On Tony Trehy’s SPACE

SPACE / THE SOLDIER WHO DIED FOR PERSPECTIVE *

To ‘put things in perspective’ would be to see them in relation to ‘something else’, but since (at least so far) there is always ‘something else’ in relation to which anything (else) might be juxtaposed/‘put’, it seems no ‘clarification’ (of whatever it is)(but furtherdifficulty only ?) may be gained, but only further difficulty will result by putting a ‘funny word’ in between two very good words (for example), which are already fully ‘funny-enough’ (“iff” you ask me !).

But what if ‘clarification’ were not the intent, but rather (‘restlessness itself’?) a sort of ‘ur-experimental’/‘boyish’ (?) wanting to see what would happen if I just threw a Lancelot into the pram/prism, push him along for a bit (round the Oval) . . . (but will the other words in the State-of-the-Sentence even notice?) . . .

And again I think of (the zest of) the ‘early’ WCW—him/who/he of Kora In Hell—how (elsewise) Spring will come hereabouts iff not ‘Tony’ (double-down)(hereabouts) do it . . . ?  ?

What a platitude of (pepper-spray) Pedophiles (that’s not funny!) pedaling along the Peony Path . . . (well, if they weren’t actually bringing about Wrack & Ruin, in our lifetimes, it wouldn’t matter . . .) . . . UNLESS . . .

Doesn’t it seem a little ‘silly’ (‘childish’(?)) to be firing a WORD into their Sentence Structure from beyond the hedge (knowing, iff they notice, they will likely retaliate ‘maswively’—more will die, etc.), with a grin/‘for the fun of it’ . . . ?

But what if ‘understanding’ actually arose (actually arises) from the perspective gained by having that (new/old) word ‘taking residence there’ in that (“quasicrystalline”) ‘new sentence’ obtained . . .

Let’s see what happens iff I put that there (at least there’s the ‘brain-to-bubble’/‘brain-bubbling’ result obtained . . .) . . .

At this point in the Human Comedy, I don’t think the desire to turn ‘base metal’ into ‘Gold’ (‘Death’ into ‘Life’) is entirely without hope or purpose—why not (Try It !) see if the Earth and Sky might be Saved in this way . . . ?

It’s in fact a very Noble (& ‘Active’) Endeavor/Undertaking . . . and at the very least, one can Admire the purpose (marvel at the colors & odors/‘Bangs’) and Enjoy the Ride . . .

[Elsewise, it’s just (Grey) concrete and steel (‘temporarily’/world-wide-web) cementing itself (temporarily) into place . . . and in that case, there’s (the Soldiers who died . . .) no ‘perspective’ at all to be obtained . . .]

“deontic.  They by they.  In every man’s despite.  Being the same as a part of itself and when multiplied in a well defined sense just the same interchangeable as asking each to move up one their disgusting fruit.  Topoi . . .”

It’s “deontic”—at the start—and “Topoi” at the end (& beginning what comes next) that give this (sample) passage its (desperate?) [willful] [storied throw at Future Life . . .]

To put it another way, it opened up when I heard that Bartok composed for the piano as a percussion instrument (which it is !)—how it Brightens the Intelligence (having happily heard Tom Raworth read) !

If you will, one of the most interesting (evolving) writing practices I’m unfamiliar with (OOF !—I WON’T !—Trash That !)

Or, to put it into (possibly ‘helpful’) perspective, think Robert Creeley’s “position is where you put it . . .”  (‘Brute Speed’ . . .)

Throw aWrench’ into the ‘spanner’ of one’s own (“vinculum”) expanding articulation/meditation on the perishing of Sammy Zat—and don’t forget to pillage one’s own (“aspiring to dutchness”)/others’ (“afternoon sunshine”) previous/affective “architecture of complexity” so that . . . “urelements” in 3 lines may converge upon a . . . (‘infinite perspective’?)(coyote . . . coyotes coyoting) Coroner in a ‘real room’ . . .  ?

—Robert Grenier
Bolinas, CA
August 15, 2010

* Space / The Soldier Who Died For Perspective, by Tony Trehy (London: Veer Books, 2009).