Showing posts with label publishing. Show all posts
Showing posts with label publishing. Show all posts

Wednesday, February 25, 2015

The Gospel of Cranes, Chapter 1

Jack Feist, Dharma Unicorn
image (c) 2015 R William Lundy

The Gospel of Cranes
from Human Testament, ms in preparation for New Human Press

1:1 This is how it begins, the book of Feist, a voice in the night:

2 In those days, the light of men waxed dark, and literacy was a crunched, bent thing, and no one knew how to read;

3 But all were in love with the gleam of prizes, and the heaping up of degrees and credits, and professorships, which is vanity, and the sound of one hand clapping.

4 Now, Johannes the Catfisher was self-publishing in the desert, railing against the Academy, calling all to repent its journals and presses, crying, “Come out, come out, from your hallways of dust! Come out from your classrooms of madness and money!”

5 As it is written:
What living and buried speech is always vibrating there, what howls restrain’d by decorum.

6 And his words drew a remnant from the academies, and many from the schools, and churches, and websites, who went out to the desert to learn from him, and wear no name but the Human name.

7 For the world was dark, and all was a sea of trackless data, its spark grown dim; and many were searching for a fragment of the light, and the children of men roamed, hungry and scared.

8 And Johannes was a man who had left behind billions, to clothe himself in rags and skin, and seek God’s face in the dunes, among the rocks, and change his name for a bearded image, turning all that lay within him to the crying of his message:

9 There comes a child of man, bearing words in his mouth, whose form is a twig of light; he spreads his arms, and wind goes fierce before his feet, and where they alight has been made ready: the earth leaps up to greet him, an ancient newness leaps to its feet.

10 He shall speak with the voice of an ancient poet, as a resonant sound from his people's throats, and well up from the bones of those with no voice, a vibration of leaping verbs, a time machine in their sternums;

11 Those who have turned away, he will call back, and those who have buried the voice, make new: a strange cracked voice of leaping joy, surprised by laughter, a gasp in the throats of his forgetful ones;

12 To his wayward ones will he call, and seek; and those whose voice grows faint with crying—you weeping ones, who have lifted your voice in the hallways and rooms, and raised your voice in the weary night, and now grow hoarse with loss and shame:

13 You shaking things, oh you will he draw to himself, and hold; oh you will he call by name: and your own pale voice, so hoarse with night, he will draw to himself, and carry;

14 Oh you, oh you, you weary ones: it is your voice he shall lift, and the cry of the ancient voice is your voice, echoing; and the cry of the future voice is your voice, renewed.

15 I call you to abandon your names, but he will give you a new name, ancient and trembling with newness.

16 And it came to pass in those days, that Jack Feist went out from the academies, and made sojourn in the deserts, to learn from Sigil.

17 For he found no proper soil in the cities of man, and its universities were a barren saltpan, and he grew weary with life in its weariness.

18 And when he had finished reading, straightaway he shot up, as from a dream, and heard a voice, saying, “You are my Secret Book, in whom I am well pleased. Go out from the academies, into the deserts, and let not your works be published in the eyes of men, but let them be your hidden words.”

19 And Feist rose from his bed, and left, to wander the deserts, where he was sustained by the words of earthly angels, and took no bread, but was attacked by the dwarf for forty days, there to be broken and remade.

20 And this is the first of many signs, that Sigil had to pass away, for the Feist to be raised up, so that Johannes went into the desert, but Jack Feist came out: a starving man began the fast, and a new man left, well fed. (He who has eyes, let him see.)

(c) 2015 lee sharks, property of everyman

Thursday, December 11, 2014

LITTACHUR

LITTACHURLee Sharks
from Pearl and Other Poems



History of small independent presses
printing tiny runs of 100 copies
of nobody gawnna READ it books =
history of the avant-garde =
history of littachur.

You look back at what we call
literary histry last 100
years or so & what you find
a succession of small & mostly
insular groups, people making
a big to-do about each
other’s books—but actually
READING & getting BEHIND
each other’s books around a
shared aesthetic—& into a
COMMUNIY—viz. 1863 in Paris,

Exhibition of Rejected Artists
first technically so-called avant-
garde, the rejects of the
school-run popularity contests
who GOT TOGETHER
& DID something about it—viz.

William Carlos Williams Spring &
ALL—big fresh new book of
American idiom writ by small town
doctor, grew up Puerto Rican
mother Spanish language spoke
@ home—printed 1923 tiny run
of 100 copies not even those
could sell, known to whom? no one
but eZ Pound & co.—now re-released
as stand-alone volume bought
by crowds (in relative terms) almost
a century later—so much depends
upon / a red wheel / barrow—

look back last 100 years literary
histry—littaCHUR—find
succession of “movements”—
after mummery & cheap
parlor tricks of paid academics
pulled away, all that’s left
a handful of rugged individuals
committed to each other’s
WORK—

from Transcendentalism
à modernism
à Beat Generation à Language:

What difference between Johnnie
HandBinder in the basement hand-
binding by hand bright pages of
bilge fr summary disposal @
CreatASPACE (r OUTERspace)
& yr regular typical official unofficial
avant-garde MOVEMENT /
future of the littachur CANON?

only DIFFERENCE is
a COMMUNITY writ
as SOCIAL POEM—
a SCHOOL outside the
SCHOOL—he is eZra
POUND who is
eZra POUND in
SPIRIT—

channeling eZ Pound right now—
just finished in my chair tonight
reading General eZ’s Italian Radio
broadcasts—that old fascist sure
was a sorry anti-semite f**K—
I don’t feel a bit sorry for him
that they threw him in a metal box,
Italian war camp, prizner uv
WAR & on to St. Elizabeth’s
mental lockdown charged as
TRAITOR for spouting bile
on public airways while Dachau
plugged away a nation over—serves
him right—but he sure did know a
thing or two about how
kulchur works—

Ol’ eZ knew you need
a community, a structure—
you need yr professors &
students & journalists &
propagandists & biographers &
hooligans & printers & presses
& public relations people—you need
yr littachur historians & web
designers, yr administrators
& philologists—& most times
y’re playing every role yrself—

put all THAT together in
competition w/ the school, &
the school will have to write
you into littachur just to
shut you UP—

easiest to see the mechanics
of it in more recent quote
unquote movements, but since
no one KNOWS anything about
any verse writ after 1945, it’s NOT
so easy to see—

yr general lay reader having
in mind as poetry rhymed
couplets, he a Washington Irving
having gone to SLEEP these
past twelve DECADES—

even those claiming the mantle
POET, what it means most
times, is having read & really
comprehended at most two
or three committed verse-workers
of recent years & accounting
himself an EXPERT—

and sadder still, in practical
& relative terms him BEING
a kind of EXPERT—

What yr typical self-published
author lacks, what separates
him from yr official unofficial
avant-garde, is exactly the
kind of cultural capital
the school guards very closely—
& on the other hand the ones
who have the school’s capital,
why—they’re teaching
in its classrooms & publishing
in its magazines & generally
having HEALTH insurance—

they have their reward in
this life!

an avant-garde is a community
outside the school that perpetuates,
for itself, the kind of
cultural capital the school
protects, a community
that has the form of a school
but isn’t one—

STRATEGICALLY UNPUBLISHABLE—

to comprehend what’s current
as well as what is past, &
what’s current about
the past and past about
the current: & to use
that knowledge to stand against
the current in the kind of way
that shapes it—


(c) 2014 lee sharks

from Pearl and Other Poems:

http://www.amazon.com/Pearl-Other-Poems-Crimson-Hexagon/dp/0692313079/ref=sr_1_1?ie=UTF8&qid=1429895012&sr=8-1&keywords=lee+sharks+pearl