Alan Ramón Clinton

from Derrida’s Austin is Unrecognizable

Fields with origins at the media laboratory
experiment with breeding practices
underlying carved relief maps
the ultimate fate of rock
drawing attention to the fact that Kant
both in “natural” landscapes and cityscapes
characterizes living forms as a spectacle of waves.
Our picture of the solid earth on which we stand,
as per usual, changed irrevocably
to a timeline-based authoring system tuned
not edited to a medium that defeats geometry
between the code and its executed forms
an active role arises for forgetting
during the French war against Taylorism
his body flow with time-keeping of channel islands’
absolute omnipresence of speed
given Freud’s unconscious reception of hysteria
the year was a dead battery
drop my old lady off
check people’s credentials
to make them stop staring like fibromyalgia
the gnostics read way too quickly
and make questionable use of radios

Aphrodite watched over my engravings
actually she was more like a cashier
or secretary, Algeria, it was a
tattoo parlor, seven story dream
where the signature changed
almost every line
solved puzzles for years until one ornament
made them relocate, piece in hand
this is the story of walking the streets
and holding it up to the skyline
projected holographically
crossing the emaciated mountains
another writing bird, petal semen decade
any pile of stones can be a cairn
you were a hinge between flatness and poverty
internal medicine, lacy war of my language
parallel advents turned unto fables about you
diary dropping through the floor
for the race of Cain, who else,
a thief has to start somewhere, a coal mine
exactly how many days in the wilderness
energy sweeping tracking your sneezes
door that is always open and closed at the same time
white hyphen dance far more deranged
the usual cemeteries, parades, then effortless travel
behavioral coding, clarification or obfuscation
night owl commentary in the breast reduction amazon,
love me there, stay awake for enlistment
we thought we would move like that all day
in the insomniac forest, the weakest of them all
is why you decided to live there
publishing on the aphasic rocks
it was all there, lunar, in Flournoy’s notes
all along my eye inside you without icons
ran into the wrong alphabet,
first letters in the Russian word for hope,
natural hazards and slave narratives running through
a wilderness of Chu spaces, shah topos, of the V-2.

It’s hard to get past Friday
if I think back to the point where
life bifurcated:
reconciliation operas,
cross-country radiance,
aboriginal birthing–vistas
boilers need replacement
footage houses
chemical diving, listening to the stars
security sector reform
the oracle case.
Soaring neurology states
turtles will keep walking with
a needle in the head
like hepatitis, your water cairns disappearing
in the museum of exits a special exit
for diaries, fading intensities
legs of the fly, let me play with the eye
as you dance in the clairvoyant architecture
the c-section of tragedy
unwatchable space-time from the cinema-Vertov
is the ouevre really bogus?
Only if two-way interaction is accomplished.
The doorbell—had it worked?
I would have a valise of n-dimensions,
the life of a demiurge.
My machine for making people talk.
Coils capable of experience
can’t horus also
penury triumphantly dried
downdraft ferment
tired of being lonely and fictive?
Incarnation has received substantial press
a vocabulary borrowed from la femme future
spinning dipped in our space
tries its best knots, fringe-thou population
several years ago, free-will addressed directly
kidnapped by the moon’s numerical loneliness
shooting across the water, the Jesuit paleontologist
as old as the hills and as fresh as a daisy
maps out the mental and social condition of savages
Gaugin’s trip backwards redone
in a deluge of democratizing glossolalia.

Alan Ramón Clinton has work forthcoming in Frank: An International Journal of Contemporary Writing and Art and has recently published work in Exquisite Corpse, The 13th Warrior Review, 88: A Journal of Contemporary American Poetry, Hunger Magazine, Pacific Review, Art: Mag, Portland Review, First Offense, Absinthe Literary Review, No Exit, 66: A Journal of Sonnet Studies, and freefall. Lee Ballentine of Ocean View Books published his long poem Skeleton Key to the Wilderness, and his book Mechanical Occult: Automatism, Modernism, and the Specter of Politics was published by Peter Lang in 2004.

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