Sunday, November 11, 2012
the tapeworm foundry: or the dangerous prevalence of imagination
Give to me by the author. Inscribed:
the passion considered as an uphill bicycle race
I met Darren pretty soon after I moved to Buffalo. A group of Buffalo poets, including myself, Joel Kuszai, Bill Howe, Eleni Stecopoulos, Taylor Brady, Graham Foust, and visiting British poet cris cheek, all went to London, Ontario to give a reading. Before the reading we went to a party at Tom Orange's apartment. Darren was there and Christian Bök and Peter Jaeger. Actually, the party might have been after the reading. I can't quite remember.
On the drive back we passed through what seemed like an infinite strip mall along the road out of London and I remember cris cheek naming the fonts used on each on of the lit-up storefronts along the way.
Darren's readings were always great fun. He and Christian formed a kind of poetry geek squad in Toronto, bringing all kinds of weird things into poetry like science fiction and alien languages and math and mixing them all up with Steve McCaffery and Bpnichol and Apollinaire. The two of them together were a major center of poetic activity in Toronto back in the late nineties and early Aughts.
I think the last time I saw Darren was at a reading given by Ted Greenwald in Buffalo about five years ago. Ted read upstairs in a back room at an old church converted into a manuscript museum. Ted wasn't feeling very well, I recall.
I remember being surprised to see Darren sitting across the room because he lived quite a ways from Buffalo and I hadn't seen him in a few years. The shape of his face had changed. Gone were the rounded edges that I remembered, replaced by sharper, more definite lines. I don't know why I remember that. Unfortunately, like Ted, I wasn't feeling so well that night, so we didn't get to hang out for long after the reading.
from the tapeworm foundry: or the dangerous prevalence of imagination
using raspberry coulis and olive paste for ink and then stak the plates sequentially in a dishwasher as a form of binding andor take any three things that you have never been able to do and then apply the principles of their making to your life andor read nothing during your readings andor conceive of a book as a three dimensional matrix of twodiminsional grids in which each letter fills a cell at a time column by column in order to form words and sentences andor read existing books as if this model is the case andor mistake sketches of empty squares for maps of desolate places like the middle of the ocean or the surface of a cloud andor change the captions andor write scenarios describing the serendipitous evolution of animals that have undergone domestic breeding so that for example you might describe the labrador retriever as a species hunting happily in small packs for tennis balls strewn throughout the ancient african savannahs and or copy out all the references to fear in the canots by ezra pound andor always pretend that youre gettting the feeling of hickory wind and or run the poems of bill bissett through a spell checker andor better yet run the incantations in the books of aleister crowley through a spell checker andor compose a symphony in which at every beat all the notes of the chromatic scale