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kari edwards
Notes: poetic sculpture
/ sculptural poetics
I was taught there
are three basic sculpture techniques, subtractive, additive and assemblage.
the first two being traditions that date back to some of the earliest
known pieces of sculpture. assemblage on the other hand is (somewhat)
a twentieth century phenomena, starting early in the century with the
cubists, futurists, and dadaists continuing through to the happening and
fluxus movement of the later part of the century. even in the virtual
world there is text construction with its multiple reading paths to chunked
text.
The poetic process is for me a form of sculpture and an act of assemblage.
the process begins with the first piece, there could be others pieces
that are thematically connected (or not) that follow, but there is always
that first piece. the piece could have an intended form (or not), where
the form is generated through the process. the content that arises is
usually out of some deeper intention that I hold or an intention that
is polemic in structure or both. it could be as simple as how does this
work? or how can I make this work?
Why
did we ever stop?!?
can anyone explain... can anyone com... the other left, then a right
down...
-and then or than or when or and or when then or a hand in the
-5?
put forth with such voluptuousness, such macabre personages. with
corpses we cross like virtual suicide drains in my lover's prefabrication,
this cranium with a thousand years now, you exchange the determination
of other humans as though we do not engage this repulsive posturing
of stimulation, these terminals, these thrills, these 4 o'clock
instances of my own disequilibrium. I myself among our disquiet,
our eyes our vast appearance of, which is, forced to then as though
absolutely the next enclosed supreme certitude, a letter enclosed
in a gesture of others enclosed in a not even.....
-?
then kiss abruptly
midnight, if the fish feel these terminals, these limbs....help!!!
the mystery, right down a thousand years to a would be guillotine
with get 2 months *FREE*@ http:/ /.mc=featuressquared/ junkmail,
these limbs!!! (feel)
______________________________________________________________
I
know the clay
I know the
clay, the extreme center, they said the surface. the earth's pressure
masses the dirt, the extreme center, they said the bedrock and mass
psychosis goes with mass inhabitancies. the earth's pressure east
of madness, west of insanity. that's as far as the stories go. lunatics
and the tiny little pores, really tiny little pores send vibrations
through the center's extreme. they say lump, the one that attacks
in an all out declaration of details. really it is the insurgency
of details on central residential particles. all talk all bedrock,
through the east of truth. an hour in and the largely caught. a
surface that works through the clay to the annotation in mass psychosis,
a schizophrenic hypothesis. I mean the masses undertake the dirt
as madness, the center's extreme beyond extreme. they completely
said, "truth be it free unto the dirt, the bedrock through
and through lunatics all the time every time.
______________________________________________________________
a table of contents
1. the
winds of war
2.. a
dull desire
3. neither
a nor b
4. pass
or fail
4,a. in or out
5. that's
life
6.
love it or leave it
7. better
off left as is
8. it
will come without warning
9. first
with war
10. between worlds
11. from the bottom
up
12. voices against
a nation
13. a vision of
neglect
14. between virtue
and vice
15. unworthily
at any time
16. vague and dizzy
17. unprotected
and unquiet
18. unreadable
and becoming
19. an instrument
of the soul
20. think with
it and use it hard
21. when treason
is no crime
22. trash a sin
or a banner
23. to thy self
be everything
24. tissues and
rocks
25. a ward eye
on spent rocks
26. redeemed in
the silent touch of
27. thick as a
thoroughfare
28. sublime as
a personal transcendence
29. stained without
sleep
30. stunned in
growth
31. a robber and
a chair
32. straight to
hell in a hand basket
33. whose existences
is stupid stuff
33. rotten to the
core
34. molten lava
aftermath
35. to strive to
seek
36. to remove the
straight jacket
37. steal their
will to power
38. start not at
square one
39. a rapprochement
agreement
40. loose of strata
and squares
41. subtle shades
of woodcocks
42. a train
wreck in waiting
43. zero degrees
and temperate zones
44. thick as thieves
45. a baker's dozen
kari
edwards is a
poet, artist and gender activist, winner of New Langton Art's Bay Area
Award in literature(2002), author of a day in the life of p., subpress
collective (2002), a diary of lies - Belladonna #27 by Balladonna
Books (2002), Electric Spandex: anthology of writing the queer text,
Pyriform Press (2002), obLiqUE paRt(itON): colLABorationS, xPress(ed)
(2002), post/(pink), Scarlet Press (2001), and Iduna, O
Books (fall 2003) She is also the poetry editor of I.F.G.E's Transgender
- Tapestry: an International Publication on Transgender issues. Her
work has been exhibited throughout the United States, including Denver
Art Museum, New Orleans Vontemporary Art Museum, University of California-San
Diego, and University of Massachusetts - Amherst. Edwards' work can also
be found in Blood and Tears: an anthology on Matthew Shepard, Painted
leaf Press (2000), Aufgabe, Fracture, Bombay Gin, Belight Fiction,
In Posse, Mirage/Period(ical), Van Gogh's Ear, PuppyFlower, Vert, 88:
A Journal of Contemporary American Poetry, Shampoo, xStream, Big Bridge,
Nerve Lantern, FIR at potz.com, muse-apprentice-guild, Panic, Avoid Strange
Men, and The International Journal of Sexuality and Gender Studies.
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