Screen Dump 446

You are involuntarily committed . . . to something . . . to nothing . . .
to see it through . . . your history of walking
the nooks and crannies of flâneurs
smirking through costume changes . . . and letters of the alphabet
with everyone croaking . . . everyone trying to get soberer . . . and soberer . . .
The lowest common drama will do, yes? . . .
It's all kindling, I suppose . . .
Like the caboose in that strange fairy tale of Bach's motif
tuning slides maxed . . . daytripping across shallows . . .
maneuvering roll calls to bring out the best in Netflix . . .
You assume arpeggiation . . . swoon dyslexics with Bayesian reversals . . .
spiked with the odds you've been messing with on the off ramp . . .
when words of his/her probability . . . mutated . . .
circumambulating . . . and elementary my dear Watson
knowing that castling is the only move involving two pieces . . .

Screen Dump 445

          after and for Anon

The list bloats . . . and your piercings have a curfew . . .
Once upon a yellow romper . . .
around 30 . . . give or take . . .
The script reads several oral exchanges
a phrase linked to homespun . . . as in the winter of our fall . . .
But who directed the run-through? . . .
and who were the sequentials . . . or the catch-as-catch-cans? . . .
Your iPhone vibrates with coconut balm
wondering about the older, regular whose gift was gab . . .
The stop-action . . . disabled, yes? . . .
or, rather, who stop-actioned the disabled? . . .
Looking for Mr. Goodbar elevates to happenstance . . .
I'll see your goodbar and raise you twenty . . .
with Diane Keaton . . . or Telly Who loves ya, baby? Savalas . . .
or any of a number of extras . . .
then downhill . . . through the thick growth at brain drain . . .
But will you see it coming? . . .

puppeteer Ilka Schönbein

Screen Dump 444

A clear intensification of bullshit is underway.
          - William S. Smith, Art in America, December 2018

The rigidity of footnotes stalemates you
on odd numbered days during months that begin with a vowel
when 0.7mm leads proved to be too soft
for jotting memoirs of backpedaling . . .
The inconsistencies overwhelm . . . and increase at an alarming rate . . .
Just in time for the holidays, yes? . . .
With worries of internet penetration at all time highs . . .
Lady Day's I Can't Get Started forecasts a cold front
accompanying a highly detailed index
with entries that - according to the New Yorker's Dan Chaisson -
cover everything from hiking to honeymooning
to beekeeping and braiding,
allowing readers to track [Sylvia] Plath's imagination
as her poems evolved . . .
in a voice true to [her] own weirdnesses . . .
Your reminiscences take me back to an old roster of players -
color-coded . . . and sized . . . for maximum effect . . .
The method is so young it totters . . .
But you've heard it all from attachés who roll with the credits . . .

Gordon Hall, The Number of Inches Between Them

Screen Dump 443

iPhone voice messages echo Stage IV intimacies
(cf. Szasz's Myth of Mental Illness; Braginsky's Last Resort) . . .
But now you can't remember . . . and are being stalked
by a string of declarative sentences
whose hoodies have unhinged the imperative . . .
It's no longer enough to ignore this
or the commodification of life extension
in the dairy section of Warhol's 10,000+ 35mm pics . . .
Many make waiting a career . . .
You saw this yourself in your last trip down breakdown lane . . .
The '50's series Omnibus was telecast live
for crackers in Chelsea Girls
with the Joker's here we go and Frost's you come too . . .
Anatomical World's skulls and skeletons
have decided to go (window shopping) with fish and chips . . .

Constance Jablonski

Screen Dump 21

(reposted from Thursday, December 26, 2013)

The disingenuousness of last minute players
and late starters
and those on the cusp . . .
Return receipt requested . . .
Parlaying the obvious . . . because . . . just because . . .
Looking back to go forward . . .
Like Casals at 96, I'm making progress . . .
Awakened by recalls . . . and by the nudge of those
with the chorus . . . announcing the place
(as Oliver) . . . of your one wild and precious life . . .

Deborah Turbeville