Drafts 1–38, Toll

Draft 1: It

Draft 1: It and something spinning in the bushes The past dismembered sweetest dizzy chunk of song one possible: there isa in another strange erosion and dready fast flash all the sugar is reconstituted: sunlight silver backed as 'stem': sugar as dirt, light this governed being: it? that? plunges into every object a word and then some chuck and pwhee wee half tones have tune's heft. / N. N. One day lose him her One day lose them then it melts and dusts tomorrow too. Me long gone dissolutions of chucnk and humming address it. have seen faces of limestone, stone cold piled unmortared, wandering, dividing the ranges; it lettered on green up hillside's social lining, divisions and elaborations of property, landscape striated with historical sentence, have seen sheep, knolls, pebble turds in piles. A mark, a tuft, a makr a/ a\ makes meaning it's framed marks that make meaning is, isn't it? Black coding inside A white fold open eye open a little slip To what purpose reveal details offleshyregisters one CAN have, blah blah their charm? It's not irony (really); it'sawe. They are what weare, we are that, that's it; it's only what weare, wewrite our bodies all and only what begin space (maybe) by talking the tizzy dizzy spin at the window the stars; a meaning's point laid lines weather perfect, the tunings talk in it; 2 is one wayof hinting it. two shadows blown It isnot surprising that It isnot surprising, that. where in the placement of saffron this is simple you are listening 7am alert enough she islearning how to talk weare reconstituted. It is not surprising That. This is the spoilage of presence a condensation of It's the little stuff that slips the wink rot ick or slides past phatic split tingle under all those sheets "what dog iswoofing" what shuttle brights what warp? WATER damage it really needs replacement Can I heed you,it? This line, scrawlof a bird line tide line The strange light scuds jewels to say anything (it)must be mistrusted. I feel the half-eaten apple It must be lovedlikemilk. wedged under me in the car. 3 (parole prevailing against long) It, isso long. To reinvent "attention" isnarrow tho tempting. Doesn't getthe folding. I is it The generative nor jargons in antiphon mist I alwaysthought "antiphon" wasthe most fat shadow. beautifulword, slight show. A whitehouse seems to be a further coagulation of mist Lucite see-thru overlay,mark upon mark glistening thru those microtimes of day. Stein in short was No postcard poetry, a this a that like a boat likea dog and not just anydog but eliding an over-eager retriever on waves over maybe like chickensbobbing. the over. CANO, can o, yes no connotations of impuritiesfillthe fold. Why that, orwhy "sea blazed gold" why re-up anyway,to artifack art pac, ome omy. 4 Nostalgia for a touch resistant how the language forms ofsweetened clouds for fat and white I love you Little whirlwindsof paper caught in the clouds cross-currents of systems (skyscraperwind as clouds tunnels, roads cut, built, then lined with shadows creased in heaps and brights delicate garbage, a landnot literally thighs. lessnessevenas we squat here so on the land weare) the lyric? putt (pitting) the tinyword litt it on stage in a "theatrical" space a space whiteand open aflat spot a lite on it something alight likewings. Well now what's to speak what is to speak whenthat Object (pronoun) squeaks its littlesong its bright white dear dead dark. I hear. I do. YO! hear it hear "it"? hand it into thewings. dat dat dat 5 didn't want any beauty tender but theater of the page cream space peaks where in the space of particularity one passes beyond ego; where in the placement of saffron MA ME i AMA WAKE a and black tuft of heide, no hoy ma milky-moo hurt to the heath, not hold bright boo. the heart is empty being so full of a calmnessmarking minute practice. Let silence in the form of words' in. IT. Some ARTtoday: a mimetic use of mottled crepuscular marble to make a pop ice cream cone of, I saw—impossible NOT to argue in light of it. I'll make a representation to you about it later. After...