WEBVTT

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Well thanks very much, and
it's actually rather fantastic

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to be here.

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It's a wonderful
place, goodness.

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You're very lucky to be here
all the time, [INAUDIBLE]..

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That very, very
nice introduction

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makes me want to start with
this piece from Virtual Reality.

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It's called "Chapters
of Verse," and there's

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bits of Wordsworth's
language stuck in here,

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but it's really sort of saying
what I want to say, I hope.

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"Chapters of Verse."

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Let's see how many chapters
there are of this verse.

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There are 26.

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So there's no drama about when
it's going to end, you know?

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One, there are no poets in
the natural order of things.

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Two, a world in which there are
no last names and no families.

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Three, each generation
comes into existence

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by its own efforts, not
through the sexual activity

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of its ancestors.

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Four, the physical present,
death, eternity, type.

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Five, the kineticism
of childhood

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seeks its own salvation
behind society's back.

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In public, suffers
shipwreck and kitsch.

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Six, we are the moonlit sea.

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Seven, we beat with
thundering hooves

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that level limiting conditions
of a broadly legible

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social rhetoric widening
itself on all sides, which

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sees or thinks it sees the
roof above instantly receding.

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Substance and darkness
making up a canopy

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of shapes and tendencies
to shape that shift

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and vanish, and shortly
work less and less

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until without effort
or motion, the scene

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lies in perfect view,
lifeless as a written book.

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Eight, the scene
lies in perfect view.

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Nine, it is only in its
resurrection that meaning dies.

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Ten, subjective
workers kiss, not as

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lawyers, doctors, Coast
Guard cadets, astronomers,

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sex therapists, or
psychic healers.

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Eleven, political
language will get

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nothing but a mixed reception.

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Twelve, we the public, with
our dearest domestic ties,

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adopting our unseen
hands as a free ride.

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Thirteen, human happiness is
an image of relations in blood,

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binding up the
Constitution with fashion,

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melding close impossibilities
into a timeless whole.

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Fourteen, I do not
believe poetry and prose

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will continue
seven years longer.

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That's the refrain that's
hundreds of years old, right?

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Fifteen, when we, the 250
million personal poets

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of the United States
of America have

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children whom we scarcely
know what to do with,

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we make poets of them.

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Sixteen, images in blood.

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Seventeen, the fact that the
poet characterizes poetry

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as a church leads
in a straight line

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to the founding of a language
that goes beyond revolution

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towards a career of revelation.

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Eighteen, a glimpse of an
apostate son of a Quaker

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going to see at 16, but
the events of his biography

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lead in a straight line to the
resurrection of the activity

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of his ancestors.

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Nineteen, experience
is an accumulation

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of something like capital,
but it is always information.

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And if it is spent, it
leaves the wind and sleeting

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rain, the single sheep, the
single tree dead from the wind,

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the bleak music of
the old stone wall,

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the mist advancing on the
intersection of two roads.

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Twenty, uncommon language,
loose, parasitic body

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by centralization,
acquires a range

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of daily content
and real legibility,

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not in utopia, in
fields under the Earth,

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or as some secret
liberty of bypassing

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the objective conditions
blocking our path.

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Not as textual
change in the world.

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As usual, prostitution
is sacred and universal.

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Twenty one, there
is not enough money

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to buy all the
small press books.

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And while there are
more than enough

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diamonds to be the best
friends of the eligible singles

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in the new releases,
there are not

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enough releases to justify
the building of the buildings

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of a new society.

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Thus, poetry and music limp
along like agent friends

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against a backdrop
of real estate,

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under a sky of pure speculation.

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Twenty two, co-consumers seem
perfectly willing to order

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from a diversity of catalogs.

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Omnisectarians of desire ride
the continent in search--

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in search of appropriate
accreditization, creeds

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and schools in abeyance.

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Twenty three, to export need
is to speak like a native.

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Twenty four, except
for single words,

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there are no objects
standing between the poet

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and revolution, and
not just of literature

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alone, but of society as well.

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Twenty five, the poet's
mind when writing poetry

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is a mass of social
individuals all using words

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at different times.

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Twenty six, poetry begins
not between individuals

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within a community, but rather
at the points where communities

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end at their boundaries,
at the points

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of contact between
different communities.

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