all of you, my followers, are probably familiar with my writing about astrology and all that and I'm grateful for all of you and all the new people coming every day! it makes me so happy to see people liking my posts and finding them insightful 🥺
I got into creative writing a few years back and I needed a safe space to share my thoughts, some of you might know that I used to also post poetry/notes on here alongside astrology stuff, which is why I'm here writing this right now; I have published a poetry book and I want to share it with all of you! I've been working on this project for 2 slow years now and I'm very happy with how everything turned out; it consists of 134 pages worth of 224 "notes" (aka poems) and some random extras including "suggestions" (suggestive poems) and short stories. the style of writing I would say is avant-garde with a lot of say on identity, expansion, space, nature, and metaphysics, so it's not for everyone, but I have put all of my heart into every piece and I hope anyone who finds this checks it out and supports me and other small authors :)))
book title: "The earth, the stars, and me in between. by Nujm"
The Four Horsemen were Canada’s great contribution to international sound poetry, a genre that has traditionally involved the authors of the most abstruse literary theory ever written doing the verbal equivalent of Monty Python’s Department of Silly Walks for small audiences that regret their own open-mindedness. (Look, the Splash Zone was clearly labelled.) The Horsemen became genuine counter-culture favourites because they understood that absolute freedom is as absurd as it is sublime. As a result, their second LP Live in the West is probably the most fun thing that’d come out of the whole sound poetry movement to that point. The poets presented themselves as something between a band, an avant-garde theatre troupe, and a sketch group, and their compositions flit between high- and lowbrow signifiers in a way that feels prescient of today’s culture.
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Side One is dedicated to shorter compositions, classical sound poetry conceits like dismantling a single loaded word into discrete phonemes (the word “Assassin” dissolved into startled AHHs and hissing esses) and deftly syncopated sequences of non-verbal glottal noises and grunts. On “From Beast/Matthew’s Line,” Paul Dutton (I think) opens with a snippet of an Irish-sounding folk song; he breaks off, allowing Rafael Barreto-Rivera and bpNichol to exchange repeated non-sequiturs in Spanish and English while Dutton keens in the background; Steve McCaffery begins speaking over them, intoning John Clare’s nineteenth century poem “I Am!”; as McCaffery nears the climax of the poem, the others gradually transition into raga-style vocalizations. The effect is quadrophonic, not unlike Glenn Gould’s “contrapuntal radio” piece The Idea of North (1967), which layered recordings of spoken monologues to see how their meanings and sounds complimented and “splashed off” one another. It also anticipates the sampling era to come, but the analogue physicality and precision required to pull the piece of without the aid of electronics gives it a spark all its own.
The elaborate collaging of “Matthew’s Line” previews the two longer pieces on Side Two, “Mischievous Eve” and “Goodbye Stagelost.” On these quasi-theatrical pieces, the Horsemen lean into the characters their voices suggest: the plummy British accent of the Sheffield-born McCaffery makes him a natural for playing the role of a fusty square, though he is never far from descending into gibbering imbecility; Barreto-Rivera’s Latin-accented good cheer provides an earthy counterpoint, even as he often lapses into Spanish passages that deepen the complexity of following their ratatat chemistry; Nichol has a measured, precise cadence, leading his colleagues like a conductor even as he often dives the furthest into abstraction; little Paul Dutton’s boyish, wiseacre Ontario deadpan sounds like one of the Kids in the Hall, making him the perfect foil when things need deflating. These longer selections resemble a slapstick update of the overlapping dialogues in the second part of Eliot’s The Waste Land, found writing and original material and classical literature swirled together to capture life in the charnel house of modern culture, but with more jokes (a special tip of the cap to Dutton’s passing allusion to Nichol’s “dick-washing habits”).
Fifty years down the line, sound and concrete poetry have little presence in the Canadian scene (or internationally, for that matter) outside of a few holdouts of the old guard. Almost nothing on the shelves or the stage feels as genuinely creative or lively as this old record does. I haven’t the space or energy here to litigate the institutionalization of the genre, but I know in my bones that the world could use a little more nastiness like this.
From: Konstantin Biebl, S lodí jež dováží čaj a kávu, Art/Design/Typography by Karel Teige, Odeon, Praha, 1928 [MoA-g SA – The Museum of Avant-garde, Mendrisio Borgo
But if Dada dies here, it will some day appear on another planet with rattles and kettledrums, pot covers and simultaneous poems, and remind the old God that there are still people who are very well aware of the complete idiocy of the world.
soft;
soft curves
of your side profile
like the children's slide
at the center of the mall's
"special sale" aisle
cushion-y and cute
but will take a
young mind
on adventures
of sailing
over the moon
soft like,
the
lowercase letters
that weave this
pathetic, pretentious poem,
that keeps its
cutting, craggy edges
from tearing me
apart, into a
viscous, vulnerable
mess,
oozing with
pus and love,
hate and blood
forming clots
of desire and hurt;
soft
that carries
the rot of my undead,
flourishing fungi
on my back
and gives birth
to dandelions
with offspring
heavy with greed
they don't fly
but feed
and feed
and feed.
361: bill bissett & The Mandan Massacre // Awake in Th Red Desert
Awake in Th Red Desert
bill bissett & Th Mandan Massacre
1968, See/Hear Productions (Bandcamp)
(From “mor memoreez uv marvara reel konversaysyun,” scars on the seehors, Talonbooks 1999)
That’s a sample of how poet bill bissett’s writing looks on the page, phonetic and arbitrary, intuitive and free, while also checking the reader from taking any word for granted. The poems are frequently conversational in tone, but the way you have to sound out his writing to understand it means the reader's cadence ends up replicating the idiosyncratic singsong way bissett speaks. The 84-year-old remains a one-of-a-kind live performer, doodling all over the line between spoken poetry and song. He croons nonsense lullabies and pastiche ragas, shakes a maraca, intones mantras until their familiar words lose all their sense, even dances a little. It’s funny—I wouldn’t recommend his writing to someone unfamiliar with the avant-garde, but I would confidently take just about any open-minded person to see one of his shows. He has the affect of a holy fool or a joyful monk, and basically anything he does makes more sense in the context of his corporeal presence.
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Back in 1968 though, bill was a wild young man, and Awake In Th Red Desert, his LP with backing “band” Th Mandan Massacre, is full of noisy freakouts and some patience-testing explorations. The Massacre includes four percussionists, some trained (jazz drummer Gregg Simpson) and some not (poet Martina Clinton, bill’s then-partner); electric guitar; two flutes (one a toy); and cutting edge Buchla Box synthesizer by the otherwise unknown Wayne Carr. Response to Red Desert has been pretty mixed—one of its Bandcamp uploads even warns, “Please preview the tracks before downloading. There are no refunds.” I suspect many listeners don’t make it past the first side of the record, which often sounds like what it is: clattering free improvisations around bissett’s sung or shouted recitations. On the flip though, things mellow out for some fascinating minimal synth explorations, bissett doing his visionary thing on a haunting electronic field (see “fires in the tempul”). “she, still and curling” is particularly freaky, Carr making sinister cricket noises with his Buchla, tape of bissett’s voice chopped up into hypnotic loops, layered and manipulated till it sounds like a collage of short wave radio transmissions. The ramshackle noise of the early tracks eventually returns on the awesome “now according to paragraph ‘c’”: bissett reads what (initially) seems like a found text that gets weirder and bolder as the poet works himself into a lather, the Buchla’s bleak tones tattered by the percussion squad’s stiff beat.
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I snagged this off Montrealer Alex Moskos, who oversaw the reissue for Massachusetts-based avant-garde label Feeding Tube, and getting this thing back out there has clearly been a labour of love for him (the production quality is impeccable; great explanatory liner notes too). Are there 500 people who want this record? I’m not sure. But for fans of bissett, sound poetry, freaky music, and early electronic, this’ll be of interest. One idea: tell people Awake was the work of a solar death cult leader from the Pacific Northwest who disappeared during an eclipse and they won’t be able to keep the damn thing in stock.