"What if you slept? And what if, in your sleep, you dreamed? And what if, in your dream, you plucked a strange and beautiful flower? And what if, when you awoke, you had the flower in your hand? Ah, what then?"-- Samuel Taylor Coleridge
"That expression you get in your eyes when you are very tired and everything is like a dream and you are starting to know what things are like underneath what people say they are."-- Jean Rhys
“... as if I were only a flower after all and not the map of the country in which it grows.” -- John Ashbery
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"Meanwhile the whole history of probabilities is coming to life, starting in the upper left-hand corner, like a sail." -- John Ashbery
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"Sometimes, by dint of deliberating about "nothing" (as the world sees it), I exhaust myself; then I try, in reaction, to return -- like a drowning man who stamps on the floor of the sea."-- Roland Barthes
"I'm working at trying to find a kind of language where I won't be so easily modulated by expectation."-- Kathy Acker
"When I saw him looking up like that I knew that I loved him, and that it was for always. It was as if my heart turned over, and I knew that it was for always. It's a strange feeling - when you know quite certainly in yourself that something is for always. It's like what death must be."-- Jean Rhys
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"He loves someone so much he's nothing but that. Every other thing he feels and does is like a habit or a doomed revolution."-- DC
"He would literally declare every bit of ground where someone steps to be a sacred site by means he doesn't understand and powers he will never have if there wasn’t too much trodden ground to hunt, and if he somehow owned the markings’ rights, and if he didn't feel so lavishly indebted to the rest of someone."-- DC
"If someone stood long enough to leave a shoe imprint, and if he saw the dents, he would want to hire a visionary architect to do something unforeseen with them until he could dream up an even more preposterous monument or other way to honor someone, which would take about a fraction of a second."-- DC
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"The writer who writes a work eliminates himself as he writes that work and at the same time affirms himself in it. If he has written it to get rid of himself, it turns out that the work engages him and recalls him to himself, and if he writes it to reveal himself and live in it, he sees that what he has done is nothing, that the greatest work is not as valuable as the most insignificant act, and that his work condemns him to an existence that is not his own existence and to a life that has nothing to do with life. Or again he has written because in the depths of language he heard the work of death as it prepared living beings for the truth of their name: he worked for this nothingness and he himself was a nothingness at work. But as one realises the void, one creates a work, and the work, born of fidelity to death, is in the end no longer capable of dying; and all it brings to the person who was trying to prepare an unstoried death for himself is the mockery of immortality."-- Maurice Blanchot
"Reality is so controlling that he's never tried to stay there when he writes before. It's the first time someone in the world has made him want to use his writing to revise the world into a more devoted place for someone when he's freed through writing to revise the world into a place where he is loved by anyone he wants."-- DC
"He has never written like he thinks and talks and feels before. He's not sure why weakening the only thing he does with any value will create a tribute to someone or why he's betting his display of weakness will convince someone and you that someone's even more important than his writing, which, until they met, was all he knew he had."-- DC
"It’s a lot to ask of you since what he feels is not something the choicest words could capture, other than to say, Look, here’s another writer who has lost his feel for tuning us. How does he make you care, since no one cares that much about another’s love."-- DC
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"When you do not know what you are doing and what you are doing is the best -- that is inspiration."-- Robert Bresson
"I think most of our gestures, and even our words, are automatic. If your hand is on your knee, you didn't put it there. Our hands are autonomous; they are not under our command. We don't think of what we're going to say. The words come even as we think, and perhaps make us think."-- Robert Bresson
"Things must be shown from one sole angle that evokes all other angles without showing them."-- Robert Bresson
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"For you, someone is circumstantial. Someone will work for you or won’t. If he can use his words to make you love someone, and if there are enough of you, and if someone can feel your love somehow, maybe someone will appreciate the massive scale at which someone is loved, if, that is, he writes the novel selflessly enough, and if someone loves books and doesn’t know already."-- DC
"He writes a novel that only wants to matter very, very much to someone in the hope that, if it does, that’ll mean someone loves him in return because someone will know he could do anything he wants right now, and he wrote this."-- DC
"He worships the flowing lava a billion years ago that eventually formed the ground someone walks on."-- DC
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"Within fairytales, symbolism and settings are crucial to provide the proper amount of disguise and mysticism for the reader, while hiding true meanings within it that can be found with some simple investigation. Metaphorical and anthropomorphic representations of events, people, emotions, settings, etc. entertain and simultaneously carry along a hidden fear or truth that is being narrated through the eyes of someone on a magical, twisted adventure. These eyes are usually that of children whose innocence has been compromised, forcing them into a sort of purgatory in order to protect them from further temptations or tainted experiences until their true love finds them and breaks whatever curse or spell has been bestowed."-- Kaitlin Oster
“People felt themselves watching him even before they knew that there was anything different about him. His eyes made a person think that he heard things that no one else had ever heard, that he knew things no one had ever guessed before."-- Carson McCullers
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"We still are something, we still have anything, we still can speak, and we always have each other."-- John Ashbery
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“Everyone, he went on, speaks a language he does not understand, but which now and then is understood by others. That is enough to permit one to exist and at least to be misunderstood.” -- Thomas Bernhard
"Lived thus in oblivion, their gazes penetrating each other all day long, their thoughts the mirror one of the other, peace disseminated from the landscape over their minds and in their bodies, from their breaths over the landscape, an uninterrupted embrace prolonged even into their dreams, you had to call that happiness, now what is a gaze that penetrates another, what is a mirror, what is a dream, but the question was only asked after the mystery had been solved."-- Robert Pinget
"He must house his love within himself as best he can; he must create for himself a whole new inward world — a world intense and strange, complete in himself."-- Carson McCullers
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*
p.s. Hey. ** Kiddiepunk, I had this feeling you might know or love to know Old Skull. Sweet! And I will see you once the day grows dark. ** Torn porter, Hey. Well, originally Zac and I were thinking about it as a porn with a lot of imprinting, but, as it develops, the porn is becoming an ingredient, and as such a naturally glaring ingredient that the interest lies in trying to modulate and handle it because that's a super tricky thing to do with something so frontal. Huh, yeah, that's interesting. I mean that the amusement park interest would come in handy and be influential. I think that's really, really true. Cool. Glad to hear that your 'AI' thoughts are getting proper and serious treatment by you, and, natch, I'll be very interested to read that. ** David Ehrenstein, Hi, D. I had this feeling you might have had some experiences with Louis Waldron. Or maybe you had told me that, and I had forgotten. He's great in 'Blue Movie', and he's kind of sublime in 'Lonesome Cowboys' and also, I would imagine, in 'Surf', which I so desperately want to see. Michael J. Pollard! That's so nice to hear! Michael J. Pollard, wow. I should do a Day here on him. ** Empty Frame, Hi, man! So very good to see you, buddy! I'm very good, thank you. Yeah, I think the poetry book will be out in a week or less, and you can order it now. I'm doing a post about it this week. Obviously, good news that you sorted out the financial stuff. Are you still maybe going to ... shit, where was it ... not Greece, but ... hm, somewhere. For a residency? Hot, drama-free bloke, cool. We don't have financing for the 'porn' film just yet. We have possible ways to get it financed. The dough itself is still a target. Thanks about my Anderson mashups. Big love to you too! ** Etc etc etc, Hi. I'll def. see 'TGB'. It isn't here at the moment, but I think it all be. I can totally see the Korine-ness of Old Skull. Nice. I thought New York was supposed to be crushed under snow or something. Oh, I would love to hear anything about what you find and find interesting in the DFW archive, for sure. His must be very rich, Yeah, people sometimes tell me something about myself or my work that I've completely forgotten about or have repressed, and I'm, like, how the fuck do you know that?! And it turns out they found something in my archives. It's always weird, and I sometimes think that maybe I should have been more attentive when I decided what to give them. It's weirdness, for sure. I'm still warm enough and productive to say the least this holiday season, and here's to the same happening to, from, and for you. ** Keaton, Twink is such a massive, general, useless term that doesn't identify anything that's inside the body that gets categorized as twink, so I think there must be all kinds of bookworms living secretly inside that label who are just waiting to get fed by your wordage. Ha ha, Axl Rose in the 'Don't Cry' video. Your vividness makes my head spin and mouth laugh at the same time, man. ** Thomas Moronic, Hi, Thomas! Thanks about the Old Skull post, man. They're a whole lot more interesting than they're given credit for being and maybe than they had any idea that they were, I think. I saw them live once at the beginning, and it was charm central. Awesome about the goodness of your busyness. Getting a film made is crazy slow and labor-intensive, but we are definitely making a lot of progress at the moment. My novel goes very well, thank you, and there's some runoff/fuel right up above in the form of a progress report or something. Lots of love. ** _Black_Acrylic, Hi, Ben. Yeah, sad story. Oh, I forgot to include in the post that Old Skull's dad/mastermind was a member of the legendary noise/industrial band Missing Foundation, if you or anyone knows them. Glad things are moving for you, and a glacier's pace seems to be par for the course for projects involving equipment and other people. Actually, it's par for the course for novels too. That's very, very cool about the article about the last YnY. Let me know what happens with that, please. ** Steevee, Hey. Like I just said to Ben, the dad was in the industrial band Missing Foundation, if you know (of) them, so it's interesting that they derived from a lineage re: experimental noise/punk rather than from a more purely cynical impulse, not that that ended up doing them much good. I haven't heard the new Foetus. The opera thing has always been hidden inside Foetus's stuff, and it's interesting that he's foregrounding it. I'll have a listen. ** Rewritedept, Hi, Chris. 'Big boy money', nice. Nice outcome and nice way to put it. Acoustic punk band. Huh. 28 is a good, ripe age. Don't sweat it. That was quite a buying spree there. Score upon score. Doomriders ... I don't know their stuff well enough to have an opinion. I'll listen to more. I like what I know. No year-end group contribution thing here, no. I'm still kind of over/wary of the group contribution post thing after that blow out over the Fred game a while back. Yeah, sure, if you want to do an annotated list thing as a post for here, I'll run it happily. I'm getting my year-end list/post together right now. Nope, still haven't heard the Julie Ruin. I will asap. My week has begun very well. My last one was, let's see, yeah, quite good. ** Bill Porter, Hi, Bill. Nice to see you. New Orleans, yeah, I've only driven through NO once a long time ago, so I saw even less of it than you did, and I didn't understand it at all. It looked like a city, and kind of more normally city-like than I had expected, but there was a dark, I thought, vibe, and that was all I came away with. Oh, man, that's so great that the story you workshopped here has ended up in 'Caketrain'! I love 'Caketrain'. I was excited and honored to be published in one of their issues a couple of years ago. Big congrats to them! Any inklings at all about what you want to write next? ** les mots dans le nom, Hi. Oh, cool that you read 'Blue Boy'. It's a beauty, right? That's great you read it. My total pleasure in helping facilitate that. The Gladman novel is really wonderful, I think. One of my favorites of the year, I'm pretty sure. Best of the best to you! ** Okay. Today you get the latest novel-related scrapbook page. I apologize for what I fear will be a lengthy page-loading time. Anyway, I never know how to preface the scrapbook pages, so I won't. See you tomorrow.