k a r i e d w a r d s |
|
|
Exposed to a potential body, exposed constantly exposed, broken to bits to prove death is necessary to expose deaths limits. Choosing the most logical answer, someone said, “do not do this.” Someone else said, “do not presume screaming one more time will prove anything.” Will one more time prove, diverted broken bodies to bits, to form another lonesome particle of dust, only to claim another relapse of something between multiple coauthored history and another official displacement, between a counter-sentence and grotesquely misplaced something, measured in the name of good, blown to bits to prove, wounded by bullets, disfigured by rumor, crippled by falling lies, in a state of the state of euthanasia, choosing the most logical question to prove, what is the correct program? What is the correct proportion of rice? And what is that something between portion and program? What is that something piles in vain, tears in what suits assumption’s days of days of moods and modulations, linked to fantasies hidden blindness, full of strife and bitter endings? What is a body that can be a body not constantly exposed, blown to bits? |
|
A company builds a rice mill, builds a road, begins tax imprisonment programs to increase surplus limits, everything is contaminated, the frontier is closed till further notice. An extraordinary order is framed around evolution and around progress. Both are led by limitless desire, both have different word functions. God leads one to the final solution, the other imprisoned in matter by god. The other, inconsistent and blind, tries to find a new term for an old habit, the other lives in old habits and builds on new terms for old patterns. Both form names for norms of a different shaky defined righteous surrender to a better tomorrow, a finer future for a new world order, united on all fronts, stomping out disapproved undesirables. All in the name of bigger better theaters, malls, and welcome center namesake production quotas, full time employment by definition, all under a cover of quilted protection, meaning blood, meaning drunk on the street pleading for a lucky lottery of any kind. |
|
I tired to imagine the other day waiting wanting to be someone somewhere else away from praying hand land, consumed by that everything somewhere else, that everything modern, sticky with too much residue, thinking formless bodies attached, afloat, fearful here, checking thinking at the door or checking thinking on thing investment at the door, animation’s demand turbulence brought down by formless dark optionless options, bloodless bodies self born enterprise, asking is there a deferred, not able to be placed already too much summarized, attached to something that exceeds the present unthinking to imagine? Is it of course, unthinkable, ending in death of the body, the different ways different things are released beyond themselves, beyond jackhammer rhythms, beyond unnamable lurking bodies hidden in bodies . . . and the whimpering sobbing surrender of senseless sentences forgetting whatever people, thinking a place makes sense, a bullet through the head makes a place, makes something imagined unimaginable, sticky and fearful. I tired to imagine another day consumer consumed by somewhere else's consuming something else formless and detached, imagining somewhere else. |
||
kari edwards received one of Small Press Traffic's books of the year awards (2004), New Langton Art's Bay Area Award in literature (2002); and is author of obedience, Factory School (2005); iduna, O Books (2003), a day in the life of p., subpress collective (2002), a diary of lies — Belladonna #27 by Belladonna Books (2002), and post/(pink) Scarlet Press (2000). edwards' work can also be found in Scribner's The Best American Poetry (2004), Bay Poetics, Faux Press, (2006), Civil Disobediences: Poetics and Politics in Action, Coffee House Press, (2004), Biting the Error: Writers Explore Narrative, Coach House, Toronto, (2004), Bisexuality and Transgenderism: InterSEXions of the Others, Hawoth Press, Inc. (2004), Experimental Theology, Public Text 0.2., Seattle Research Institute (2003), Blood and Tears: Poems for Matthew Shepard, Painted Leaf Press (2000), Aufgabe, Tinfish, Mirage/Period(ical), Van Gogh's Ear, Amerikan Hotel, Boog City, 88: A Journal of Contemporary American Poetry, Narrativity, Fulcrum: an annual of poetry and aesthetics, Pom2, Shearsman, and Submodern Fiction. kari can always be contacted at: k.e.terra1@gmail.com. |
||