The slapstick irony of aesopian messages, secret societies, and pernicious politics. The defiant osmosis of agnosticism through flawed ontologies of fundamentalist cartels. One wants to infiltrate the crippling imbroglio of arbitrary power projections in which the highest bidder makes the loudest comment. One wants to sabotage the main axis and promote cultivation of mute anomalies as tiny, invisible cracks. Above all, one thrives on the certainty that the beastly colossus is not immortal, and that the system, despite its power and self-involuting prestige, cannot survive indefinitely.

© Zaina Anwar | March 2014

American artist, Erin Lynn Forrest | Source: Trickhouse"More than just queering failure, Erin’s work asks us to consider freedom in constraint. A quilt made of rubber patches. Clews. Balls made out of difficulty (and wax) (and thread). Nets and wings. The stuff of bondage. Who will not be made a monster? What does holding lessen? In what ways: expansion within restraint? If I tie you up, do you promise to hit me back?"- TC Tolbert

American artist, Erin Lynn Forrest | Source: Trickhouse

"More than just queering failure, Erin’s work asks us to consider freedom in constraint. A quilt made of rubber patches. Clews. Balls made out of difficulty (and wax) (and thread). Nets and wings. The stuff of bondage. Who will not be made a monster? What does holding lessen? In what ways: expansion within restraint? If I tie you up, do you promise to hit me back?"

- TC Tolbert

Counsel Langley | Further on Into the Evening | Acrylic, gouache, graphite, ink, glitter, paper | 2011 | 30 x 30” | Source: Trickhouse

Counsel Langley | Further on Into the Evening | Acrylic, gouache, graphite, ink, glitter, paper | 2011 | 30 x 30” | Source: Trickhouse

With the same rigor and intensity of André Breton, Joron investigates the capacity of systems to exceed themselves, applying research in complexity theory to the system of language in order to locate the “emergence” of the “abyssal”, the “Word beyond meaning”:

"Recent studies of complex systems [from which the concept of emergence is derived] appear to confirm the surrealist insight into the poetic-revolutionary nature of reality. Investigations have shown that systems comprised of a large number of elements far from equilibrium are prone to beautiful convulsions called "phase transitions." In this process, chance associations within the system, after reaching a critical point, undergo spontaneous self-organization. At this point, the Novum — an unexpected, unprecedented superaddition to reality — emerges." [The Cry at Zero: Selected Prose by Andrew Joron]

Brian Strang | 'On Andrew Joron'

"Not a single human character appears in the story; nor do its protagonists resemble the anthropomorphized aliens of so much science fiction. Rather, Scheerbart populates the asteroid Pallas with a race of newt-like creatures who are capable, when provoked, of expanding their bodies to several times their normal size. Moreover, the Pallasians have eyes that extend on stalks and function as telescopes or microscopes (the latter for reading micro-books: the Pallasians wear, as personal adornment, entire libraries around their necks)."Andrew Joron in his review of Paul Scheerbart’s novel, Lesabéndio | In the photograph: Paul Scheerbart.

"Not a single human character appears in the story; nor do its protagonists resemble the anthropomorphized aliens of so much science fiction. Rather, Scheerbart populates the asteroid Pallas with a race of newt-like creatures who are capable, when provoked, of expanding their bodies to several times their normal size. Moreover, the Pallasians have eyes that extend on stalks and function as telescopes or microscopes (the latter for reading micro-books: the Pallasians wear, as personal adornment, entire libraries around their necks)."

Andrew Joron in his review of Paul Scheerbart’s novel, Lesabéndio | In the photograph: Paul Scheerbart.

The heart of poetry is fatigue
makes space around a toy majestic
opening night unto neglect, dark and neglect
the weight of that, the weight

at the heart is a great stillness in a tiny pocket …

The heart of poetry is an empty lot
where the wind will not cease …

The heart of poetry is fatigue
what the teachers left unsaid …

Peter Gizzi | from 'Pierced' in his collection Artificial Heart

The heart of poetry is a hollow man
a heteronym, a forensic test, & casino chip
a long distance call

Peter Gizzi | from 'Pierced' in his collection Artificial Heart

Sound only “makes sense” against silence. Or to put it differently, all sound is relative to silence, while the reverse is not the case. Sound varies, whereas silence is a constant. Or maybe sound, understood metaphysically, is variable silence. Ever since the shamans invented it, actual poetic practice has been based on the recognition that words speak directly to silence, and only indirectly to us, their human keepers.

Andrew Joron in an interview on Sound Mirror (with Charles Nelson)