Saturday, November 12, 2011



“You go with a mind—
darkened by the image
of a happiness that for
you must be immediate”
—Paul Verlaine

Djami’s dance & voice—not fixed, not forced. Becoming his other. His ancient crowds—and their idle wealth recuperated him. This dancing boy—returns him to himself, his body undoes him. Djami's voice becomes—Rimbaud's voice desiring him, finding himself again. La danse et la voix—so discreetly fraternal, reinventing love. Adieux Parnassians—adieux Zutique. He'd sought thru zutique an unlooked-for logic, foiling the telling—the usual life-story, getting rid of its narrative. Jeunesse parodies—the surreal detailing of a new biography. Abrupt imagination—silencing the poet with “poetique du fragment.” The other Orpheus—notes, fragments. Incomplete, scattered disjointed illuminations. Leapfrogging becoming—simultaneously subversive via “incoherence harmonique.” A perverted sense—tres gay antinarrativity undoing himself adroitly. Undermining closure homoerotically, eroding str8t claustrophobia. Sweeping aside—humdrum hetero clichés opening operatic breaches. "Nocturne Vulgaire"—hearse of his sleep. Veering off the highway, to the airport of his inanity. A slight defect—right-hand windowpane, revolving lunar pricks. Sodomite slippage—stylish erotic innuendo, tongue-tip up his anus. Pivoting patriarchal—inviting allegorical readings, homosexual prose-poems, eclipsing bay windows—paratactically segueing scenes, dreams, story.

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