM inyou'vEthingS to look
our Jakeline sisters 447Out
like hYmntheir Coals
will soothE
JnoegAn
for freedoM of 44 8uproosE
of lorcanSby
crekking Jugs at 449grenOulls
in the shY orient 45poaCh
rEnt
Jiesisin the lAtcher
suMtotalwholE 451
Strafe
40
-
to Jeshuam I'm 452
nOrawainYoustobe 453
sweeping reductionswEaring out your
June to our snug 454rewArd
luMpit 455but givE it
flock'S at home
for the Jemes 45 6Oh
chutneY andnaboC andfustfEd
Jooksthe Act
him i'll stuMp it out ofdoorstEp
Saint 457
Jungfraud's 460pOsts
waYs and hertwiCk
twinklE twings my twilight
Jill 462his fAil
sMallplacE
i Smelt the
4i
-
Jilting 465penals shervOmm
Yez how idos belike the Corks gain
sibstEr
Jousstly 468cAseMind
twinEtwoS
Jerne 469abOarderYnnana
now's nunCor nimmEr
Jourd'weh 470to-mAronite's
Mirra 471sElfrighting
pillarboSom of the
fun Juhn 473that dandyfOrth
phaYnixshall Crow at
wEst
42
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phopho foorchtha aggala Jeeshee 475clAss of
MakingsquarE
yards of him one half
oh Jeyses fluid 480it's his lOst chance
heY didown tripe aCushlathat you tiEd
Jong 482of mAho
of the Mghtwg grwpp isyour wEight
hooShin
ho look at my Jailbrand 484exquOvis and
angliceYsuCk at 485
whosE was
djoytschoy soy bleseyblAsey where to go
is knowing reMaindiscoursE
uS
of Jenkins7
dullaphOneanglY mo
moohootChnipponnippErs -486
43
-
futs 491luckchAnge
deMaaschstrikE
drarakS
djanaral when he was sitting him 492vOlvular with
vikramaditYationists 493mendaCiis
yErds and
Jorth would come 496bumgAlowre
seeMlyhEavy
in Sugar
Jusse 502icecOld
plaYsone expeCts that kind ofon
rimEy
Joints 503cAused
siMplywEllknown
winning^
Jazzlike 511brOlliesbeYawnd
tweendeCksshubladEy's
44
-
Jokes bowlderblow the 517mAsket offsMutt
dykEShine
the mujic 518peace in vOina
if You've 519pootsCh
and proprEy
Juppettes 53igAuse be
hobMopshakE up
Sake all
Jaunted 542
rapt in necklOth and sasheswhile the Yanks 543
were huCklingpEtitions full of
Jets 548wAterrosespiM's and
pyrrhinESourire
45
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their Juremembers 557imputAtions ofi
Mitigationin any casE
waShleather
Jark 558vOlans at six
Yeastwind and the hoppinghailoutskirts of City 559
groovE two
Jezebel 562in mAidenly
MuchdulcE
onSk a lovely
Jem 563will knOw him
lYlian andbredsCrums
jExkoff and
Juices 5 64olAve
tonoblooMbluE
marks athwart
gaij 565vOrtigern
muYmalinChily
fathEr
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Joustlefor 568but mArk
pouMpEal
our boorgomaiSter thon
majers arise sirhOrse
alfi bYrni gamman dealtereaClatrEacla youghta
Juin 569shAll
Marlborough-protEctor
Shall have open
hedjes 571sOld
i praYhorsehem Coughs
a noisE
conjunct 573consummAte
Mauritius with sullatranslatE a
goodS of cape
Jumped 578she's bOrrid his head under
konYglik shire with hisduCk-on- 579wEnt up
47
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stands abjourned 585is lArgely
Misturbing your nighboortirEd
Strictly
Jeebies ugh 590yOnd
christmastYde easteredman fourthchrisCalp halp
drummEd all
IV
byjoge 594you've tippertAps in your
exMooth ostbys 595Each and
dombS
he conjured himselfhthetheatrOn 596
chYstrepurchasing his
sorEnsplit and
Jerks 6nthe rApe
huMp 612EbblyballySukkot punc
hugly Judsys what 620mOre matcher's
sluskYteachingmE
48
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our Joornee 621mAke it
Mrknrkyour grEat
languo of flowS
Jumpst 626thrObbst
Yedme Coolly
and i'd liE as
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"THERE IS NOT MUCH DIFFERENCEBETWEEN THE TWO." (SUZUKI DAISETZ)
ITis A long time
i don't Know how longsince
we were in a room toGether now i hearthat yoU are dead but when i think of
you as now i have the Clear impressiontHat
tenderly smiling you're alive as ever
TOYAMA 1982
deaTh isAt all times
liKelife
now that you are a GhostyoU are as you werea Center among centers
world-Honoredworld-honoring
late yeSterday eveningtHe moon in los angeles
low in the east not fulldo you see suZuki daisetz
give him my lOve
5i
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The title of this lecture is a reference to the poetry of Jackson Mac Low,which I have enjoyed for at least twenty-five years. He has made many "Vo-cabularies/' restricting each to the letters to be found in the name of a par-ticular friend. It is possible to imagine that the artists whose work we livewith constitute not a vocabulary but an alphabet by means of which wespell our lives. This idea as a subject interests me but it is not what I havedone in the following text, though the works of Joyce, Duchamp, and Satiein different ways have resisted the march of understanding and so are asfresh now as when they first were made. I don't know how many books onHamlet there are that set out to elucidate its mysteries, but there begin tobe a very large number in relation to the work of Joyce and the work of Du-champ. I prefer the ones that pay attention but stop short of explanation. Ienjoy the writing of Anne d'Harnoncourt and Kynaston McShine aboutDuchamp and that of Adaline Glasheen and Louis Mink about Joyce. Whenit conies to Satie, I prefer Satie himself to all those who've written abouthim. The Japanese composer and pianist Yuji Takahashi told me he likedtwo kinds of music, that that had too many notes and that that had too few.His remark may be extended to liking art that is incomprehensible (Joyceand Duchamp) and at the same time art that is too nose on your face (Satie).Such artists remain forever useful, useful I mean outside the museums, li-braries, and conservatories in each moment of our daily lives. I happenedone year to see a large exhibition of Dada in Diisseldorf. All of it had turnedinto art with the exception of Duchamp. The effect for me of Duchamp'swork was to so change my way of seeing that I became in my way a du-champ unto my self. I could find as he did for himself the space and time ofmy own experience. The works signed by Duchamp are centrifugal. Theworld around becomes indistinguishable. In Diisseldorf it began with thelight switches and electric outlets. One day after he had died Teeny Du-champ was taking me to see the Etant Donnees when it was still in NewYork before it went to Philadelphia. We were walking east along loth Street.I said, needing some courage to do so: You know, Teeny, I don't understandMarcel's work. She replied: Neither do I. While he was alive I could haveasked him questions, but I didn't. I preferred simply to be near him. I lovehim and for me more than any other artist of this century he is the one whochanged my life, he and the younger ones who loved him too, Jasper Johnsand Robert Rauschenberg. One day in the late '50$ I saw him in Venice. Ilaughed and said: The year I was born you were doing what I'm doing now,chance operations. Duchamp smiled and said: I must have been fifty yearsahead of my time.
53
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For me Joyce is another story. When I was young I read A Portrait of theArtist as a Young Man and was not enthusiastic. At that time I loved theparts of Finnegans Wake that were published in transition and I often readthem to entertain my friends. When the finished Wake was published Ibought it but didn't think I had the time to read it. I was too busy writingmusic. Recently I have been punished. I have gone to Joyce as to a jail. I havemade five writings through Finnegans Wake, and I've turned the second oneinto an hour-long radio play called Roaratono, An Irish Circus on Fin-negans Wake. As with Duchamp's work, so with Joyce's. And this goes forDubliners and Ulysses too. I don't understand any of it. Nor do I understandthe night sky with stars and moon in it. The fact we travel to the moon hasgiven me no explanation of it. I would be delighted to retrace Basho's stepsin Japan, where as an old man he made a special tour on foot to enjoy partic-ular views of the moon. When I was in Ireland for a month last summer ('79)with John and Monika Fullemann collecting sounds for Roaratoriof manyIrishmen told me they couldn't understand Finnegans Wake and so didn'tread it. I asked them if they understood their own dreams. They confessedthey didn't. I have the feeling some of them may now be reading Joyce or atleast dreaming they're reading Joyce. Adaline Glasheen says: "I hold to myold opinion. Finnegans Wake is a model of a mysterious universe mademysterious by Joyce for the purpose of striking with polished irony at thehot vanity of divine and human wishes." And she says: "Joyce himself toldArthur Power, 'What is clear and concise can't deal with reality, for to bereal is to be surrounded by mystery.' Human kind, it is clear, can't standmuch reality. We so fiercely hate and fear our cloud of unknowing that wecan't believe sincere and unaffected, Joyce's love of the clear darkit hasgot to be a paradox . . . an eccentricity of genius."
And Satie. I have analyzed his music and found it structured rhythmically. Ihave admired his choice of materials and his independent sense of form. Hismethod it seems to me is a marriage of mode and the twelve tones. I think Iknow all that. But it does me no good. I have also studied wild mushroomsso that I won't kill myself when I eat what I find. I am always amazed howexciting it is in any season anywhere to see just any mushroom growingonce again. The same is true each time I hear Satie well-played. I fall in loveall over again.
I cheerfully set out to write the following text but for a week I could not putpen to paper. Then it occurred to me that all three, Joyce, Duchamp, Satie,since they are dead are ghosts and as such inhabit the same world we do.And I remembered a remark of Buckminster Fuller: that to give proper con-
54
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sideration to something one should begin not with one idea but with five. Idecided to be cautious, to take five as a maximum, one as a minimum. Eachof the three ghosts could be alone in which case he would read from his ownwritings. Or he could be together with another sentient being or beings,ghosts or living, or with a nonsentient being or beings. To outline the entiretext then by means of chance operations was not difficult. There weretwenty-six different possibilities: the three ghosts alone, each in combina-tion with one to four different beings, the ghosts in pairs with one to threedifferent beings, all three with one or two. I used the twenty-six letters ofthe alphabet and chance operations to locate facing pages of an unabridgeddictionary upon which I found the nonsentient beings which are the stageproperties of the various scenes (I through XXXVII) that follow. For the sen-tient beings, the other actors, I also used the alphabet, but only rarely as ameans of finding a person I didn't know in an encyclopaedia. Mostly theother actors are people with whose work I've also become involved, some-times as deeply as with Joyce, Duchamp, and Satie. Since many of the actorsare ghosts, I have taken liberties with them, ascribing to them imaginaryworks they never made. I have also taken such liberties with those stillalive. I hope no offense is received. It was not my intention to give any. Thepiece is not an alphabet: it is a fantasy. I did want to remove the punctua-tion, so to speak, from our experience of modernism, to illustrate it withsomething like its own excitement.
J A M E S JOYCE, M A R C E L DUCHAMP,E R I K SATIE: A N A L P H A B E T
I what a Joyto hAvetheM
on thESame stage same time
even though the subjectOf
the plaYis the Curtainthat sEparates them!
55
-
Justifyingthe constAnt
Moving up and downof thE curtain
the ghoSts
Jumpalternately fOrth and back and forth and forth
verY slowlyin time with the Curtain's
phrasEology
so that JustAs the curtain
reaches the MidpointbEtween
open and cloSed
Justat that mOment
each ghost is halfwaY through a single jump(both their heads touching
thE curtain)
and JustAs the curtain reaches the topMiraculously
both of thEmcomplete their deScents both are visible
and Just like magicas the curtain tOuches the floor
one of them disappears totallY from view leaving the other all alonein front of the Curtain
at that momEnt the telephone rings
56
-
an automated fudgeAnswers it
and tells the audience whoMthE call
iS for it's always
for the ghost who has Just disappearedwhO cannot be reached
in this waY we know whoeaCh ghost is
but nEither ghost is distracted
from his Jumpingthe older one is erik sAtie
he never stops sMilingand thE younger one
iS Joyce, thirty-nine
he Jumpswith his back tO the audience
for all we know he maY be quietly weepingor silently laughing or both you just Can't
tEll
now and then nijinsky's ghostAppears
bringing a telegraMto joycE
from marShall mcluhan
Do you like that, silenziosol Are you enjoying, this same little me, my life,my love? Why do you like my whisping? Is it not divinely deluscious? Butin't it bafforyou? Misi, misi! Tell me till my thrillme comes! I will not breakthe seal. I am enjoying it still, I swear I am! Why do you prefer its in thesedark nets, if why may ask, my sweetykins? Sh sh! Longears is flying. No,sweetissest, why would that ennoy me? But don't! You want to be slap wellslapped for that. Your delighted lips, love, be careful! Mind my duvetynedress above all! It's golded silvy, the newest sextones with princess effect.1
57
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II in the middle of one of his JumpssAtie grabbed hold of the curtain
and instead of coMing downascEnded
hiS exit signals
the entrance of a Jeepwhich is truly an autO mobile it needs no driver it belongs
to no one it is the invention of a 12-Year-old ghostnamed duChamp
it is Expected
to iMprove the worldit uses neither gAs
noR oilit runs on viChy
watErthe stage has become a bottLe of white wine
and Joyce no longer jumping is Drinking it.oUt of the jeep
ComecHildren going everywhere
including A ghost four years oldnaMed heidegger
technology and Population
III wEheaR
over a radioa conversation sticKing
to two wordsfifty-five And
fifTy-fourIt is
an argumEnt
58
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bEtween houdini and satieabout which one of them as a ghost is oldeR
houdinisees a cracK
in mathematicsby meAns of which
aTfifty
four and fivE
changE placessatie is delighted and gRateful
now I see he says what people meantthanK you
a flaSh of lightningis followed by A
loT of smokeIn which
all the ghosts who arE
on thE stageeasily disappeaR
houdini and satiearm in arm walK on
accompanied by a ceyloneSe ghosta schoLAr named coomaraswamy
and a young acTorand musician
Jonathan albErt
59
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who isn't dEad at allhe's veRy much
alivehe is speaKing
in hiS ownextrAordinary way
moving aTwill
from onE
rEgion of his mouthto any of eight otheRs
following a notationinvolving diacritical marKing
mine iSA
movemenT system he saysI
makE
thE movementand discoveR the sound.
meanwhilecoomaraswamy is whispering a sansKrit text
IV attracted by this duet Joyce returnsposthAsteto huM a program consisting of
onEiriSh ballad
60
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two Japanese tunesOne
melodY by satieand three lyriCal
suitEs
by fEldman feldman hasn't yet composednoRmallythis would be impossible
but for Joyce it's no tricK at all
in fact it'SAs simple for him
as for him be biTtenby a radish
a scrap of papEr blows on stage
following words're on it: JoyceAMusic
hEiS is music
whether those are JustlOose words in the air so to speak
or poetrYby m. C. richardsno onE can be sure
Construction of a 4-dimensional eye From-: A circle (when seen by a 3-dimensional eye moving above and below until the visual ray falls in theplane which contains the circle) [a circle] undergoes many changes in shapeconventionally determined by the laws of linear perspective. To-: (For the 3-dimensional eye a sphere remains always the same whatever the point ofsight.) But a sphere (for the 4-dimensional perception moving in a 4-dimen-sional space until the 4-dimensional rays become visual rays for the ordi-nary 3-dimensional eye) [a sphere] undergoes many changes in shape, from3-dimensional sphere gradually decreasing in volume without decreasing inradius, to simple plane circle. . . . Light and shade exist for 4-dimensional
61
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[objects] as for 3, 2, i. Three-dimensional perspective starts in an initialfrontal plane without deformation. Four-dimensional perspective will havea cube or 3-dimensional medium as a starting point which will not causedeformation i.e. in which the three-dimensional object is seen circum-hyperhypo-embraced (as if grasped with the hand and not seen with thehyperheyes] -Just as a point intersects a curve and does not intersect a plane, so aeyes] -Just as a curve of infinite length or surface element intersects a volume and does notintersect a 4-dimensional "solid." But either a plane or a surface intersectsthis 4-dimensional solid. -This 4-dimensional solid will be bounded by 3-dimensional volumes. The shadow cast by a 4-dimensional figure on ourspace is a 3-dimensional shadow (see Jouffret "Geometric a 4 dimensions"page 186, last three lines). Three-dimensional sections of 4-dimensionalfigures by a space: by analogy with the method by which architects depictthe plan of each story of a house, a 4-dimensional figure can be represented(in each one of its stories) by 3-dimensional sections. These different storieswill be bound to one another by the fourth dimension.2
V thuMbingby meAns of a noninflammable match
thRough an unabridgeddictionary
duchamp noticEs three entries on facing pagestwo with illustrations
reDheaded woodpeckerwood titmoUse
and woodCockthis gives Him
the ideAto Make readymobiles in unlimited editions
and to Place the first one
in a teMplejust outside cAlcutta inhabited by the ghost
of sRi ramakrishna that has beenstanding on one hand in eCstasy
for ovEr ninety-three yearsduchamp picks up an inhaLator and breathes Philadelphia
62
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VI buckMinster fullerimmediAtely
answeRsCongratulating duchamp on all
of his work past prEsent and future he then goes on to saymy pLan for a regeneratively changing
balance between unlimiteDhUman needs
and limited world resources is availablei am encouraged by tHe Chinese people
by the fActthat one fourth of Mankind or one fifth if that's what it is
is now relatively intelligent not just stuPidly political the way the rest
of the world is i aMAlso
encouRaged by the youthwherever they are you Can
bE surethe young at some time wiLl spontaneously employ themselves
to change the worlDthey mUst however do it
quiCklywHile
necessAry below-earth energy sourcesstill reMain in sufficient quantity
to give needed initial Push
to yet-to-be-invented world puMpsthAt
will ultimately opeRate by means of universeeconomically
comprEhensivelyand delightfully
63
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use insteaD of ownershipintUition instead of
ContinuingselfisHness
success for AllhuManity instead of total oblivion
Possibility of realizing
good life for all Men dependson reAlizing it
foReaCh
singlE man from a to zLet us not forget the things
in the worlDeach one requires open-ended honor
Cease world pollutioninitiate routes for speedy transport of eacH
refuse pArticleto places in universe where what it cheMically is is in demand
see specialization as a drop in the bucket
-VII the bucket is comprehensiveness Joyceis imAgining
a Mutton chopand wondEring
where the next one'S to come from
you don't Justfind fOod
under Your feetghosts but nobody else Can
livE on thin air
64
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VIII Just a wee push graffito graffitito the Joy of us
thrEe threejimmy and erik and teeny duShee
Furniture Music is fundamentally industrial. People have the habitdayafter dayof making music in situations where music has nothing to do.Thus Waltzes, Fantasias from Operas, and other such things are played thatwere written with another object in mind. What we want to do is to estab-lish a music made to satisfy human needs the way the utilities do. Art isextraneous to these needs. Furniture Music creates vibrations. That's itssingle purpose. It plays the same role played by light, heat and all otherhousehold conveniences. Furniture Music advantageously takes the place ofMarches, Polkas, Tangos, Gavottes, etc. Insist upon Furniture Music. Haveno meetings, no get-togethers, no social affairs of any kind without Furni-ture Music. Furniture Music for notaries, banks, etc. There's no differencebetween one piece of Furniture Music and another (they all belong to thesame family). Don't get married without Furniture Music. Stay out ofhouses that don't use Furniture Music. Anyone who hasn't heard FurnitureMusic has no idea what true happiness is. If you go to sleep without firstlistening to a piece of Furniture Music, you won't sleep well.3 They can'tknow anything about it. They don't read the newspaper I read every day.4 Ifyou have three trumpets there isn't anything you can't do.5 There are treeson which you'll never see a bird; cedars, for instance. These trees are so darkthat birds get bored on them, and avoid them. Poplars are no longer visited.Getting to them is dangerous: they're much too high.6 Like money, thepiano's only pleasing to the person who has his hands on it.7 The sea is fullof water. Why we'll never know.8
IX duchaMpmonDrian
and Joyce go into the mind of krishnalao-tse Jogs
early in the Morning on the great wall of chinawilD duck
65
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satiE visitsconlon nancaRrow
In mexico cityhe is Knocked out
by nancarrow'S musicfor two plAyer pianos
when he comes Tohe announces the decision
nExt
timE he listensto do so flat on the flooR
not on his stomachbut on his bacK
hiS decisionputs ideAs
in Thepiano
mEchanisms
nancarrow turns thEm onsatie lies on the flooR
the pianos move toward himbut in the nicK of time they thematically
pull themSelves upso there's sufficient spAce
for Themto roll over him without hurting him
inthE
lEast satie is touchedbut not physically i am veRy
planistic he saysbut i have never Known
66
X
-
Suchgood behAvior
on The partof musical
instrumEnts
i will writE about itin the newspapeRs
the telephone ringsit is a mr. robert m. quacKen-
buSh, 460 e. 79th streetn. y. c. u. s. A. the pianos speak up
whaT does he want? we want to knowwhat he wants nothing
he has thE wrong
satiE says goodbyeto nancaRrow: au rentendre
you've shown me something new i am bowled overand grateful you maKe me want to write music again
XI Joyceis At work
in a roMan bankmErce Cunningham
comeS in to cash a traveler's check
Just signgiambattista vicO's name
instead of Your ownand i'll give you Control
of a rEvolving fund
67
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that will keep your company Jumpingin An honorable wayfroM now until dublinsday
Cunningham asks how to spEll itJoyce replieS
don't spell it at all Just write itdOwn
as though Youwere danCing.
your drEams
havE all beentRue.
XII ghosts shouldn't stay In houses merely frighteningsingle families they should walK out into the world
and haunt everyone continuouslyuntil the revolutions ghosts begAn
while They wereliving
arE completed
china was JustA beginning
as far as i aMconcErned i want to lengthen
the long retreat So it extends through the rest
of the world Jesus was rightOr
don't You think so?i am only a Child
and so i can IE ad you
68
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mao tsE-tung has spokenthoReau veblen Joyce
and satlecontinue walKing and running
in different orbitSAround him playing the game called
ludwig That's sun surrounded by planetsand planets surrounded by moons It's midnight
at waldEn pond
Just thenA
luMinous glasssuddEnly
appearS poised in space
toward it 4-year-old mao directs a JetOf destructive thin air
which is instantaneouslY diverted by thoreau who explainsi proteCtmy invEntion:
a winE glasswhateveRyou put In it no matter what
anything you liKe even dirt will do
everything becomes winethere's A
swiTchfor changing colors
and anothEr for changing its size
69
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to that of a Jiggeror enlArging it
to that of a Mugits namEchangeS according to what you want in it
vodka or stout or whatever JustOne glass exists it has
a krishna feature so it can be used bY any number of people at the same timeno matter where they are it's Communist
says mao tsE-tung
it's tEchnical says veblenit's iResh says Joyce
c'est admirable says satieall ghosts at once: how did you thinK of it?
anSwer: i don't knowi never drink i wAs
jusTtaking
anothEr step in the direction
of siMplicityXIII duchAmp
has on a caRpenter's outfithe Clipsto Each pocket
a small
carD 11A inches wide and 2 inches higheach card has a different pictUre on it by utrillo, utamaro,
or uCellotHus
he tAkes on the characterof a Museum
with no need for sPecial
70
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proMotionprogrAms
because all the aRt it ownsCan
bE seen without going insideor buying a ticket without any troubLe at all
if one of the carDs is stolenor boUght
he replaCes itwitH
Another which is notexactly the saMe
that keeps the Public
on the Move never surewhAt's being shown
duchamp counts the caRdsperiodically
and Each time he reaches thirty-threehe makes a sLight
aDditionto the thirty-foUrth which he finds amusing
and the Critics find upsettingtHeyAre continually
changing their Mindsbecause their minds always sPring back to the way they were
in the first place alMostimmediAtely
duchamp caRries a whisk broomand if a Critic
drops somEthing he whisks it upand puts it in a vaLise
7i
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markeDUnsigned memorabilia
he is thinking of investing in a Cuisinartto cHop up this collection
to mAke it into a large single work untitleclin advance later to be known as inftoMation
sPatial
XIV the scene changes duchaMphAs taken off
the caRpenter's outfitbut the Card
musEumfoLlows him anyway
each carD facesoUtward from him
has no visible Connectionto Him
it's quite mArveloushe's a Museum
without Pockets
and he has a suMmerplAce
on the costa bRava that's where he is nowhe Can
bEoutdoors beside an oLive tree
Drinking spring wateror inside oUt of the sun
eating some peas or Celeri remouladeHe limits himself
to A teaspoonful whether it's solidor liquid it occurs to hiM that utamaro has no first name
in the dictionary taking maurice and Paolo
72
-
as alphabetical liMitsAnd
thinking of bRown he is on the pointof Choosing n.o.whEn
the telephone rings it's philip glass
this gives him the iDea of an indeterminate first namehaving Unlimited repetitions of letters
n.n. ooooooooo for instanCepHilip
didn't sAy a word except helloMarcel thanks himPlayfully
XV bob rauschenberg coMes init must be your deAthday
i've bRought you a presentit's an ameriCan
jEtwith a portabLe airport
part of the lanDing gearare these rolled-Up runways
that Can be put in your pocketand tHen when you need themyou tAke
theM outand droP both through a slot
in the Men's roomAnd then they automatically expand
to the pRoper length in the proper positionjust as the plane is touching
thE groundthe pLane itself is no larger than
73
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a vitamin pill what DoyoU think of it?
it's obviously an exCellent device says marcelbut i tHink
thAt you should keep itwhere it caMe from
my travels are telePathic
pure and siMpleAll i have to do is think
of anotheRCity
and thEn i'm therei don't need to fLy
what i Do isremain as thoUghtless
as i CanotHerwise
i'm constAntly traveling never at restjust yesterday i was in Madagascar
and this morning i was in Paris
when i just Mentionthese plAces to you
i can feel myself beginning to be transpoRtedi have to quiCkly think
of thEpLace where i am
in orDerto continUe
our Conversationbeing a gHost
hAsits probleMs
would you like to Play chess?
74
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i know the Movesbut thAt's about all
come sometime to floRidaand teaCh
mEi wiLl
The parasols thus straighten out the spangles which, on leaving the tubes,were free and wished to rise. They straighten them out like a sheet of paperrolled up too much which one unrolls several times in the opposite direc-tion, to the point that: necessarily there is a change of condition in thespangles. They can no longer retain their individuality and they all jointogether after B. The illuminating gas (II). After B. change in the condi-tion of the spangles. From their dizziness (provisional), from their loss ofawareness of position, obtained by successive passing through the sievesand imperceptible change of direction of these sieves (change of direction ofwhich the terminations are A and B), the spangles (dissolve); the spanglessplash themselves each to itself, i.e. change (little by little through the lastsieves) their condition from: spangles lighter than air, of a certain length, ofelemental thickness with a determination to rise, into: a liquid elementalscattering, seeking no direction, a scattered suspension on their way out atB, Vapor of inertia, snow, but keeping its liquid character through instinctfor cohesion (the only manifestation of the individuality (so reduced!!) ofthe illuminating gas in its habitual games with conventional surroundings.What a drip! Ventilator-Churn, (perhaps give it a butterfly form9
XVI satiEis giving a conceRt
of hisrecent worK
kineSthetic music of contingencyit is performed by Animals
the soloisTs arean octopus and a fish hawk
all sEctions
75
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of thEoRchestra
are filled with butterflies of various sizesexcept for an enormous Koto
which iSthe stAge
iTselfthe animals
and insEcts
arE themselvesthe instRuments
each has a broadcasting system and each member of the audiencehas his own receiver and loudspeaKing
headSetthe flights of the musiciAns
and The promenade of the octopusare perfectly beautiful
to hEar
and to sEethe audience is as quiet as a mouse eveRy now and then
one of the musicianshappens to play the Koto sometimes producing a melody
sometimes JustXVII A single tone Joyce no sooner sent out
the invitations to his party than alMostEveryone arrived
homer waS the first he was singing a revision
of his iliad for open house the house is Just righteccles street is actually Open nothing but a vacant lot with brick
facade between it and the street Joseph beuYswho has Caught
two phEasants one silver one gold
76
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is about to explain Joyce'swAke
to theMEven though
Joyce of courSe is there and they are alive
he begins with his JawnOt speaking
but moving it sidewaYsthe birds watCh him
attEntively
then he JigsA jog
the pheasants respond by Marchingin quickstEp
So erratically the guests are obliged
to levitate he rips his JackettO pieces
this makes the pheasants so happYthey Can't
contain thEmselves
they Jump on his shouldersAnd then take off
in the direction of the MoonlEaving
two featherS behind
JustbefOretheY disappear
beuys touchinghis forEhead with both feathers
77
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thinks Junglethis Actslike Magic
thEpheaSants reappear
Justas thOugh they'd never left
in exchange for the feathers beuYs gives the birdsfelt eleCtric
nEsts that can be plugged in anywhere
The more you're with musicians, the crazier you get.10 On the hour, a ser-vant takes my temperature and gives me back another.11 I'd never dare at-tack anyone . . . anyone who doesn't think the way I do. Thought is theproperty of the person who has it. No one else has the right to even touchit.12 You want to know how to become a musician? It's very simple. You geta teacher, a music teacher, and you go with him as far as possible. Choosehim carefully . . . You'll have to buy a metronome. Make sure it isn't tooripe, and above all it should have some flesh on it and a little fat. Make sureit works well. Because there are some metronomes that work the wrongway. Just like idiots. You'll even come across some that don't work at all.These are not good metronomes. Afterwards, I'd advise you to buy some-thing to put your music in, a brief case. They come at all prices. The prob-lem you'll have is deciding which one you want. A student should have lotsof patience, great patience, the patience of a horse, huge patience. Becauseit's very beneficial for a student to get used to putting up with his teacher.Just think: a teacher! He'll ask questions he knows and that you, you don'tknow. He takes unfair advantage, obviously. But you have the right to re-main silent. It's even the best policy. Don't take it out on your instrument.Instruments often submit to very bad treatment. People beat them. I'veknown children who took pleasure in stepping on the feet of their piano.Others don't put their violins back in their cases. And then, poor thing, itgets a chill and catches cold. That's not nice. Not at all. And some poursnuff into their trombones. This is very unpleasant for the instrument. Andwhen they blow on it they project those irritating particles into the faces ofpeople around them, and then everyone sneezes and coughs, sometimes forover half an hour. Ugh! The consequences are serious. And afterwards theinstrument works poorly and has to be fixed. You do your exercises in themorning, after breakfast. You should be very clean, and you should have
78
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blown your nose. You shouldn't start working with your fingers coveredwith jam. The hours and the days you take lessons have to be scheduledwith the consent of both the pupil and the teacher. It would be very incon-venient if the pupil took his lesson at his hour on his day while the teachergave it at another hour on another day. That goes on all the time in schools.There are some students who never lay eyes on their teachers. Curious ap-plication of an educational system. Don't follow that plan. Because, out ofnecessity, there has to be some agreement. The pupil, and the teacher, wereput on this earth to meet one another. At least from time to time. Other-wise, where would we get? That's right, where would we? I'll tell you. We'dget nowhere. Realize that work is freedom. Freedom that is for everybodyelse. While you work, you don't bother anybody. Never forget it. You under-stand? Sit down. I'm obliged to finish this talk an hour ahead of time. Soonit will be six. I have to have something to eat. Then I want to take a walk inorder to get an appetite. Children, please be good.13
XVIII duchaMpAnd satie
aRe alone i'm glad to be with youwe Can look
at thE sceneries or have a conversationis there anything you Like to say?
i've just talkeD my head offmy laUgh
what is that? an inCandescent lamp?i've never seen sucH
A big one! what's it doing herebackstage? it Magrittes me think
it's using uP
all thEeneRgy
there IslooK! i'm right!
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the other lightsAre
noTworking
any longEr!
XIX satiEgoes in seaRch
of sunlight he comes across haydnbill anastasi is looKing at haydn through a lorgnette
but Seemsto be tAkinga phoTograph
billExplains
that thEloRgnette
connected to an old television set acts as a secondary cameraenabling him to taKe the picture
of a ghoStof A
ghosTproviding
Everything
anD everyonebefore dUring and after the photograph's taken
are in exaCtlythe rigHt positions
XX sAtie saysi have soMe music
that is to be Played
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Silentlyi wrote it with An invisible ink and luckily
i gave the manuscripT to duchampone of these nights ill ask him
for a xErox of it
XXI joycE joins satiethey sit about thRee feet apart
and facing one anotherthe clocK
StrikesAnd
the seaTedbeing
inthE
spacE between them half dead and half aliveibsen on one side and isou on the otheR
begins to revolve on a smoothly operatingtable so that after satie has talKed to
ibSenAnd isouTo JoyceIt is isou
who makEs
a rEply to satieand satie who makes one to isou whoeveRand
this also applies to ibsen and Joycewhoever is talKing
iS interrupting the otherthe following is A short sample
of whaTwas said:
"E
81
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my bEdis Round
IcK"
XXII Joyceis sitting in the entrAnce hall
of an ancient roManhousE watching the rain come in
what iS that called that basin
in which a pool is Just beginningtO form?
replY: the impluvium below,the Compluvium
abovE the compluvium is the open space
in the roof Joyce's mindwAnders
froMrain to rivEr to ocean
he iS doing the australian crawl
in south america where JuruajOins amazon
now he's on his back on lake nYasain afriCa
hE rides
the norwegian falls of skykjefosAnd then goes the length
of the MississippitwicE once in a boat
and once walking on the water itSelf
82
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he goes to the top of kanchenjungafrOm which he sees
all the himalaYan riverstaking different directions
to form thE mouths of the ganges
he says i loved the skykjefos so much i wonderif i took the form of A
salMonwhEther
i could riSe from its foot to its head
Justthe thought's
what's necessarY from norwayhe goes to California
and doEs the same thing up yosemite
not troubling to salmonize himself he Just goesAs he is
he swiMsfor a yEar
in all partS of ocean
from JapanthrOugh indian and atlanticto Yarmouth
through arCtic and pacificto nEw Zealand
he is Joinedby whAles
one of whoM swallows himwashEd up whight and deliveried rhight
loud laudS to his luckhump
83
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and bEjetties on Jonahs!14
XXIII satie is veRy busyebenezer prout Is
giving him a quicK
leSsonin hArmony melodyrhyThm
counterpointand orchEstration
in half an hour in athEns he has an appointmentwith a second-centuRy poet
whose name Is oppianoppian's well Known
for hiS three long poemsone on fishing And
anoTheron hunting
and thE third on birdcatching
the sEcondand thiRd are now thought
to have been written by another poet of the same namewhile prout corrects errors satie quicKly
lookS in his bookAnd sees
he's To have lunchwith
dovE bradshaw
what a dElight! he saysi like heR
and her drawings very much they are both so healthyi must asK her
84
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what exerciSes she gives her pencilsnot possible! cocktAils
wiThmrs. nation!
carriE nation!
i can't bElieve it!pRoutgives him
a tasK:
fourthsAnd
fifThsIn diagonal motion
ill do that in fivE
minutEs says satieon my way to gReecethe telephone rings
he answers it thanK heaven!
She isn't free!his secretAry hands him a new supply
of music paper That camewith
his nExt compositions
in pEncilalReady
on Itall he has to do is inK them in
greece the voice of oppian: "there's no music i lovemore thAn yours would you consider
playing my furniTureor teaching it to play you?i can't tEll you how comfortable that'd make me
85
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All through my youth people said, "You'll see when you're fifty/' I'm fifty. Isee nothing.15 You want to know whether I'm French? Of course I am. Whywould you want a man of my age not to be French? You surprise me.16 Per-sonally, I am neither good nor bad. I oscillate, if I may say so. Also, I've neverreally done anyone any harmnor any good, to boot.17 A child has naturalwisdom: he knows everything. Experience is one of the forms of paralysis.18
An artist is certainly worthy of respect, but a listener is even more so. Whyis it easier to bore people than it is to entertain them?19
XXIV and how is JoyceAffected by charcoal?
it fills hiM with admirationfor it is largEly pure
iS carbon
is ancient Jewel, hardest substancediamOnd
sYmbol as an elementis C
is widEly distributed
Joined with other sourcesenergizes some of the stArs
its coMpoundsin numbEr exceed
thoSe of all other elements combined
is not Just fuelthOugh as such
Yields a larger amount of heatin proportion to its volume than Can
bE obtained from a corresponding
quantity of wood makes no smoke JustmAkes fire finely divided is efficient
to filter adsorption of gases'n'solids froM solutionis usEd in the purification of water and airin gaS masks and the refining of sugar
86
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is made to JumptO greater heights of adsorptivenessbY means
of speCialhEating or chemical processes
such forced Jump'sActivated charcoal
aniMal black'sits namE
when it'S obtained not from wood but from bones
JudgednOt father but mother of coal
when fine it took the forms of laYers between bedsof bituminous Coal
pEncil or crayon
or fustA piece of paper
artist has used to Mark uponis bElieved
to exiSt free in nature in a form that's white
that has not yet been found spirit has adjusted ustO
its eventual discoverYCharcoal writing
whitE'r'black upon white'r'black
conjecture:the cAtholic
Massis a charcoal ovEn: the making of breadthe body of chriSt
87
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We must bring about a music which is like furniture, a music, that is, whichwill be part of the noises of the environment, will take them into considera-tion. I think of it as melodious, softening the noises of the knives and forks,not dominating them, not imposing itself. It would fill up those heavy si-lences that sometimes fall between friends dining together. It would sparethem the trouble of paying attention to their own banal remarks. And at thesame time it would neutralize the street noises which so indiscretely enterinto the play of conversation. To make such music would be to respond to aneed.20 Everyone'll tell you that I'm not a musician. That's right. From thebeginning of my career, I classed myself among phonometrographers. Myworks are pure phonometry. No musical idea presided at the creation of myworks. Scientific thought was in charge. I take more pleasure in measuring asound than I do in hearing one. If I have a phonometer in my hand, I workwith joy and confidence. What haven't I weighed or measured? All of Bee-thoven, all of Verdi, etc. It's very strange. The first time I used a phonoscope,I examined a B flat of average size. Never I assure you have I ever seenanything more disgusting. I called my servant and had him look at it. On aphonoscale, an ordinary F sharp, run of the mill, came to 93 kilograms. Itcame out of a very fat tenor whose weight I also took. Do you know any-thing about cleaning sounds? It's a very dirty business. Working in a cottonmill is cleaner. To know how to classify sounds is very painstaking and youhave to have good eyes. As for sonorous explosions, often so disagreeable,cotton in your ears attenuates them and makes them endurable. This ispyrophony. I think I can say that phonology is superior to music. It has morevariety. It is more profitable. I owe my fortune to it. In any case, with amotodynamophone, a phonometricist with very little experience can easilynotate more sounds than the most experienced musician given the sameamount of time and effort. It is because of that that I've been able to get somuch written. The future therefore is in the field of philophony.21
XXV vase Joyce is writingA letter to norahe is
in the next to last paragraph his Mind and bodythEir feet in poetry
from her aS flower in hedges
excited move to her as objecthOg she is sow
of his everYfilthy Craving
no inch of hEr body no odour sight sound nor act of it
88
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but's irresistible Joyof An
orgasMswEetheartanSwer me
XXVI JoycemAking use of thirteen letters
written to hiMby Ezra pound
writeS the following mesostics on his own name
can't make out whether Jeande gOurmont wants to translate
anYhandsChrift
morE illegible
than Jimms. Arrived
this a.M.wish you Every
poSsible success
cher J.i dunnOno lawYer
in return for whiChrEcd. several
dear Jim:AnsweredMiss-
firEthat omitS the essential
89
-
J.: first numberOf
mYnew periodical
dE signed
Juvenile indiscretionsmAy now
cash in on 'eMthE noble gerhardt
iS struggling both with
B-J-JayzusribbOn iz pale
You better havethe Carbon
thE
JoycewAntsxMas
likE what gabrielSaid to
Jeande gOurmont
anYhandsChriftis morE
dear JimArrived
this a.M.Every
poSsible
90
-
I.dunnO no
lawYerwhiCh
rEcd. several
XXVII duchaMpsAtie
leonaRdoda vinCiand thE poet
Louis zukofsky are writing a Japanese poem
they have themselves photographeDwith fUjiyama the average person would think
it was just a pictureoftHe
mountAinbecause none of theM none of the ghosts can be seenat all however the Photograph
is a linE in the poem which goes on as follows:angels and bastaRds
how do you catch such a bird?poor songster weaK
gold, white, plaSter, indigowithout primAry shadowcarefully scoTch tapes
the germans still advancingat thE opera
soMe of them go round the fieldsrelAted as equated
by eRos; matrixtransfer from one like objeCt
who's in lovE with meof Labor light lights in air
9i
-
transposeD by the perspectiveto raise dUst on dust
straight line, Curve, etc.splasHes which should be
spiders love music just Asencounter at the bottoM
all gay where how sPill lay who
a straight horizontal thrEadRope, mercury, cloth
of what Is in what is notgold or silver or the liKe
done in the Semi3rd of the width of the leAf
and ouT of respectcolumns on the walls In front
of thE count of urbino22
Dictionarywith films, taken close up, of parts of very large objects, obtainphotographic records which no longer look like photographs of something.With these semi-microscopies constitute a dictionary of which each filmwould be the representation of a group of words in a sentence or separated sothat this film would assume a new significance or rather that the concentra-tion on this film of the sentences or words chosen would give a form ofmeaning to this film and that, once learned, this relation between film andmeaning translated into words would be "striking" and would serve as abasis for a kind of writing which no longer has an alphabet or words butsigns (films) already freed from the "baby talk" of all ordinary languages.Find a means of filing all these films in such order that one could refer tothem as in a dictionary. "Theory" 10 words found by opening the dictionaryat random by A 10 words found by opening the dictionary at random by B23
92
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XXVIII the ghost of brighaM youngis speAking i am happy to announce
that puRsuantto our many Conversations
duchamp has accEpted an anonymous mormon commissionto make another Large work
it will have many briDes and fewer bachelorsit will be a computerized
series of glass CubestHere will be movement
of gAses lights and liquidsfroM one cube to anothera sPecial
architectural attachMentis being mAde to house it
so that it can go on touRit will be simple to detaCh it
from onE buildingand clip it on to the next
it will have a map of the worlD connected to itlike those sUbway maps in paris that light up
you piCk outtHe city it's to go toAnd when the lights go on
after a short delay which perMits the correctionof Possible errors and pinpointing
of precise destination the building Moveswithout Any passage of time at all
to the place wheRe it's supposed to goits basiC
hornE of coursewiLl be
93
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philaDelphiabUt
for speCial occasions once a year at leastit will be sHown
in sAlt lake citythe nuMber of brides
is still uP in the air but several things
are certain there will be More bridesthAn
bacheloRseaCh
bridEwiLl
be four-Dimensionaland have a plurality
of accelerationsinfra connections with eacH of the cubes
i suggested one bAchelor instead of severalthe single bachelor could be the prograM itself in the form of
a jack-in-the-box duchamP
seeMs to likethe ideA
too many bacheloRs he saysmight bring about impractical conjugations
wE must avoid excessivetechnicality
XXIX mozart satiEand schoenbeRg
are giving three concerts at oncein the same place capers Kangaroo
94
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XXX satiEis having tRouble
with his shoelacesthey Keep coming untied
he telephones louise nevelsonlouise he sAys i'm afraid
Theywill
loosEn
my Senseof hArmony
i have made an appoinTmentwith
sigmund frEud to have them analyzed
XXXI JoyceAnd
duchaMparE looking
at a twelve-Sided astrological television set
if your seat Jibeswith yOur sign
the commercials're not visible to Youinstead you automatically
gEt your horoscope
MorrisgrAves
appeaRs by satellitefrom Calcutta
and dakhinEswarhe enters a tempLe of kali
95
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he places before the image of the goDdessan offering of frUit
it is reCeivedfor He
leAvesreturns to his rooM in the hotel in Calcutta
and Paints a picture
duchamp and Joyce enjoy seeing(it is A zodiac
giving new forMsto thE
Signs)
they speak as one person Just factfOrm's taken for granted
makes it necessarYto find way baCk
to how it was bEfore
forMscAme
into being Rules are for gamesbut Chaosis lifE
breaking Laws is what poetry is
language in particular must be changeDeven what yoU eat
Can't be mere followingof conventions eitHer
stArtfroM breath from zero
Possibility of no-mind
96
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XXXII satiE is conductinghis wateR
music in fire movements the first is calledpine cones it is damp and smoKy
XXXIII JoyceimAgines
nora's in the rooMno nEed for perfume
and muSic she is his own
XXXIV his majestyhAs fallen to pieces
Joyce is picking theM upparnEll
iS
Justsix letters Of the alphabet
that go together in different waYsnot Changing
thEir sequence, not making anagrams
six fragments of his irish majestycAnnot be found in ftnnegans wake
and strangely enough arne is one of theMEven though
arne compoSed rule britannia
other fragments you'd JustnOt expect (r.n. for instance) are there
in fact onlY between a tenth and a thirdaCcording to how you count
of uncrownEd king's missing
97
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I no longer have any notion of time or space; sometimes it even happensthat I don't know what I'm saying.24 Erik Satie, Dear Sir, Eight years ago Iwas suffering from a polyp in my nose complicated by liver trouble andrheumatism. On hearing your Ogives, I noticed an improvement in myhealth; four or five applications of your Third Gymnopedie cured me com-pletely. I authorize you, Mr. Erik Satie, to make any use you wish of thistestimonial.25 Before writing one of my works, I walk around it severaltimes, and I get myself to go with me.26
XXXV JustA coincidence
that their initials are both MinimallylEttered
the Same letter
a ja) Of
an inventorYof what in Common
thEy have
JoyceAnd Johns
b and c) Mind spirit bodyat homE
in homeS
not JustOne
everYoneColors
idEas etc. complexity impartiality
d) elegance in the enjoymentAnd expression of vulgarity
exaMinationof thE commonplace
arrangements for its return to mystery
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e) subject'sneither whole nor part
possibilitY of bothContinuing
bE coming
night by silentsailing night while infantina Isobel (who will be blushing allday to be, when she growed up one Sunday, Saint Holy and Saint Ivory, whenshe took the veil, the beautiful presentation nun, so barely twenty, in herpure coif, sister Isobel, and next Sunday, Mistlemas, when she looked apeach, the beautiful Samaritan, still as beautiful and still in her teens, nurseSaintette Isabelle, with stiffstarched cuffs but on Holiday, Christmas, Eastermornings when she wore a wreath, the wonderful widow of eighteensprings, Madame Isa Veuve La Belle, so sad but lucksome in her boyblue'slong black with orange blossoming weeper's veil) for she was the only girlthey loved, as she is the queenly pearl you prize, because of the way thenight that first we met she is bound to be, methinks, and not in vain, thedarling of my heart, sleeping in her april cot, within her singachamer, withher greengageflavoured candywhistle duetted to the crazyquilt, Isobel, sheis so pretty, truth to tell, wildwood's eyes and primarose hair, quietly, all thewoods so wild, in mauves of moss and daphnedews, how all so still she lay,neath of the whitethorn, child of tree, like some losthappy leaf, like blowingflower stilled, as fain would she anon, for soon again 'twill be, win me, woome, wed me, ah weary me! deeply, now evencalm lay sleeping; nowth uponnacht, while in his tumbril Wachtman Havelook seequearscenes, from yon-sides of the choppy, punkt by his curserbog, went long the grassgross bump-instrass that henders the pubbel to pass, stowing his bottle in a hole for atwhet his whuskle to stretch ecrooksman, sequestering for lovers' lost prop-ertied offices the leavethings from allpurgers' night, og gneiss ogas gnasty,kikkers, brillers, knappers and bands, handsboon and strumpers, sminky-sticks and eddiketsflaskers;27
XXXVI suzuki, kwang-tse and Joycegive us A word
instead of reMainingsilEnt
aS you've remained now for three days
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subject's realitywhat wOuld
You say? this table's real? yesCan you
tEll us what way?
Just to rolywholyoveryes in every wAy
and yesterday when that ManspokEyou Said what he said was good
you didn't objectwere yOu
butterflY?or were you beComing a man?
in zEn you said most important thing is life
and JusttodAy
when this other ManspokE
you alSo said what he said was good
again you didn't object(nOr did he:
onlY true answer servesto set all well afloat) but how Can you?
in zEn you said most important thing is death
it is JustthAt in zen
there is not MuchdiffErence between the two
Sutra (the Sanskrit, a thread, a string)
100
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XXXVII duchaMp telephonesfrom kAnsas
it's like nothing on eaRth i feel as i didbefore beComing a ghost
i havE no regretsi welcome whatever happens next
N O T E S1. James Joyce. Finnegans Wake (New York: Viking Press, edition embodying all
author's corrections), pp. 147-148.2. Marcel Duchamp. Salt Seller: The Writings of Marcel Duchamp, edited by Mi-
chel Sanouillet and Elmer Peterson (New York: Oxford University Press, 1973),pp. 88-89.
3. Erik Satie. Ecrits, reunis, etablis et annotes par Ornella Volta (Paris: EditionsChamp Libre, 1977), p. 190. (Translation by John Cage.]
4. Satie, p. 160. 10. Satie, p. 153. 15. Satie, p. 45.5. Satie, p. 159. ii. Satie, p. 23. 16. Satie, p. 28.6. Satie, p. 153. 12. Satie, p. 91. 17. Satie, p. 26.7. Satie, p. 154. 13. Satie, pp. 82-85. 18. Satie, p. 173.8. Satie, p. 162. 14. Joyce, p. 358. 19. Satie, p. 165.9. Duchamp, p. 50.20. John Cage. Silence (Middletown, CT: Wesleyan University Press, 1961), p. 76.21. Satie, p. 19.22. A mix of lines from Louis Zukofsky, "A" (Berkeley: University of California
Press, 1978); The Notebooks of Leonardo da Vinci, compiled and edited from theoriginal manuscripts by Jean Paul Richter (New York: Dover Publications, 1970);Duchamp; and Satie.
23. Duchamp, p. 78. 25. Satie, p. 113. 27. Joyce, p. 556.24. Satie, p. 155. 26. Satie, p. 143.
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In 1970 Song was written as a text for Solo for Voice 35 in the Song Books.The melodic line was the second movement of Cheap Imitation, whichkeeps the phraseology of Erik Satie's Soar ate but varies the melody. Song,published as a poem in M, was derived by means of / Ching chance opera-tions from the Journal of Henry David Thoreau, each line chosen from aparticular part of a particular page of one of its fourteen volumes.
When I fiist saw Susan Barren's photographs of fields, weeds, woods, lakes, Iwas delighted by them and offered to write a text to accompany them in alimited edition. I had in mind to write mesostics on the names of the sea-sons, spring, summer, autumn, and winter. I got nowhere with this projectuntil I sat down one day in The Hague, looked out the window and wrotemesostics which were "photographs'7 of what was at that moment happen-ing. This seemed interesting to attempt but not appropriate for photographsof nature (I was in a theater looking out on a playground with a city streetbeyond). Several months later it occurred to me to go again through theprocess that had produced Song (Satie's title for the second movement of theSocrate is On the Banks of the Ilissus) and thus to write Another Song forSusan Barren.
A N O T H E R S O N G
Rabbits, musquashsnipe, but hear nonefog for four dayscountless swallows.
Now, in shallow places near the bendsdistinguished by its bluenessthe air is full of falling leavesturning round and round and scratching with its claws. A showera basketful of Irish moss.
Etc.it looks as ifthe most rugged walking is on the steep westerly slope. We had a grand view.
103
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As he looks backI return, the sun is rising and the
walls were one reflector with countless facets.
They say that the Indiansused to find them in the brooks.
Two ducks sailing, partly whiteNew Testament.
Down to its graveand does not die
put it onand buckle it
tighter.
Pause of the slow-blooded creaturethe rocks.
The hills eight or ten miles west arecovered with
buds and leaves anda very wild look. There is a strong
wind always blowingNiagara.
Universalnight advances
new inducementstreets and houses
'leven thirtybe reminded.
Speak; I cannot. I hear and forget to answerdeep mud
thrasher's nest.
104
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Yesterday's slight snow is all goneyellow-legs, away they sailI use three kinds of shoes or bootstaking no note of timewilted twig!
Winds, colder and colder, ground stiffening again.
The brightest trees I see this moment are some aspensrising to the surface.
Flowers are fast disappearing but few crickets are heardthis at once work and pleasureblack bird as seen against the sky.
Clintonia is abundant.
Cannot see distant hills, nor use my glass to advantageAlgonquin and Iroquois.
The water might have risen therewhitens clothes with clean dirtwith a sharp, whistling whir. Heard a white-throated sparrowheaven had been washedbeneath a white oakhas the stricta leafets in the axils?
Anxious as ever, rushing with courage.
Gives expression to the face of nature. Reflections in still water.
Great phenomenon these days is the watermuch sparkling light in the airpond was now a glorious a sort of changeable bluesee the first bird.
Weather-beaten appearance.
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Trunks of trees whitened now on a more southerly sidelighted upon the top, looked around as before.
Could find no nestwhat doth he ask? To win, on this ground to dwell.
Saw a black snake.
Even steady sail, gliding motionlike a hawk.
Perseverancehalf an inch
flitting along, bush to bushdewdrop of the morning, promise of a day.
First drops of rain to be heard on the dry leaves around meand only a stone's throw
apparently with the end of a stickstanding in water
On ice devouring himit seems to be.
Four years aftertook for grantedit was building
the distinct line between darkness and sleepdistant note of a bird in the low land. Got quite a view
he took his cane, went up the hill.
The only trees, two or three cedarso'er bog, through strait, rough.
Loose withered grass, a clump of birches.
Cool breeze blows this cloudy afternoon, I wear a thicker coat.
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Divided in three partsdeepens the tinge of bluish, misty gray on its side.
Already right side up in one instanceyellowish-green birches and hickoriesedge against the sunset skydark ice
Whitish within, then a red line, then brown orange.
Bridging of the river in the night, obstructingapple tasted in our youthstate as when.
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To write the following text I followed the rule given me by Louis Mink,which I also followed in Writing for the Third (and Fourth] Time throughFinnegans Wake, that is, I did not permit the appearance of either letterbetween two of the name. As in Writing for the Fourth Time Through Fin-negans Wake, I kept an index of the syllables used to present a given letter ofthe name and I did not permit repetition of these syllables.
W R I T I N G T H R O U G H THE CANTOS
and thEn with bronZe lance heads beaRing yet Arms 3-4sheeP slain Of plUto stroNg praiseD
thE narrow glaZes the uptuRned nipple As nsPeak tO rUy oN his gooDs
arE swath blaZe mutteRing empty Armour 14-15Ply Over ply eddying flUid beNeath the of the goDs
torchEs gauZe tuRn of the stAirs 16Peach-trees at the fOrd jacqUes betweeN ceDars
as gygEs on topaZ and thRee on the bArb of 17Praise Or sextUs had seeN her in lyDia walks with
womEn in maZe of aiR wAs 18Put upOn lUst of womaN roaD from spain
sEa-jauZionda motheR of yeArs 22Picus de dOn elinUs doN Dictum 23
concubuissE y cavals armatZ meRe succession And 24Peu mOisi plUs has le jardiN olD
mEn's fritZ enduRes Action 25striPed beer-bOttles bUt is iN floateD
scarlEt gianoZio one fRom Also 28due disPatch ragOna pleasUre either as participaNt wD.
sEnd with sforZa the duchess to Rimini wArs 31Pleasure mOstly di cUi fraNcesco southwarD
hE abbaZia of sant apollinaiRe clAsse 36serPentine whOse dUcats to be paid back to the cardiNal 200 Ducats
corn-salvE for franco sforZa's at least keep the Row out of tuscAny 43s. Pietri hOminis reddens Ut magis persoNa ex ore proDiit 44
quaE thought old Zuliano is wRite thAt 50
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Peasant fOr his sUb de malatestis goNe him to Do inmo'ammEds singing to Zeus down heRe fAtty 51
Praestantibusque bOth geniUs both owN all of it Down onpapEr bust-up of braZilian securities s.A. securities 5 5
they oPerated and there was a whOre qUit the driNk saveD up 56his pay monEy and ooZe scRupulously cleAn 61
Penis whO disliked langUage skiN profiteers DrinkingbEhind dung-flow cut in loZenges the gaiteRs of slum-flesh bAck- 64
comPlaining attention nUlla fideNtia earth a Dung hatching 65inchoatE graZing the swill hammeRing the souse into hArdness 66long sleeP babylOn i heard in the circUit seemed whirliNg heaD 68
hEld gaZe noRth his eyes blAzingPeire cardinal in his mirrOr blUe lakes of crimeN choppeD
icE gaZing at theiR plAin 69nymPhs and nOw a swashbuckler didN't blooDy 70
finE of a bitch franZ baRbiche Aldington on 71trench dug through corPses lOt minUtes sergeaNt rebukeD him
for lEvity trotZsk is a bRest-litovsk Aint yuh herd he 74sPeech mOve 'em jUst as oNe saiD 75
'Em to Zenos metevsky bieRs to sell cAnnon 80-81Peace nOt while yew rUssia a New keyboarD
likE siZe ov a pRince An7 we sez wud yew likehis Panties fer the cOmpany y hUrbara zeNos's Door
with hEr champZ don't the felleRs At home 84uP-Other Upside dowN up to the beD-room 85
stubby fEllow cocky as khristnoZe eveRy dAmn thing for thehemP via rOtterdm das thUst Nicht Days 86
gonE glaZe gReen feAthers 91of the Pavement brOken disrupted wilderNess of glazeD 92
junglE Zoe loud oveR the bAnnersfingers Petal'd frOm pUrple olibaNum's wrappeD floating
bluE citiZens as you desiRe quell A 96Pace Oh mUrdered floriNs paiD 97
ovEr doZen yeaRs conveyAncebe Practicable cOme natUre moNtecello golD 98
wishEd who wuZ pRice cAn't 101Plane an' hOw mr. bUkos the ecoNomist woulD 102
savE lattittZo the giRl sAys it'z 106
no
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shiP dOwn chUcked blaNche forDs 107of ocEan priZes we have agReed he hAs won no
Pay nOstri qUickly doN't seeD combstwo grEat and faictZ notRe puissAnce 113
Priest sent a bOy and the statUes Niccolo tolD him 114sEnt priZe a collaR with jewels cAme 123
Prize gOnzaga marqUis ferrara maiNly to see sarDisof athEns in calm Zone if the men aRe in his fAce 129
Part sOme last crUmbs of civilizatioN DamnthEy lisZt heR pArents 135
on his Prevalent knee sOnnet a nUmber learNery jackeD up 136a littlE aZ ole man comley wd. say hRwwkke tth sAid
Plan is tOld included raNks expelleD 137jE suis xtZbk