C O N T E N T S

F O R E W O R D i x

Writing for the Fourth Time through Finnegans Wake I

'There is not much difference between the two. " 51(Suzuki Daisetz)

Toyama 1982 51

James Joyce, Marcel Duchamp, Erik Satie: An Alphabet 53

Another Song 103

Writing through the Cantos 109

(untitled) 117

B. W. 1916-1979 119

Composition in Retrospect 123

for her first exhibition with love 153

Diary: How to Improve the World (You Will Only 155Make Matters Worse) Continued 1973-1982

Wishful Thinking 171

Muoyce (Writing for the Fifth Time through 173Finnegans Wake)

VII

This page intentionally left blank

F O R E W O R D

I am as ever beholden to R. Buckminster Fuller. His recent booksCritical Path and Crunch of Giants clearly tell what our world sit-uation is and what must be done if life on earth is to continue.Though some nations have tried, none has succeeded in becomingsupranational. Only business, industry, most of it American, Coca-Cola, for instance, is downright global in its operation.

Nations belong to the past. They merely fight one another. Wemust study carefully the ways of large industry, so that we can im-plement the fact that there is no limit to the place in which we live.Patriotism? Take it with you out into space!

National differences can be dissolved by global problems. If wewere to be attacked from outer space we would all quickly get to-gether. Industry is now beginning to suggest that the differences be-tween currencies should be eliminated. It would simplify the count-ing of profits.

The title of this book, like that of M, was found by subjecting thealphabet to chance operations. It signifies the unknown, place wherepoetry lives, tomorrow, I hope, as it does today, where what you see,framed or unframed, is art (cf. photography), where what you hear onor off the record is music.

Years ago in a review of Silence Alfred Frankenstein wrote thatmy writings were the story of how a change of mind came about.From the beginning in the late '305 I have been more interested inexemplification than in explanation, and so I have more and morewritten my texts in the same way I write my music, and make myprints, through the use of chance operations and by taking the ask-ing of questions rather than the making of choices as my personalresponsibility. Or you might say that I am devoted to freeing mywriting from my intentions, and so, in those cases like the writingsthrough Joyce's Finnegans Wake and The Cantos of Ezra Pound in-

ix

eluded in this book in which chance plays no part, I merely followthe rolling of a metal ball (the name of the author through his work)which serves to free me and the reader not only of my intentions butalso of those of Joyce and Pound. I am confident, however, and somefriends support this view, that Joyce would have been delighted bywhat happens when intention is removed from the Wake, and I haz-ard that Pound, if not delighted, would have been relieved. CantoCXX: "Let those I love try to forgive what I have made/7

X, then, as I write in the Diary (CCXXIV, 6th remark), is onebook, the most recent, in an ongoing series: to find a way of writingwhich comes from ideas, is not about them, but which producesthem.

It is illustrated fortuitously by twelve photographs made atmy request by Paul Barton of twelve weathered images on the SiegelCooper Building, first balcony level (eight images on the Avenue ofthe Americas, two on i8th Street, two on ipth Street, New YorkCity). I call them Weather-ed I-XII. I did nothing to make them theway they are. I merely noticed them. They are changing, as are thesounds of the traffic I also enjoy as each day I look out the window.

x

In January 1979, Louis Mink wrote me an excellent letter saying that havingbeen reading my first Writing he noticed that I had invented the impuremesostic. A pure mesostic, he said, would not permit the appearance ofeither letter between two of the name. This criticism fascinated me and Iprofited from it by writing a third time through Finnegans Wake. That textresembles the first, whereas the following fourth Writing, which followsthe same rule, like the second does not permit the reappearance of a givensyllable for a given letter of the name. It is the shortest of the four writings.

W R I T I N G FOR THE FOURTH TIMETHROUGH F I N N E G A N S WAKE

i

wroth with twone nathandjoe 3AMalt

jhEmShen

pftjschuteOf finnegan

that the humptYhillhead of humselfis at the knoCk out

in thE park

Jiccup 4the fAther

My shiningthE

Soft

JudgesOr helviticus

sternelYwatsChfuturE of his

I

febel 5And

heed it May halfhavE

hiS back

and the derryjellybies 6arOund

fancYmudereCtion

dimb hE

fjordhis bAywinds'

hiMhEr 7

innS

JameyOur 8

paddYis a ffrinCh tip this is

bullEt that byng

mons injun this is theAlps hooping to

sheltershock the three lipoleuMswith thEir

book of Stralegy

Jinnies is awillingdOnephillippY 9

dispatChto irrigatE

2

Jinniesto fontAnnoy

bode belchuMbonnEtto buSby

waxing ranjymad 10fOr

hneYCry

willingdonE

Jig-lAnthernMonth

and onEand Such

Jist IIdOes

till bYes will befliCkflEckflinging its pixy lighting

Job of 12bAndyMounds

likESo

mujikal 13bOx

mirYinCabususEd

3

1111

mammon lujiusin his grAnd old

historioruMwrotE

annalS f.

up Jerrybuilding 15tO theYear

aCrossus frEsh

Juniperyor Alebrill

Mahan it is 16wE

kraalS

Jutelet us swOp hats

YutahhasatenCyi trumplE

i rimimirim Juteone eyegonblAck

ghinees hies good for you Mutthow woodEn i not know

old grilSy

Just 17hOwbY a riverpoolClompturf

rEx

4

of objects 19Alfrids

corMacks andarE

See

Jadesses withmOuths andsaY too usniCk

sons littlEsons

Jined 20mAy his

MudsundErit cloSeth

Jarl van 21lamphOuse

la Y ingCold hands

on himsElf and his

Jiminies cousins ofcAstle

derMotprankquEan

a roSy one

up the Jiminywith sOft

mY earin stopto tauCh him his

shE

5

Just 27doAt with his

postMan's knock roundhis oldE

lauS

Jane's acOming

theY're surea tourCh of

flamE

no Jugglywugglywith her wAr souvenir

MurialassurE

a Sure there

majesty 31who wAs or often feigned to be

froMinquirE what

had cauSed

JubileedrOgheda

sYmbolising puritasdoCtrina

businEss

6

JomgrAy

in his house in the MourningcrustEdroadSide

the Juke 33at One time under thehaY

C.suggEstion of

Jesses 34ripe occAsion to provoke

theMwhilE

iS

thaw tool in Jew me dinner 35Ouzel fin a niceYou-do

in poolblaCktimE

Jurgensen'sshrApnel

goodManovEr

South at work

and commutative Justice 3 6nOttYpe of heidelberg 37

mannleiChmannleiChEthics

7

Jointly kemthe quiet dArkenings of

MraftEr

callouS

Jesuit's ^gclOth

Yet inthe faCts was

sEcondary

Jenny 39eglAndine's choicest

housingrooM 4abidE with

my horSe delayed nom num. the

many Jiffies 41

pOtlidstheY

CuriouslythosE

Joined 4^Apply

toMorrow casual and avariEty

juSt been

Juiced after 43Over at

tarrY theClings

hEr

8

mountjoy 45of All

MilkopEnair

choruS

mr J.f. 48colemAn offenn Mac

nEachpaSt with

Juxta- 51explanation was put in

exrace eYeslokil Calour

arE said

with Jedburgh 57Acquitted

contestiMony with 5 8clErgy

madthing haS done him

JudgementsthOse

malrecapturable daYsin whiCh

widE

9

John 61leAned

MoultinstEnch ofgladS ome

hejirite 62,silentiOussuemeant under

deep YourluCtuouspEasant

Jink ghostlyAs were he

to condeMnso thEy might

him firSt pharoah

Jumphet 64frOm

plaYingon the raglar roCk to dulyn

prisEd

astrollajerriesfor the love of the sAunces

Machinskyor othEr

muSclebound from being too pulled

a large Jugful 65sOmeplaceslY where

he CouldmixErs

10

swift and Jolly 66mrs hAhn

dorMant ina hErm a

houSe of

meatjutes 67On

said simplYCaptain you did

in Error

Josephine 71with inkermAnn

MidnightbiblE

tyrannous blau clay tight

in conjunction yggArrotted

whiggissiMus 79incarnadinEd

opposition the feeling that

two Jars 82and several bOttles

Yethe vermiCular

with a vEry oggly

ii

JokinglAying if

coMpanion who stuck still toinvEntion

Strongbox

I- 83befOregaY

whiskwigs wiCk'sEars

Jennerously exhibited 84to the pArts

it proved MostfortunatE that

and Six

whole padderfagmartin 86cOpperas

chrYstalisations of alum on evento stiCk

firE to

Jew's totems tospite of thescAttery kind when

MainsatE

Selling the gentleman

gale and roaring o'crian Jr. 87bOth

dalkeYs kings of mud andCrimson

o'donnEr ay

12

Jowl 89the mAthers ofhircuManswEr

Siar i am

it Jah 90i shOuld

Yeshow suCh

bEginall finally struck him now

punic Judgeshipstrove with penAl

stucckoMuck 91fEw

jurorS

and highajinks 94nOw

minster York do i mind i mind the 95rossies Chaffing him

you do todo north mistEr

Jonnieshold hArd

i'M gladsEz

lankyShield gobugga ye

Jackass harik harik 96the rOse is white in the

rhYme andContradrinking

ninE

13

Juletide's 97geniAl

MullinahobthEn

upon tankardStown the outlier

the Jenny infanted thehOux

awaY 98a dutCh bottom tank

undEr

asia majorflAtty

of his oMniboxhE

almS of

JamstO wards

he and YewevereaChbird from golddawn 99

glory to glowworm glEam

JestrAce

fieldMarshalprincE

with a moliamordhar manSion in the

Jutstiff ioobuttertOwer

the wasting wYvernbaCkwords

or morE strictly

14

iuld van dijkecertAin fixed residents

through our systeMbE

Still o

Jeer and 101zhanyzhOnies

had given his eYe for her bedand a tooth for a Child

till onE

Journey to 104never hAs

with the cooMbing ofof aEgypt

wiSh i

my o'Jerusalem 105and i'm his pO

train trYhe Can

Explain

what JumbomAde to

MouthstoppEd

Should flow and

15

Jealesies 106childsize herOes

and thin dYediCykiCyksEx

a Jolting series 107long lAne

Mountback against a 108usE of

Style

Jungle 112yOu

maYpiCk

a pEck

JustifiedthAtluMililts

asshEfolS

Jullyglad 113when christmas cOmes

aYe to 114noticing

linEs

Jew 116fAr

in duMbil'syEar

Sea merged

16

majestybOrn

uggamYg hapaxleCountry

stilEs

Jeers 117for the grApe vine

ruMhis End for himoff Sooth

dejectedly 121diapered windOw

baYleavesnondesCript

a palmtailEd

final always JimssAhib

exhibit ionisMof thosE

capriciouS

rubyjets 122amOng

as daY theloCks

you'rE

fjorgn 124first instAnt

nor the huMpharstill kEpt

Small

i/

and loojingtOrba'saY and would have as true as

muChonE's half

Jhon 126rAtedMic

thEm andartful diSorder

faypees and 134theban recensOrs

the maYds was midst the hawthorns 135pimploCo

to stand for suE

on a fjeld duiv 136ruz the hAlo

on the lodge for hyMndapifEr

magnuS

Juts 138he's cOme

shampaYingClouts and

pottlEd

18

Jorn 142-bArty

and toM8 and how war yorE

anSwer

Jeff's 143gOt the signs

but YurninglovemutCh

a brEf burning till

Jumps 145so she sAys

so Mushnot takE it

courSe i know

JumpyOurtrYsting 146

buCkinghopE in

gilda hilda ita Jess 147kAtty lou

reforMatorypravidancE

waS

Javanese i will give all my 152Old

hYbreds andharped on his Crown and

out of his immobilE

19

Juice of 153hAdMust to

hie sor a stonESingularly illud

kelkefoje funcktas 160kelkefOje

crYing toreCoil

with a grEat

sotisfiction how his abject 161is nothing so much more thAn

the dogMarksof origEn on

Same time and with the

Jaw 162mOuthful 163

butYrumut sCiat

malum Et

Jeffet 168four-in-hAnd

buM and dingo jack bybrokE

to Say

20

Jem is 169Are

sheM'sgEtup it

Skull an eight of a

tragic Jester I71

sObbed himselfYellagreen funkleblue windigut

applejaCkto hEar him twixt his

Johns is 17 2-next plAce

for luvvoMonyhopEd or at

among morticians

Jansens chrest 173JawOuld

samtalaisYmerchant

bElfry

and Judder on the mound 175heAthheMpalheMpal

poursuivEpoursuivEfrownSfrownS

in Junk et sampam 178his bOnafide

straY whizzer sang outto avenge maC

jobbEr

21

173

Jymes 181wishes to heAr

druMcondriacrEallyShamiana 182

objects 183cast at gOblins

YoungClippings from

toothsomE

Jos 184giAs neys

the stoMachfair chancE of

tumult Son of

JigsmithdOdginess

whites and Yolks andCinnamon

and asthEr's mess and

Joyntstone 192let him pAss

with your cruMbs 193tEll me

not a loanShark look

Jigs andinnOcence 194we Yield our spiritus to the wind

the pole the spaniel paCkthEir quarry

22

ijypt 198sAw

nyuMba nooErring

aiSy-

changeable fade that 200rObeYou'llCloak so

dEaf as a yawn

tipting a Jutty 202pAlling in

when MaidswhEn

Stood

Jub 204verOnica's wipers

is it a pinnY or is itstarChsmEll

or Jude's hotel or 205vArtryville or

ikoMtipsidE down or

and morriS

23

piped und ubanjees twanged withr O tundarkinkingnYne 206

tell me quiCk and dongumaguE

Join in thegigguels i cAn't

by the holy well of MulhuddartswEar i'd

killy'S mount

and a Jetty amulet 207clicking cObbles and

eYannushka lutetiavitCh pufflovah

lEllipos

of injonshold your peAce and listen well

it MighttEn

allcloSe or the nexth of

Jary 210saccO

and llewelYn mmarriage a brazen noseCraig and a

harE

JonesloAf of

Morning forvalE

and outflaSh

24

Jill 211brOth

tYneviCtor

rakE and

JoyssAintMoor

sawyEr andtropical Scott

Jane in decline and my 214mOngrel

laundrYmanCollars and

hEir

II

opal who having Jilted 220seAngeMinally about caps or puds

a pattErnSet and brought home

Jibsheets andsupercargO

gugnir his geYswerks 221his earsequaCk

milldiEuw and butt of

Jestsfor the wAke lent

M.fmnEgan

hairwigS

^5

and Jean 222sOuslevin bass

claYbladeof Clubs to part from

fEar acts of

djowlreleAsed

shehind hiMs backunhErd of 223

mary louiSan

Jawrin the frOnt

givin Yoe upwith searCh a fling

did diE

an injine ruber 224At his thinker's

freightfullness whoMhis collinE born

She

ploung Jamn 2,25sOYateman hat

stuCk hitsalthrough his spokEs and if

would Jused sit it 229rAte in blotch

in hyMnsignorancE

Sorey

26

worth leaving nej 23zOkrahsing

pumme if Yellwhile itChish 231

shomE

by Jove chronides seedsumm After

MalthosrollEd

Snivelled

Jerka redhOt turnspite

whY was thathis spurt of Coal 2,32

dilutE

Juwells 236fAns

foMor's in hispaaralonE

dublin'S all adin

thejthOu

straYedof pa's teapuCs

as lithE and

Juneses 238duel mAkes their triel eer's

coMbshonEyyourSelf

^7

her eckcot hjem 242his flamen vestacOat

Yahrds of annams 243Call

wrongEd by

Jempson's weed decks 245bong bAngbong

how Matt yourlukEd your

mugS and troublebedded

bij de -246whO

fifteen YearsCampus

thEm

lerkoffeAtsoup

yeM orworth hEaling

muSt walk out and

Jasper and 249fOndance and

curtseY onemettenChough

thEy

focubus nic for 251stAnth

Mun in hissonsEpun

wiSe

28

Jacquemin 253accOuntibussweYnhearts 254

meeresChalipsE

wijn 256withouten pleAders

Masis huEd

fumingS

on our Jambses 258nek nekulOn

Yea let usloud graCiously

havE

Judges orb 263gAyMill 265ElmSkole

June 266fOnd

thYselfattaCh

with thinE

29

Jeg suis 269thou Arr i

MaidbiggErthat;S

fillies and 273bOmbambum

maggYCastoff

dEvils all

Jelly 274shAkeforkluMps 275

or any otthErbaStille back bucked up with

JinglishdolphinsdYeing to 276

zumboCkyEt

Jr 279he inst my lifstAck

piMp andnaturEnourSe

la Jambe de marche 2&piOus and pure

plaYed 281belletristiCksb

aux tEmps

30

aux Jours destrAnslout

Mail socowriE card i

Sad

hoojahs 282dOwn

Yerthereunn enoCh 283

Endso

Joke 290will hAve

synchronisMs allquatrEnwhoSe

in par Jure ilOtherYves 291

so inseuladed as Crampton'sEurn

Jup 294cArpenger

centruM and olaf'scyclonE

aS

Jukes 295private properties

the YulessundaClouths

hung up for tatE and comyng

3i

Jeldy 2-97this is whAt you'll

Mygh and thyspit of dEad

diScinct

armjaws at the 300de vere fOster

sprY him 301miCk

varsEs

apolojigs 302thAnksleMan

jow low jurEplumpduffS

ajax 306fire at the sOuth

sYstem the usesand abuses of inseCts

pEnny post 37

Jomsborg 310tuned up by twintriodic singulvAlvulous

tyMpanrEunionaSkold

3^

till time JingshOst

the keY of efas-taem o 311a ketCh or hook

alivE a suit

Jewr of 312plebs but plAbs by low

Mint 313liquid couragE

Stowed

apullajibed the 317pOwer

Yon peakwith its Coast so

knEw

Jelks let be buttercup 321bAll

you scuM 322turnEd out

alaS

lavantaj 325ahOrace

YsnodsCat

doEs

Jodhpur 329smAllsi. Magnus

good lifEbarkonS lough t

33

Juinnesses 333rapin his hind and the bullingdOng

staYs outsize herblanCking

dronnings kissEd

Jude if you'll 334stAy where you're

Mizzatintcanins to ridE with

caninS that lept

ajaculate 338the glOwrings

bruYant the brefsing Ching

lEw mang

fupes 339grAze the

consoMationrEntS

the dfublian 3trulOck

nYeto reguleCt

stragglEs for

his mujiksy'sfArst

which seeMs 34J

to sharpnElSpool of the little brown

34

340

pamfab pgrOss

hermYnwith dramatic

rEproducingr

pojr 343greAtes

qwehrMini grandthinkEd

obraS after

nodje 3in the pOestcher

his chimbleY photloveCurling totakEcups

Junking 348the pAlposes

of woMth andlysE

Screeneth hulp

what we warn to hear Jeff is 359sweecheeriOde and

Yoreswift sanCtuarygang oiboE

Joh 366beAuty

Mask 367kullykEg

viSiting dan leary

35

342

345

Jiffexby 3^9rOde

the rhYmer that lapped at the hooseCourt

sEight of that yard

Joynes 37trAynor

to puMpfirE

into thoSe

Jameseslane begetting a wife 373which begame his niece by pOuring her

dizzYCrops out

in your flEsh 374

that Juke built 375wAit till they send you to

woMhoods twotwElfthgaSping

of a rhutian JhanaralwidOwer

me prhYseCaulking

any shapE

and a good Jump powell 376cleAn over

the Massus for tobarrEl

Slick

36

Jitters 377yOu'll

Yores the strake ofthe Cloth

to forE of

so hattajocky only 383quArtebuck 3 $4

interiMsfor auld lang synE

palmS in their

Jules 386with the hOughers

Yamanfrom the Curragh and 387

and the authoritiEs noord

fibhAirshirt

reMindsvillEm and

blank print S

of lady Jales casematethe fOurth

raYburnthe old Conk -388

yE gink

37

for a Jool 394to breAkegotuM

dEprofundity ofpancoSmic

mummurrlubejubes 396mOtherpeributts up

lethargY's love at the end of it all 397Community

sEnior

III

and as i was Jogging 404dAwdling

cluMpdrEamta Shaddo

without prejuice 405came alOng 406

gaulusch gravYwith seCondand thEn

Jistr to gwen his gwistelprAties

MockgurglE

to whiStle

Jamwhile the lOaves

quaYnuCkling down to

nourriturEs

38

Joust 416tAntoo

o MoyhEartily

Swallowed the

Jiltses 4i7gracehOper

in the mYreactually

and preEsumptuably sinctifying

Jetty 4^0noon sick pAsonopened by Miss

nighumplEdanShout at

contempt and dejeunerate 422

a skillytOn be thinkingi buY himhalfCousin

of minE pigdish nor wants to

Jeune premier 430fAirest donesMilingly

broad by brEad andSlender

39

Jaun asking kindlilyhillO missies after their

tYke 43ibenediCt

world and his lifE

Jomping 441hAul

libidinuM inyou'vEthingS to look

our Jakeline sisters 447Out

like hYmntheir Coals

will soothE

JnoegAn

for freedoM of 44 8uproosE

of lorcanSby

crekking Jugs at 449grenOulls

in the shY orient 45poaCh

rEnt

Jiesisin the lAtcher

suMtotalwholE 451

Strafe

40

to Jeshuam I'm 452

nOrawainYoustobe 453

sweeping reductionswEaring out your

June to our snug 454rewArd

luMpit 455but givE it

flock'S at home

for the Jemes 45 6Oh

chutneY andnaboC andfustfEd

Jooksthe Act

him i'll stuMp it out ofdoorstEp

Saint 457

Jungfraud's 460pOsts

waYs and hertwiCk

twinklE twings my twilight

Jill 462his fAil

sMallplacE

i Smelt the

4i

Jilting 465penals shervOmm

Yez how idos belike the Corks gain

sibstEr

Jousstly 468cAseMind

twinEtwoS

Jerne 469abOarderYnnana

now's nunCor nimmEr

Jourd'weh 470to-mAronite's

Mirra 471sElfrighting

pillarboSom of the

fun Juhn 473that dandyfOrth

phaYnixshall Crow at

wEst

42

phopho foorchtha aggala Jeeshee 475clAss of

MakingsquarE

yards of him one half

oh Jeyses fluid 480it's his lOst chance

heY didown tripe aCushlathat you tiEd

Jong 482of mAho

of the Mghtwg grwpp isyour wEight

hooShin

ho look at my Jailbrand 484exquOvis and

angliceYsuCk at 485

whosE was

djoytschoy soy bleseyblAsey where to go

is knowing reMaindiscoursE

uS

of Jenkins7

dullaphOneanglY mo

moohootChnipponnippErs -486

43

futs 491luckchAnge

deMaaschstrikE

drarakS

djanaral when he was sitting him 492vOlvular with

vikramaditYationists 493mendaCiis

yErds and

Jorth would come 496bumgAlowre

seeMlyhEavy

in Sugar

Jusse 502icecOld

plaYsone expeCts that kind ofon

rimEy

Joints 503cAused

siMplywEllknown

winning^

Jazzlike 511brOlliesbeYawnd

tweendeCksshubladEy's

44

Jokes bowlderblow the 517mAsket offsMutt

dykEShine

the mujic 518peace in vOina

if You've 519pootsCh

and proprEy

Juppettes 53igAuse be

hobMopshakE up

Sake all

Jaunted 542

rapt in necklOth and sasheswhile the Yanks 543

were huCklingpEtitions full of

Jets 548wAterrosespiM's and

pyrrhinESourire

45

their Juremembers 557imputAtions ofi

Mitigationin any casE

waShleather

Jark 558vOlans at six

Yeastwind and the hoppinghailoutskirts of City 559

groovE two

Jezebel 562in mAidenly

MuchdulcE

onSk a lovely

Jem 563will knOw him

lYlian andbredsCrums

jExkoff and

Juices 5 64olAve

tonoblooMbluE

marks athwart

gaij 565vOrtigern

muYmalinChily

fathEr

46

Joustlefor 568but mArk

pouMpEal

our boorgomaiSter thon

majers arise sirhOrse

alfi bYrni gamman dealtereaClatrEacla youghta

Juin 569shAll

Marlborough-protEctor

Shall have open

hedjes 571sOld

i praYhorsehem Coughs

a noisE

conjunct 573consummAte

Mauritius with sullatranslatE a

goodS of cape

Jumped 578she's bOrrid his head under

konYglik shire with hisduCk-on- 579wEnt up

47

stands abjourned 585is lArgely

Misturbing your nighboortirEd

Strictly

Jeebies ugh 590yOnd

christmastYde easteredman fourthchrisCalp halp

drummEd all

IV

byjoge 594you've tippertAps in your

exMooth ostbys 595Each and

dombS

he conjured himselfhthetheatrOn 596

chYstrepurchasing his

sorEnsplit and

Jerks 6nthe rApe

huMp 612EbblyballySukkot punc

hugly Judsys what 620mOre matcher's

sluskYteachingmE

48

our Joornee 621mAke it

Mrknrkyour grEat

languo of flowS

Jumpst 626thrObbst

Yedme Coolly

and i'd liE as

49

This page intentionally left blank

"THERE IS NOT MUCH DIFFERENCEBETWEEN THE TWO." (SUZUKI DAISETZ)

ITis A long time

i don't Know how longsince

we were in a room toGether now i hearthat yoU are dead but when i think of

you as now i have the Clear impressiontHat

tenderly smiling you're alive as ever

TOYAMA 1982

deaTh isAt all times

liKelife

now that you are a GhostyoU are as you werea Center among centers

world-Honoredworld-honoring

late yeSterday eveningtHe moon in los angeles

low in the east not fulldo you see suZuki daisetz

give him my lOve

5i

This page intentionally left blank

The title of this lecture is a reference to the poetry of Jackson Mac Low,which I have enjoyed for at least twenty-five years. He has made many "Vo-cabularies/' restricting each to the letters to be found in the name of a par-ticular friend. It is possible to imagine that the artists whose work we livewith constitute not a vocabulary but an alphabet by means of which wespell our lives. This idea as a subject interests me but it is not what I havedone in the following text, though the works of Joyce, Duchamp, and Satiein different ways have resisted the march of understanding and so are asfresh now as when they first were made. I don't know how many books onHamlet there are that set out to elucidate its mysteries, but there begin tobe a very large number in relation to the work of Joyce and the work of Du-champ. I prefer the ones that pay attention but stop short of explanation. Ienjoy the writing of Anne d'Harnoncourt and Kynaston McShine aboutDuchamp and that of Adaline Glasheen and Louis Mink about Joyce. Whenit conies to Satie, I prefer Satie himself to all those who've written abouthim. The Japanese composer and pianist Yuji Takahashi told me he likedtwo kinds of music, that that had too many notes and that that had too few.His remark may be extended to liking art that is incomprehensible (Joyceand Duchamp) and at the same time art that is too nose on your face (Satie).Such artists remain forever useful, useful I mean outside the museums, li-braries, and conservatories in each moment of our daily lives. I happenedone year to see a large exhibition of Dada in Diisseldorf. All of it had turnedinto art with the exception of Duchamp. The effect for me of Duchamp'swork was to so change my way of seeing that I became in my way a du-champ unto my self. I could find as he did for himself the space and time ofmy own experience. The works signed by Duchamp are centrifugal. Theworld around becomes indistinguishable. In Diisseldorf it began with thelight switches and electric outlets. One day after he had died Teeny Du-champ was taking me to see the Etant Donnees when it was still in NewYork before it went to Philadelphia. We were walking east along loth Street.I said, needing some courage to do so: You know, Teeny, I don't understandMarcel's work. She replied: Neither do I. While he was alive I could haveasked him questions, but I didn't. I preferred simply to be near him. I lovehim and for me more than any other artist of this century he is the one whochanged my life, he and the younger ones who loved him too, Jasper Johnsand Robert Rauschenberg. One day in the late '50$ I saw him in Venice. Ilaughed and said: The year I was born you were doing what I'm doing now,chance operations. Duchamp smiled and said: I must have been fifty yearsahead of my time.

53

For me Joyce is another story. When I was young I read A Portrait of theArtist as a Young Man and was not enthusiastic. At that time I loved theparts of Finnegans Wake that were published in transition and I often readthem to entertain my friends. When the finished Wake was published Ibought it but didn't think I had the time to read it. I was too busy writingmusic. Recently I have been punished. I have gone to Joyce as to a jail. I havemade five writings through Finnegans Wake, and I've turned the second oneinto an hour-long radio play called Roaratono, An Irish Circus on Fin-negans Wake. As with Duchamp's work, so with Joyce's. And this goes forDubliners and Ulysses too. I don't understand any of it. Nor do I understandthe night sky with stars and moon in it. The fact we travel to the moon hasgiven me no explanation of it. I would be delighted to retrace Basho's stepsin Japan, where as an old man he made a special tour on foot to enjoy partic-ular views of the moon. When I was in Ireland for a month last summer ('79)with John and Monika Fullemann collecting sounds for Roaratoriof manyIrishmen told me they couldn't understand Finnegans Wake and so didn'tread it. I asked them if they understood their own dreams. They confessedthey didn't. I have the feeling some of them may now be reading Joyce or atleast dreaming they're reading Joyce. Adaline Glasheen says: "I hold to myold opinion. Finnegans Wake is a model of a mysterious universe mademysterious by Joyce for the purpose of striking with polished irony at thehot vanity of divine and human wishes." And she says: "Joyce himself toldArthur Power, 'What is clear and concise can't deal with reality, for to bereal is to be surrounded by mystery.' Human kind, it is clear, can't standmuch reality. We so fiercely hate and fear our cloud of unknowing that wecan't believe sincere and unaffected, Joyce's love of the clear darkit hasgot to be a paradox . . . an eccentricity of genius."

And Satie. I have analyzed his music and found it structured rhythmically. Ihave admired his choice of materials and his independent sense of form. Hismethod it seems to me is a marriage of mode and the twelve tones. I think Iknow all that. But it does me no good. I have also studied wild mushroomsso that I won't kill myself when I eat what I find. I am always amazed howexciting it is in any season anywhere to see just any mushroom growingonce again. The same is true each time I hear Satie well-played. I fall in loveall over again.

I cheerfully set out to write the following text but for a week I could not putpen to paper. Then it occurred to me that all three, Joyce, Duchamp, Satie,since they are dead are ghosts and as such inhabit the same world we do.And I remembered a remark of Buckminster Fuller: that to give proper con-

54

sideration to something one should begin not with one idea but with five. Idecided to be cautious, to take five as a maximum, one as a minimum. Eachof the three ghosts could be alone in which case he would read from his ownwritings. Or he could be together with another sentient being or beings,ghosts or living, or with a nonsentient being or beings. To outline the entiretext then by means of chance operations was not difficult. There weretwenty-six different possibilities: the three ghosts alone, each in combina-tion with one to four different beings, the ghosts in pairs with one to threedifferent beings, all three with one or two. I used the twenty-six letters ofthe alphabet and chance operations to locate facing pages of an unabridgeddictionary upon which I found the nonsentient beings which are the stageproperties of the various scenes (I through XXXVII) that follow. For the sen-tient beings, the other actors, I also used the alphabet, but only rarely as ameans of finding a person I didn't know in an encyclopaedia. Mostly theother actors are people with whose work I've also become involved, some-times as deeply as with Joyce, Duchamp, and Satie. Since many of the actorsare ghosts, I have taken liberties with them, ascribing to them imaginaryworks they never made. I have also taken such liberties with those stillalive. I hope no offense is received. It was not my intention to give any. Thepiece is not an alphabet: it is a fantasy. I did want to remove the punctua-tion, so to speak, from our experience of modernism, to illustrate it withsomething like its own excitement.

J A M E S JOYCE, M A R C E L DUCHAMP,E R I K SATIE: A N A L P H A B E T

I what a Joyto hAvetheM

on thESame stage same time

even though the subjectOf

the plaYis the Curtainthat sEparates them!

55

Justifyingthe constAnt

Moving up and downof thE curtain

the ghoSts

Jumpalternately fOrth and back and forth and forth

verY slowlyin time with the Curtain's

phrasEology

so that JustAs the curtain

reaches the MidpointbEtween

open and cloSed

Justat that mOment

each ghost is halfwaY through a single jump(both their heads touching

thE curtain)

and JustAs the curtain reaches the topMiraculously

both of thEmcomplete their deScents both are visible

and Just like magicas the curtain tOuches the floor

one of them disappears totallY from view leaving the other all alonein front of the Curtain

at that momEnt the telephone rings

56

an automated fudgeAnswers it

and tells the audience whoMthE call

iS for it's always

for the ghost who has Just disappearedwhO cannot be reached

in this waY we know whoeaCh ghost is

but nEither ghost is distracted

from his Jumpingthe older one is erik sAtie

he never stops sMilingand thE younger one

iS Joyce, thirty-nine

he Jumpswith his back tO the audience

for all we know he maY be quietly weepingor silently laughing or both you just Can't

tEll

now and then nijinsky's ghostAppears

bringing a telegraMto joycE

from marShall mcluhan

Do you like that, silenziosol Are you enjoying, this same little me, my life,my love? Why do you like my whisping? Is it not divinely deluscious? Butin't it bafforyou? Misi, misi! Tell me till my thrillme comes! I will not breakthe seal. I am enjoying it still, I swear I am! Why do you prefer its in thesedark nets, if why may ask, my sweetykins? Sh sh! Longears is flying. No,sweetissest, why would that ennoy me? But don't! You want to be slap wellslapped for that. Your delighted lips, love, be careful! Mind my duvetynedress above all! It's golded silvy, the newest sextones with princess effect.1

57

II in the middle of one of his JumpssAtie grabbed hold of the curtain

and instead of coMing downascEnded

hiS exit signals

the entrance of a Jeepwhich is truly an autO mobile it needs no driver it belongs

to no one it is the invention of a 12-Year-old ghostnamed duChamp

it is Expected

to iMprove the worldit uses neither gAs

noR oilit runs on viChy

watErthe stage has become a bottLe of white wine

and Joyce no longer jumping is Drinking it.oUt of the jeep

ComecHildren going everywhere

including A ghost four years oldnaMed heidegger

technology and Population

III wEheaR

over a radioa conversation sticKing

to two wordsfifty-five And

fifTy-fourIt is

an argumEnt

58

bEtween houdini and satieabout which one of them as a ghost is oldeR

houdinisees a cracK

in mathematicsby meAns of which

aTfifty

four and fivE

changE placessatie is delighted and gRateful

now I see he says what people meantthanK you

a flaSh of lightningis followed by A

loT of smokeIn which

all the ghosts who arE

on thE stageeasily disappeaR

houdini and satiearm in arm walK on

accompanied by a ceyloneSe ghosta schoLAr named coomaraswamy

and a young acTorand musician

Jonathan albErt

59

who isn't dEad at allhe's veRy much

alivehe is speaKing

in hiS ownextrAordinary way

moving aTwill

from onE

rEgion of his mouthto any of eight otheRs

following a notationinvolving diacritical marKing

mine iSA

movemenT system he saysI

makE

thE movementand discoveR the sound.

meanwhilecoomaraswamy is whispering a sansKrit text

IV attracted by this duet Joyce returnsposthAsteto huM a program consisting of

onEiriSh ballad

60

two Japanese tunesOne

melodY by satieand three lyriCal

suitEs

by fEldman feldman hasn't yet composednoRmallythis would be impossible

but for Joyce it's no tricK at all

in fact it'SAs simple for him

as for him be biTtenby a radish

a scrap of papEr blows on stage

following words're on it: JoyceAMusic

hEiS is music

whether those are JustlOose words in the air so to speak

or poetrYby m. C. richardsno onE can be sure

Construction of a 4-dimensional eye From-: A circle (when seen by a 3-dimensional eye moving above and below until the visual ray falls in theplane which contains the circle) [a circle] undergoes many changes in shapeconventionally determined by the laws of linear perspective. To-: (For the 3-dimensional eye a sphere remains always the same whatever the point ofsight.) But a sphere (for the 4-dimensional perception moving in a 4-dimen-sional space until the 4-dimensional rays become visual rays for the ordi-nary 3-dimensional eye) [a sphere] undergoes many changes in shape, from3-dimensional sphere gradually decreasing in volume without decreasing inradius, to simple plane circle. . . . Light and shade exist for 4-dimensional

61

[objects] as for 3, 2, i. Three-dimensional perspective starts in an initialfrontal plane without deformation. Four-dimensional perspective will havea cube or 3-dimensional medium as a starting point which will not causedeformation i.e. in which the three-dimensional object is seen circum-hyperhypo-embraced (as if grasped with the hand and not seen with thehyperheyes] -Just as a point intersects a curve and does not intersect a plane, so aeyes] -Just as a curve of infinite length or surface element intersects a volume and does notintersect a 4-dimensional "solid." But either a plane or a surface intersectsthis 4-dimensional solid. -This 4-dimensional solid will be bounded by 3-dimensional volumes. The shadow cast by a 4-dimensional figure on ourspace is a 3-dimensional shadow (see Jouffret "Geometric a 4 dimensions"page 186, last three lines). Three-dimensional sections of 4-dimensionalfigures by a space: by analogy with the method by which architects depictthe plan of each story of a house, a 4-dimensional figure can be represented(in each one of its stories) by 3-dimensional sections. These different storieswill be bound to one another by the fourth dimension.2

V thuMbingby meAns of a noninflammable match

thRough an unabridgeddictionary

duchamp noticEs three entries on facing pagestwo with illustrations

reDheaded woodpeckerwood titmoUse

and woodCockthis gives Him

the ideAto Make readymobiles in unlimited editions

and to Place the first one

in a teMplejust outside cAlcutta inhabited by the ghost

of sRi ramakrishna that has beenstanding on one hand in eCstasy

for ovEr ninety-three yearsduchamp picks up an inhaLator and breathes Philadelphia

62

VI buckMinster fullerimmediAtely

answeRsCongratulating duchamp on all

of his work past prEsent and future he then goes on to saymy pLan for a regeneratively changing

balance between unlimiteDhUman needs

and limited world resources is availablei am encouraged by tHe Chinese people

by the fActthat one fourth of Mankind or one fifth if that's what it is

is now relatively intelligent not just stuPidly political the way the rest

of the world is i aMAlso

encouRaged by the youthwherever they are you Can

bE surethe young at some time wiLl spontaneously employ themselves

to change the worlDthey mUst however do it

quiCklywHile

necessAry below-earth energy sourcesstill reMain in sufficient quantity

to give needed initial Push

to yet-to-be-invented world puMpsthAt

will ultimately opeRate by means of universeeconomically

comprEhensivelyand delightfully

63

use insteaD of ownershipintUition instead of

ContinuingselfisHness

success for AllhuManity instead of total oblivion

Possibility of realizing

good life for all Men dependson reAlizing it

foReaCh

singlE man from a to zLet us not forget the things

in the worlDeach one requires open-ended honor

Cease world pollutioninitiate routes for speedy transport of eacH

refuse pArticleto places in universe where what it cheMically is is in demand

see specialization as a drop in the bucket

-VII the bucket is comprehensiveness Joyceis imAgining

a Mutton chopand wondEring

where the next one'S to come from

you don't Justfind fOod

under Your feetghosts but nobody else Can

livE on thin air

64

VIII Just a wee push graffito graffitito the Joy of us

thrEe threejimmy and erik and teeny duShee

Furniture Music is fundamentally industrial. People have the habitdayafter dayof making music in situations where music has nothing to do.Thus Waltzes, Fantasias from Operas, and other such things are played thatwere written with another object in mind. What we want to do is to estab-lish a music made to satisfy human needs the way the utilities do. Art isextraneous to these needs. Furniture Music creates vibrations. That's itssingle purpose. It plays the same role played by light, heat and all otherhousehold conveniences. Furniture Music advantageously takes the place ofMarches, Polkas, Tangos, Gavottes, etc. Insist upon Furniture Music. Haveno meetings, no get-togethers, no social affairs of any kind without Furni-ture Music. Furniture Music for notaries, banks, etc. There's no differencebetween one piece of Furniture Music and another (they all belong to thesame family). Don't get married without Furniture Music. Stay out ofhouses that don't use Furniture Music. Anyone who hasn't heard FurnitureMusic has no idea what true happiness is. If you go to sleep without firstlistening to a piece of Furniture Music, you won't sleep well.3 They can'tknow anything about it. They don't read the newspaper I read every day.4 Ifyou have three trumpets there isn't anything you can't do.5 There are treeson which you'll never see a bird; cedars, for instance. These trees are so darkthat birds get bored on them, and avoid them. Poplars are no longer visited.Getting to them is dangerous: they're much too high.6 Like money, thepiano's only pleasing to the person who has his hands on it.7 The sea is fullof water. Why we'll never know.8

IX duchaMpmonDrian

and Joyce go into the mind of krishnalao-tse Jogs

early in the Morning on the great wall of chinawilD duck

65

satiE visitsconlon nancaRrow

In mexico cityhe is Knocked out

by nancarrow'S musicfor two plAyer pianos

when he comes Tohe announces the decision

nExt

timE he listensto do so flat on the flooR

not on his stomachbut on his bacK

hiS decisionputs ideAs

in Thepiano

mEchanisms

nancarrow turns thEm onsatie lies on the flooR

the pianos move toward himbut in the nicK of time they thematically

pull themSelves upso there's sufficient spAce

for Themto roll over him without hurting him

inthE

lEast satie is touchedbut not physically i am veRy

planistic he saysbut i have never Known

66

X

Suchgood behAvior

on The partof musical

instrumEnts

i will writE about itin the newspapeRs

the telephone ringsit is a mr. robert m. quacKen-

buSh, 460 e. 79th streetn. y. c. u. s. A. the pianos speak up

whaT does he want? we want to knowwhat he wants nothing

he has thE wrong

satiE says goodbyeto nancaRrow: au rentendre

you've shown me something new i am bowled overand grateful you maKe me want to write music again

XI Joyceis At work

in a roMan bankmErce Cunningham

comeS in to cash a traveler's check

Just signgiambattista vicO's name

instead of Your ownand i'll give you Control

of a rEvolving fund

67

that will keep your company Jumpingin An honorable wayfroM now until dublinsday

Cunningham asks how to spEll itJoyce replieS

don't spell it at all Just write itdOwn

as though Youwere danCing.

your drEams

havE all beentRue.

XII ghosts shouldn't stay In houses merely frighteningsingle families they should walK out into the world

and haunt everyone continuouslyuntil the revolutions ghosts begAn

while They wereliving

arE completed

china was JustA beginning

as far as i aMconcErned i want to lengthen

the long retreat So it extends through the rest

of the world Jesus was rightOr

don't You think so?i am only a Child

and so i can IE ad you

68

mao tsE-tung has spokenthoReau veblen Joyce

and satlecontinue walKing and running

in different orbitSAround him playing the game called

ludwig That's sun surrounded by planetsand planets surrounded by moons It's midnight

at waldEn pond

Just thenA

luMinous glasssuddEnly

appearS poised in space

toward it 4-year-old mao directs a JetOf destructive thin air

which is instantaneouslY diverted by thoreau who explainsi proteCtmy invEntion:

a winE glasswhateveRyou put In it no matter what

anything you liKe even dirt will do

everything becomes winethere's A

swiTchfor changing colors

and anothEr for changing its size

69

to that of a Jiggeror enlArging it

to that of a Mugits namEchangeS according to what you want in it

vodka or stout or whatever JustOne glass exists it has

a krishna feature so it can be used bY any number of people at the same timeno matter where they are it's Communist

says mao tsE-tung

it's tEchnical says veblenit's iResh says Joyce

c'est admirable says satieall ghosts at once: how did you thinK of it?

anSwer: i don't knowi never drink i wAs

jusTtaking

anothEr step in the direction

of siMplicityXIII duchAmp

has on a caRpenter's outfithe Clipsto Each pocket

a small

carD 11A inches wide and 2 inches higheach card has a different pictUre on it by utrillo, utamaro,

or uCellotHus

he tAkes on the characterof a Museum

with no need for sPecial

70

proMotionprogrAms

because all the aRt it ownsCan

bE seen without going insideor buying a ticket without any troubLe at all

if one of the carDs is stolenor boUght

he replaCes itwitH

Another which is notexactly the saMe

that keeps the Public

on the Move never surewhAt's being shown

duchamp counts the caRdsperiodically

and Each time he reaches thirty-threehe makes a sLight

aDditionto the thirty-foUrth which he finds amusing

and the Critics find upsettingtHeyAre continually

changing their Mindsbecause their minds always sPring back to the way they were

in the first place alMostimmediAtely

duchamp caRries a whisk broomand if a Critic

drops somEthing he whisks it upand puts it in a vaLise

7i

markeDUnsigned memorabilia

he is thinking of investing in a Cuisinartto cHop up this collection

to mAke it into a large single work untitleclin advance later to be known as inftoMation

sPatial

XIV the scene changes duchaMphAs taken off

the caRpenter's outfitbut the Card

musEumfoLlows him anyway

each carD facesoUtward from him

has no visible Connectionto Him

it's quite mArveloushe's a Museum

without Pockets

and he has a suMmerplAce

on the costa bRava that's where he is nowhe Can

bEoutdoors beside an oLive tree

Drinking spring wateror inside oUt of the sun

eating some peas or Celeri remouladeHe limits himself

to A teaspoonful whether it's solidor liquid it occurs to hiM that utamaro has no first name

in the dictionary taking maurice and Paolo

72

as alphabetical liMitsAnd

thinking of bRown he is on the pointof Choosing n.o.whEn

the telephone rings it's philip glass

this gives him the iDea of an indeterminate first namehaving Unlimited repetitions of letters

n.n. ooooooooo for instanCepHilip

didn't sAy a word except helloMarcel thanks himPlayfully

XV bob rauschenberg coMes init must be your deAthday

i've bRought you a presentit's an ameriCan

jEtwith a portabLe airport

part of the lanDing gearare these rolled-Up runways

that Can be put in your pocketand tHen when you need themyou tAke

theM outand droP both through a slot

in the Men's roomAnd then they automatically expand

to the pRoper length in the proper positionjust as the plane is touching

thE groundthe pLane itself is no larger than

73

a vitamin pill what DoyoU think of it?

it's obviously an exCellent device says marcelbut i tHink

thAt you should keep itwhere it caMe from

my travels are telePathic

pure and siMpleAll i have to do is think

of anotheRCity

and thEn i'm therei don't need to fLy

what i Do isremain as thoUghtless

as i CanotHerwise

i'm constAntly traveling never at restjust yesterday i was in Madagascar

and this morning i was in Paris

when i just Mentionthese plAces to you

i can feel myself beginning to be transpoRtedi have to quiCkly think

of thEpLace where i am

in orDerto continUe

our Conversationbeing a gHost

hAsits probleMs

would you like to Play chess?

74

i know the Movesbut thAt's about all

come sometime to floRidaand teaCh

mEi wiLl

The parasols thus straighten out the spangles which, on leaving the tubes,were free and wished to rise. They straighten them out like a sheet of paperrolled up too much which one unrolls several times in the opposite direc-tion, to the point that: necessarily there is a change of condition in thespangles. They can no longer retain their individuality and they all jointogether after B. The illuminating gas (II). After B. change in the condi-tion of the spangles. From their dizziness (provisional), from their loss ofawareness of position, obtained by successive passing through the sievesand imperceptible change of direction of these sieves (change of direction ofwhich the terminations are A and B), the spangles (dissolve); the spanglessplash themselves each to itself, i.e. change (little by little through the lastsieves) their condition from: spangles lighter than air, of a certain length, ofelemental thickness with a determination to rise, into: a liquid elementalscattering, seeking no direction, a scattered suspension on their way out atB, Vapor of inertia, snow, but keeping its liquid character through instinctfor cohesion (the only manifestation of the individuality (so reduced!!) ofthe illuminating gas in its habitual games with conventional surroundings.What a drip! Ventilator-Churn, (perhaps give it a butterfly form9

XVI satiEis giving a conceRt

of hisrecent worK

kineSthetic music of contingencyit is performed by Animals

the soloisTs arean octopus and a fish hawk

all sEctions

75

of thEoRchestra

are filled with butterflies of various sizesexcept for an enormous Koto

which iSthe stAge

iTselfthe animals

and insEcts

arE themselvesthe instRuments

each has a broadcasting system and each member of the audiencehas his own receiver and loudspeaKing

headSetthe flights of the musiciAns

and The promenade of the octopusare perfectly beautiful

to hEar

and to sEethe audience is as quiet as a mouse eveRy now and then

one of the musicianshappens to play the Koto sometimes producing a melody

sometimes JustXVII A single tone Joyce no sooner sent out

the invitations to his party than alMostEveryone arrived

homer waS the first he was singing a revision

of his iliad for open house the house is Just righteccles street is actually Open nothing but a vacant lot with brick

facade between it and the street Joseph beuYswho has Caught

two phEasants one silver one gold

76

is about to explain Joyce'swAke

to theMEven though

Joyce of courSe is there and they are alive

he begins with his JawnOt speaking

but moving it sidewaYsthe birds watCh him

attEntively

then he JigsA jog

the pheasants respond by Marchingin quickstEp

So erratically the guests are obliged

to levitate he rips his JackettO pieces

this makes the pheasants so happYthey Can't

contain thEmselves

they Jump on his shouldersAnd then take off

in the direction of the MoonlEaving

two featherS behind

JustbefOretheY disappear

beuys touchinghis forEhead with both feathers

77

thinks Junglethis Actslike Magic

thEpheaSants reappear

Justas thOugh they'd never left

in exchange for the feathers beuYs gives the birdsfelt eleCtric

nEsts that can be plugged in anywhere

The more you're with musicians, the crazier you get.10 On the hour, a ser-vant takes my temperature and gives me back another.11 I'd never dare at-tack anyone . . . anyone who doesn't think the way I do. Thought is theproperty of the person who has it. No one else has the right to even touchit.12 You want to know how to become a musician? It's very simple. You geta teacher, a music teacher, and you go with him as far as possible. Choosehim carefully . . . You'll have to buy a metronome. Make sure it isn't tooripe, and above all it should have some flesh on it and a little fat. Make sureit works well. Because there are some metronomes that work the wrongway. Just like idiots. You'll even come across some that don't work at all.These are not good metronomes. Afterwards, I'd advise you to buy some-thing to put your music in, a brief case. They come at all prices. The prob-lem you'll have is deciding which one you want. A student should have lotsof patience, great patience, the patience of a horse, huge patience. Becauseit's very beneficial for a student to get used to putting up with his teacher.Just think: a teacher! He'll ask questions he knows and that you, you don'tknow. He takes unfair advantage, obviously. But you have the right to re-main silent. It's even the best policy. Don't take it out on your instrument.Instruments often submit to very bad treatment. People beat them. I'veknown children who took pleasure in stepping on the feet of their piano.Others don't put their violins back in their cases. And then, poor thing, itgets a chill and catches cold. That's not nice. Not at all. And some poursnuff into their trombones. This is very unpleasant for the instrument. Andwhen they blow on it they project those irritating particles into the faces ofpeople around them, and then everyone sneezes and coughs, sometimes forover half an hour. Ugh! The consequences are serious. And afterwards theinstrument works poorly and has to be fixed. You do your exercises in themorning, after breakfast. You should be very clean, and you should have

78

blown your nose. You shouldn't start working with your fingers coveredwith jam. The hours and the days you take lessons have to be scheduledwith the consent of both the pupil and the teacher. It would be very incon-venient if the pupil took his lesson at his hour on his day while the teachergave it at another hour on another day. That goes on all the time in schools.There are some students who never lay eyes on their teachers. Curious ap-plication of an educational system. Don't follow that plan. Because, out ofnecessity, there has to be some agreement. The pupil, and the teacher, wereput on this earth to meet one another. At least from time to time. Other-wise, where would we get? That's right, where would we? I'll tell you. We'dget nowhere. Realize that work is freedom. Freedom that is for everybodyelse. While you work, you don't bother anybody. Never forget it. You under-stand? Sit down. I'm obliged to finish this talk an hour ahead of time. Soonit will be six. I have to have something to eat. Then I want to take a walk inorder to get an appetite. Children, please be good.13

XVIII duchaMpAnd satie

aRe alone i'm glad to be with youwe Can look

at thE sceneries or have a conversationis there anything you Like to say?

i've just talkeD my head offmy laUgh

what is that? an inCandescent lamp?i've never seen sucH

A big one! what's it doing herebackstage? it Magrittes me think

it's using uP

all thEeneRgy

there IslooK! i'm right!

79

the other lightsAre

noTworking

any longEr!

XIX satiEgoes in seaRch

of sunlight he comes across haydnbill anastasi is looKing at haydn through a lorgnette

but Seemsto be tAkinga phoTograph

billExplains

that thEloRgnette

connected to an old television set acts as a secondary cameraenabling him to taKe the picture

of a ghoStof A

ghosTproviding

Everything

anD everyonebefore dUring and after the photograph's taken

are in exaCtlythe rigHt positions

XX sAtie saysi have soMe music

that is to be Played

80

Silentlyi wrote it with An invisible ink and luckily

i gave the manuscripT to duchampone of these nights ill ask him

for a xErox of it

XXI joycE joins satiethey sit about thRee feet apart

and facing one anotherthe clocK

StrikesAnd

the seaTedbeing

inthE

spacE between them half dead and half aliveibsen on one side and isou on the otheR

begins to revolve on a smoothly operatingtable so that after satie has talKed to

ibSenAnd isouTo JoyceIt is isou

who makEs

a rEply to satieand satie who makes one to isou whoeveRand

this also applies to ibsen and Joycewhoever is talKing

iS interrupting the otherthe following is A short sample

of whaTwas said:

"E

81

my bEdis Round

IcK"

XXII Joyceis sitting in the entrAnce hall

of an ancient roManhousE watching the rain come in

what iS that called that basin

in which a pool is Just beginningtO form?

replY: the impluvium below,the Compluvium

abovE the compluvium is the open space

in the roof Joyce's mindwAnders

froMrain to rivEr to ocean

he iS doing the australian crawl

in south america where JuruajOins amazon

now he's on his back on lake nYasain afriCa

hE rides

the norwegian falls of skykjefosAnd then goes the length

of the MississippitwicE once in a boat

and once walking on the water itSelf

82

he goes to the top of kanchenjungafrOm which he sees

all the himalaYan riverstaking different directions

to form thE mouths of the ganges

he says i loved the skykjefos so much i wonderif i took the form of A

salMonwhEther

i could riSe from its foot to its head

Justthe thought's

what's necessarY from norwayhe goes to California

and doEs the same thing up yosemite

not troubling to salmonize himself he Just goesAs he is

he swiMsfor a yEar

in all partS of ocean

from JapanthrOugh indian and atlanticto Yarmouth

through arCtic and pacificto nEw Zealand

he is Joinedby whAles

one of whoM swallows himwashEd up whight and deliveried rhight

loud laudS to his luckhump

83

and bEjetties on Jonahs!14

XXIII satie is veRy busyebenezer prout Is

giving him a quicK

leSsonin hArmony melodyrhyThm

counterpointand orchEstration

in half an hour in athEns he has an appointmentwith a second-centuRy poet

whose name Is oppianoppian's well Known

for hiS three long poemsone on fishing And

anoTheron hunting

and thE third on birdcatching

the sEcondand thiRd are now thought

to have been written by another poet of the same namewhile prout corrects errors satie quicKly

lookS in his bookAnd sees

he's To have lunchwith

dovE bradshaw

what a dElight! he saysi like heR

and her drawings very much they are both so healthyi must asK her

84

what exerciSes she gives her pencilsnot possible! cocktAils

wiThmrs. nation!

carriE nation!

i can't bElieve it!pRoutgives him

a tasK:

fourthsAnd

fifThsIn diagonal motion

ill do that in fivE

minutEs says satieon my way to gReecethe telephone rings

he answers it thanK heaven!

She isn't free!his secretAry hands him a new supply

of music paper That camewith

his nExt compositions

in pEncilalReady

on Itall he has to do is inK them in

greece the voice of oppian: "there's no music i lovemore thAn yours would you consider

playing my furniTureor teaching it to play you?i can't tEll you how comfortable that'd make me

85

All through my youth people said, "You'll see when you're fifty/' I'm fifty. Isee nothing.15 You want to know whether I'm French? Of course I am. Whywould you want a man of my age not to be French? You surprise me.16 Per-sonally, I am neither good nor bad. I oscillate, if I may say so. Also, I've neverreally done anyone any harmnor any good, to boot.17 A child has naturalwisdom: he knows everything. Experience is one of the forms of paralysis.18

An artist is certainly worthy of respect, but a listener is even more so. Whyis it easier to bore people than it is to entertain them?19

XXIV and how is JoyceAffected by charcoal?

it fills hiM with admirationfor it is largEly pure

iS carbon

is ancient Jewel, hardest substancediamOnd

sYmbol as an elementis C

is widEly distributed

Joined with other sourcesenergizes some of the stArs

its coMpoundsin numbEr exceed

thoSe of all other elements combined

is not Just fuelthOugh as such

Yields a larger amount of heatin proportion to its volume than Can

bE obtained from a corresponding

quantity of wood makes no smoke JustmAkes fire finely divided is efficient

to filter adsorption of gases'n'solids froM solutionis usEd in the purification of water and airin gaS masks and the refining of sugar

86

is made to JumptO greater heights of adsorptivenessbY means

of speCialhEating or chemical processes

such forced Jump'sActivated charcoal

aniMal black'sits namE

when it'S obtained not from wood but from bones

JudgednOt father but mother of coal

when fine it took the forms of laYers between bedsof bituminous Coal

pEncil or crayon

or fustA piece of paper

artist has used to Mark uponis bElieved

to exiSt free in nature in a form that's white

that has not yet been found spirit has adjusted ustO

its eventual discoverYCharcoal writing

whitE'r'black upon white'r'black

conjecture:the cAtholic

Massis a charcoal ovEn: the making of breadthe body of chriSt

87

We must bring about a music which is like furniture, a music, that is, whichwill be part of the noises of the environment, will take them into considera-tion. I think of it as melodious, softening the noises of the knives and forks,not dominating them, not imposing itself. It would fill up those heavy si-lences that sometimes fall between friends dining together. It would sparethem the trouble of paying attention to their own banal remarks. And at thesame time it would neutralize the street noises which so indiscretely enterinto the play of conversation. To make such music would be to respond to aneed.20 Everyone'll tell you that I'm not a musician. That's right. From thebeginning of my career, I classed myself among phonometrographers. Myworks are pure phonometry. No musical idea presided at the creation of myworks. Scientific thought was in charge. I take more pleasure in measuring asound than I do in hearing one. If I have a phonometer in my hand, I workwith joy and confidence. What haven't I weighed or measured? All of Bee-thoven, all of Verdi, etc. It's very strange. The first time I used a phonoscope,I examined a B flat of average size. Never I assure you have I ever seenanything more disgusting. I called my servant and had him look at it. On aphonoscale, an ordinary F sharp, run of the mill, came to 93 kilograms. Itcame out of a very fat tenor whose weight I also took. Do you know any-thing about cleaning sounds? It's a very dirty business. Working in a cottonmill is cleaner. To know how to classify sounds is very painstaking and youhave to have good eyes. As for sonorous explosions, often so disagreeable,cotton in your ears attenuates them and makes them endurable. This ispyrophony. I think I can say that phonology is superior to music. It has morevariety. It is more profitable. I owe my fortune to it. In any case, with amotodynamophone, a phonometricist with very little experience can easilynotate more sounds than the most experienced musician given the sameamount of time and effort. It is because of that that I've been able to get somuch written. The future therefore is in the field of philophony.21

XXV vase Joyce is writingA letter to norahe is

in the next to last paragraph his Mind and bodythEir feet in poetry

from her aS flower in hedges

excited move to her as objecthOg she is sow

of his everYfilthy Craving

no inch of hEr body no odour sight sound nor act of it

88

but's irresistible Joyof An

orgasMswEetheartanSwer me

XXVI JoycemAking use of thirteen letters

written to hiMby Ezra pound

writeS the following mesostics on his own name

can't make out whether Jeande gOurmont wants to translate

anYhandsChrift

morE illegible

than Jimms. Arrived

this a.M.wish you Every

poSsible success

cher J.i dunnOno lawYer

in return for whiChrEcd. several

dear Jim:AnsweredMiss-

firEthat omitS the essential

89

J.: first numberOf

mYnew periodical

dE signed

Juvenile indiscretionsmAy now

cash in on 'eMthE noble gerhardt

iS struggling both with

B-J-JayzusribbOn iz pale

You better havethe Carbon

thE

JoycewAntsxMas

likE what gabrielSaid to

Jeande gOurmont

anYhandsChriftis morE

dear JimArrived

this a.M.Every

poSsible

90

I.dunnO no

lawYerwhiCh

rEcd. several

XXVII duchaMpsAtie

leonaRdoda vinCiand thE poet

Louis zukofsky are writing a Japanese poem

they have themselves photographeDwith fUjiyama the average person would think

it was just a pictureoftHe

mountAinbecause none of theM none of the ghosts can be seenat all however the Photograph

is a linE in the poem which goes on as follows:angels and bastaRds

how do you catch such a bird?poor songster weaK

gold, white, plaSter, indigowithout primAry shadowcarefully scoTch tapes

the germans still advancingat thE opera

soMe of them go round the fieldsrelAted as equated

by eRos; matrixtransfer from one like objeCt

who's in lovE with meof Labor light lights in air

9i

transposeD by the perspectiveto raise dUst on dust

straight line, Curve, etc.splasHes which should be

spiders love music just Asencounter at the bottoM

all gay where how sPill lay who

a straight horizontal thrEadRope, mercury, cloth

of what Is in what is notgold or silver or the liKe

done in the Semi3rd of the width of the leAf

and ouT of respectcolumns on the walls In front

of thE count of urbino22

Dictionarywith films, taken close up, of parts of very large objects, obtainphotographic records which no longer look like photographs of something.With these semi-microscopies constitute a dictionary of which each filmwould be the representation of a group of words in a sentence or separated sothat this film would assume a new significance or rather that the concentra-tion on this film of the sentences or words chosen would give a form ofmeaning to this film and that, once learned, this relation between film andmeaning translated into words would be "striking" and would serve as abasis for a kind of writing which no longer has an alphabet or words butsigns (films) already freed from the "baby talk" of all ordinary languages.Find a means of filing all these films in such order that one could refer tothem as in a dictionary. "Theory" 10 words found by opening the dictionaryat random by A 10 words found by opening the dictionary at random by B23

92

XXVIII the ghost of brighaM youngis speAking i am happy to announce

that puRsuantto our many Conversations

duchamp has accEpted an anonymous mormon commissionto make another Large work

it will have many briDes and fewer bachelorsit will be a computerized

series of glass CubestHere will be movement

of gAses lights and liquidsfroM one cube to anothera sPecial

architectural attachMentis being mAde to house it

so that it can go on touRit will be simple to detaCh it

from onE buildingand clip it on to the next

it will have a map of the worlD connected to itlike those sUbway maps in paris that light up

you piCk outtHe city it's to go toAnd when the lights go on

after a short delay which perMits the correctionof Possible errors and pinpointing

of precise destination the building Moveswithout Any passage of time at all

to the place wheRe it's supposed to goits basiC

hornE of coursewiLl be

93

philaDelphiabUt

for speCial occasions once a year at leastit will be sHown

in sAlt lake citythe nuMber of brides

is still uP in the air but several things

are certain there will be More bridesthAn

bacheloRseaCh

bridEwiLl

be four-Dimensionaland have a plurality

of accelerationsinfra connections with eacH of the cubes

i suggested one bAchelor instead of severalthe single bachelor could be the prograM itself in the form of

a jack-in-the-box duchamP

seeMs to likethe ideA

too many bacheloRs he saysmight bring about impractical conjugations

wE must avoid excessivetechnicality

XXIX mozart satiEand schoenbeRg

are giving three concerts at oncein the same place capers Kangaroo

94

XXX satiEis having tRouble

with his shoelacesthey Keep coming untied

he telephones louise nevelsonlouise he sAys i'm afraid

Theywill

loosEn

my Senseof hArmony

i have made an appoinTmentwith

sigmund frEud to have them analyzed

XXXI JoyceAnd

duchaMparE looking

at a twelve-Sided astrological television set

if your seat Jibeswith yOur sign

the commercials're not visible to Youinstead you automatically

gEt your horoscope

MorrisgrAves

appeaRs by satellitefrom Calcutta

and dakhinEswarhe enters a tempLe of kali

95

he places before the image of the goDdessan offering of frUit

it is reCeivedfor He

leAvesreturns to his rooM in the hotel in Calcutta

and Paints a picture

duchamp and Joyce enjoy seeing(it is A zodiac

giving new forMsto thE

Signs)

they speak as one person Just factfOrm's taken for granted

makes it necessarYto find way baCk

to how it was bEfore

forMscAme

into being Rules are for gamesbut Chaosis lifE

breaking Laws is what poetry is

language in particular must be changeDeven what yoU eat

Can't be mere followingof conventions eitHer

stArtfroM breath from zero

Possibility of no-mind

96

XXXII satiE is conductinghis wateR

music in fire movements the first is calledpine cones it is damp and smoKy

XXXIII JoyceimAgines

nora's in the rooMno nEed for perfume

and muSic she is his own

XXXIV his majestyhAs fallen to pieces

Joyce is picking theM upparnEll

iS

Justsix letters Of the alphabet

that go together in different waYsnot Changing

thEir sequence, not making anagrams

six fragments of his irish majestycAnnot be found in ftnnegans wake

and strangely enough arne is one of theMEven though

arne compoSed rule britannia

other fragments you'd JustnOt expect (r.n. for instance) are there

in fact onlY between a tenth and a thirdaCcording to how you count

of uncrownEd king's missing

97

I no longer have any notion of time or space; sometimes it even happensthat I don't know what I'm saying.24 Erik Satie, Dear Sir, Eight years ago Iwas suffering from a polyp in my nose complicated by liver trouble andrheumatism. On hearing your Ogives, I noticed an improvement in myhealth; four or five applications of your Third Gymnopedie cured me com-pletely. I authorize you, Mr. Erik Satie, to make any use you wish of thistestimonial.25 Before writing one of my works, I walk around it severaltimes, and I get myself to go with me.26

XXXV JustA coincidence

that their initials are both MinimallylEttered

the Same letter

a ja) Of

an inventorYof what in Common

thEy have

JoyceAnd Johns

b and c) Mind spirit bodyat homE

in homeS

not JustOne

everYoneColors

idEas etc. complexity impartiality

d) elegance in the enjoymentAnd expression of vulgarity

exaMinationof thE commonplace

arrangements for its return to mystery

98

e) subject'sneither whole nor part

possibilitY of bothContinuing

bE coming

night by silentsailing night while infantina Isobel (who will be blushing allday to be, when she growed up one Sunday, Saint Holy and Saint Ivory, whenshe took the veil, the beautiful presentation nun, so barely twenty, in herpure coif, sister Isobel, and next Sunday, Mistlemas, when she looked apeach, the beautiful Samaritan, still as beautiful and still in her teens, nurseSaintette Isabelle, with stiffstarched cuffs but on Holiday, Christmas, Eastermornings when she wore a wreath, the wonderful widow of eighteensprings, Madame Isa Veuve La Belle, so sad but lucksome in her boyblue'slong black with orange blossoming weeper's veil) for she was the only girlthey loved, as she is the queenly pearl you prize, because of the way thenight that first we met she is bound to be, methinks, and not in vain, thedarling of my heart, sleeping in her april cot, within her singachamer, withher greengageflavoured candywhistle duetted to the crazyquilt, Isobel, sheis so pretty, truth to tell, wildwood's eyes and primarose hair, quietly, all thewoods so wild, in mauves of moss and daphnedews, how all so still she lay,neath of the whitethorn, child of tree, like some losthappy leaf, like blowingflower stilled, as fain would she anon, for soon again 'twill be, win me, woome, wed me, ah weary me! deeply, now evencalm lay sleeping; nowth uponnacht, while in his tumbril Wachtman Havelook seequearscenes, from yon-sides of the choppy, punkt by his curserbog, went long the grassgross bump-instrass that henders the pubbel to pass, stowing his bottle in a hole for atwhet his whuskle to stretch ecrooksman, sequestering for lovers' lost prop-ertied offices the leavethings from allpurgers' night, og gneiss ogas gnasty,kikkers, brillers, knappers and bands, handsboon and strumpers, sminky-sticks and eddiketsflaskers;27

XXXVI suzuki, kwang-tse and Joycegive us A word

instead of reMainingsilEnt

aS you've remained now for three days

99

subject's realitywhat wOuld

You say? this table's real? yesCan you

tEll us what way?

Just to rolywholyoveryes in every wAy

and yesterday when that ManspokEyou Said what he said was good

you didn't objectwere yOu

butterflY?or were you beComing a man?

in zEn you said most important thing is life

and JusttodAy

when this other ManspokE

you alSo said what he said was good

again you didn't object(nOr did he:

onlY true answer servesto set all well afloat) but how Can you?

in zEn you said most important thing is death

it is JustthAt in zen

there is not MuchdiffErence between the two

Sutra (the Sanskrit, a thread, a string)

100

XXXVII duchaMp telephonesfrom kAnsas

it's like nothing on eaRth i feel as i didbefore beComing a ghost

i havE no regretsi welcome whatever happens next

N O T E S1. James Joyce. Finnegans Wake (New York: Viking Press, edition embodying all

author's corrections), pp. 147-148.2. Marcel Duchamp. Salt Seller: The Writings of Marcel Duchamp, edited by Mi-

chel Sanouillet and Elmer Peterson (New York: Oxford University Press, 1973),pp. 88-89.

3. Erik Satie. Ecrits, reunis, etablis et annotes par Ornella Volta (Paris: EditionsChamp Libre, 1977), p. 190. (Translation by John Cage.]

4. Satie, p. 160. 10. Satie, p. 153. 15. Satie, p. 45.5. Satie, p. 159. ii. Satie, p. 23. 16. Satie, p. 28.6. Satie, p. 153. 12. Satie, p. 91. 17. Satie, p. 26.7. Satie, p. 154. 13. Satie, pp. 82-85. 18. Satie, p. 173.8. Satie, p. 162. 14. Joyce, p. 358. 19. Satie, p. 165.9. Duchamp, p. 50.20. John Cage. Silence (Middletown, CT: Wesleyan University Press, 1961), p. 76.21. Satie, p. 19.22. A mix of lines from Louis Zukofsky, "A" (Berkeley: University of California

Press, 1978); The Notebooks of Leonardo da Vinci, compiled and edited from theoriginal manuscripts by Jean Paul Richter (New York: Dover Publications, 1970);Duchamp; and Satie.

23. Duchamp, p. 78. 25. Satie, p. 113. 27. Joyce, p. 556.24. Satie, p. 155. 26. Satie, p. 143.

101

This page intentionally left blank

In 1970 Song was written as a text for Solo for Voice 35 in the Song Books.The melodic line was the second movement of Cheap Imitation, whichkeeps the phraseology of Erik Satie's Soar ate but varies the melody. Song,published as a poem in M, was derived by means of / Ching chance opera-tions from the Journal of Henry David Thoreau, each line chosen from aparticular part of a particular page of one of its fourteen volumes.

When I fiist saw Susan Barren's photographs of fields, weeds, woods, lakes, Iwas delighted by them and offered to write a text to accompany them in alimited edition. I had in mind to write mesostics on the names of the sea-sons, spring, summer, autumn, and winter. I got nowhere with this projectuntil I sat down one day in The Hague, looked out the window and wrotemesostics which were "photographs'7 of what was at that moment happen-ing. This seemed interesting to attempt but not appropriate for photographsof nature (I was in a theater looking out on a playground with a city streetbeyond). Several months later it occurred to me to go again through theprocess that had produced Song (Satie's title for the second movement of theSocrate is On the Banks of the Ilissus) and thus to write Another Song forSusan Barren.

A N O T H E R S O N G

Rabbits, musquashsnipe, but hear nonefog for four dayscountless swallows.

Now, in shallow places near the bendsdistinguished by its bluenessthe air is full of falling leavesturning round and round and scratching with its claws. A showera basketful of Irish moss.

Etc.it looks as ifthe most rugged walking is on the steep westerly slope. We had a grand view.

103

As he looks backI return, the sun is rising and the

walls were one reflector with countless facets.

They say that the Indiansused to find them in the brooks.

Two ducks sailing, partly whiteNew Testament.

Down to its graveand does not die

put it onand buckle it

tighter.

Pause of the slow-blooded creaturethe rocks.

The hills eight or ten miles west arecovered with

buds and leaves anda very wild look. There is a strong

wind always blowingNiagara.

Universalnight advances

new inducementstreets and houses

'leven thirtybe reminded.

Speak; I cannot. I hear and forget to answerdeep mud

thrasher's nest.

104

Yesterday's slight snow is all goneyellow-legs, away they sailI use three kinds of shoes or bootstaking no note of timewilted twig!

Winds, colder and colder, ground stiffening again.

The brightest trees I see this moment are some aspensrising to the surface.

Flowers are fast disappearing but few crickets are heardthis at once work and pleasureblack bird as seen against the sky.

Clintonia is abundant.

Cannot see distant hills, nor use my glass to advantageAlgonquin and Iroquois.

The water might have risen therewhitens clothes with clean dirtwith a sharp, whistling whir. Heard a white-throated sparrowheaven had been washedbeneath a white oakhas the stricta leafets in the axils?

Anxious as ever, rushing with courage.

Gives expression to the face of nature. Reflections in still water.

Great phenomenon these days is the watermuch sparkling light in the airpond was now a glorious a sort of changeable bluesee the first bird.

Weather-beaten appearance.

105

Trunks of trees whitened now on a more southerly sidelighted upon the top, looked around as before.

Could find no nestwhat doth he ask? To win, on this ground to dwell.

Saw a black snake.

Even steady sail, gliding motionlike a hawk.

Perseverancehalf an inch

flitting along, bush to bushdewdrop of the morning, promise of a day.

First drops of rain to be heard on the dry leaves around meand only a stone's throw

apparently with the end of a stickstanding in water

On ice devouring himit seems to be.

Four years aftertook for grantedit was building

the distinct line between darkness and sleepdistant note of a bird in the low land. Got quite a view

he took his cane, went up the hill.

The only trees, two or three cedarso'er bog, through strait, rough.

Loose withered grass, a clump of birches.

Cool breeze blows this cloudy afternoon, I wear a thicker coat.

106

Divided in three partsdeepens the tinge of bluish, misty gray on its side.

Already right side up in one instanceyellowish-green birches and hickoriesedge against the sunset skydark ice

Whitish within, then a red line, then brown orange.

Bridging of the river in the night, obstructingapple tasted in our youthstate as when.

107

This page intentionally left blank

To write the following text I followed the rule given me by Louis Mink,which I also followed in Writing for the Third (and Fourth] Time throughFinnegans Wake, that is, I did not permit the appearance of either letterbetween two of the name. As in Writing for the Fourth Time Through Fin-negans Wake, I kept an index of the syllables used to present a given letter ofthe name and I did not permit repetition of these syllables.

W R I T I N G T H R O U G H THE CANTOS

and thEn with bronZe lance heads beaRing yet Arms 3-4sheeP slain Of plUto stroNg praiseD

thE narrow glaZes the uptuRned nipple As nsPeak tO rUy oN his gooDs

arE swath blaZe mutteRing empty Armour 14-15Ply Over ply eddying flUid beNeath the of the goDs

torchEs gauZe tuRn of the stAirs 16Peach-trees at the fOrd jacqUes betweeN ceDars

as gygEs on topaZ and thRee on the bArb of 17Praise Or sextUs had seeN her in lyDia walks with

womEn in maZe of aiR wAs 18Put upOn lUst of womaN roaD from spain

sEa-jauZionda motheR of yeArs 22Picus de dOn elinUs doN Dictum 23

concubuissE y cavals armatZ meRe succession And 24Peu mOisi plUs has le jardiN olD

mEn's fritZ enduRes Action 25striPed beer-bOttles bUt is iN floateD

scarlEt gianoZio one fRom Also 28due disPatch ragOna pleasUre either as participaNt wD.

sEnd with sforZa the duchess to Rimini wArs 31Pleasure mOstly di cUi fraNcesco southwarD

hE abbaZia of sant apollinaiRe clAsse 36serPentine whOse dUcats to be paid back to the cardiNal 200 Ducats

corn-salvE for franco sforZa's at least keep the Row out of tuscAny 43s. Pietri hOminis reddens Ut magis persoNa ex ore proDiit 44

quaE thought old Zuliano is wRite thAt 50

109

Peasant fOr his sUb de malatestis goNe him to Do inmo'ammEds singing to Zeus down heRe fAtty 51

Praestantibusque bOth geniUs both owN all of it Down onpapEr bust-up of braZilian securities s.A. securities 5 5

they oPerated and there was a whOre qUit the driNk saveD up 56his pay monEy and ooZe scRupulously cleAn 61

Penis whO disliked langUage skiN profiteers DrinkingbEhind dung-flow cut in loZenges the gaiteRs of slum-flesh bAck- 64

comPlaining attention nUlla fideNtia earth a Dung hatching 65inchoatE graZing the swill hammeRing the souse into hArdness 66long sleeP babylOn i heard in the circUit seemed whirliNg heaD 68

hEld gaZe noRth his eyes blAzingPeire cardinal in his mirrOr blUe lakes of crimeN choppeD

icE gaZing at theiR plAin 69nymPhs and nOw a swashbuckler didN't blooDy 70

finE of a bitch franZ baRbiche Aldington on 71trench dug through corPses lOt minUtes sergeaNt rebukeD him

for lEvity trotZsk is a bRest-litovsk Aint yuh herd he 74sPeech mOve 'em jUst as oNe saiD 75

'Em to Zenos metevsky bieRs to sell cAnnon 80-81Peace nOt while yew rUssia a New keyboarD

likE siZe ov a pRince An7 we sez wud yew likehis Panties fer the cOmpany y hUrbara zeNos's Door

with hEr champZ don't the felleRs At home 84uP-Other Upside dowN up to the beD-room 85

stubby fEllow cocky as khristnoZe eveRy dAmn thing for thehemP via rOtterdm das thUst Nicht Days 86

gonE glaZe gReen feAthers 91of the Pavement brOken disrupted wilderNess of glazeD 92

junglE Zoe loud oveR the bAnnersfingers Petal'd frOm pUrple olibaNum's wrappeD floating

bluE citiZens as you desiRe quell A 96Pace Oh mUrdered floriNs paiD 97

ovEr doZen yeaRs conveyAncebe Practicable cOme natUre moNtecello golD 98

wishEd who wuZ pRice cAn't 101Plane an' hOw mr. bUkos the ecoNomist woulD 102

savE lattittZo the giRl sAys it'z 106

no

shiP dOwn chUcked blaNche forDs 107of ocEan priZes we have agReed he hAs won no

Pay nOstri qUickly doN't seeD combstwo grEat and faictZ notRe puissAnce 113

Priest sent a bOy and the statUes Niccolo tolD him 114sEnt priZe a collaR with jewels cAme 123

Prize gOnzaga marqUis ferrara maiNly to see sarDisof athEns in calm Zone if the men aRe in his fAce 129

Part sOme last crUmbs of civilizatioN DamnthEy lisZt heR pArents 135

on his Prevalent knee sOnnet a nUmber learNery jackeD up 136a littlE aZ ole man comley wd. say hRwwkke tth sAid

Plan is tOld included raNks expelleD 137jE suis xtZbk