goddess poetry & matricide

Kind of old fashioned or used, Robert Graves once thought poetry should refer to a goddess in payment for her service as muse. True authoress, sure, but she sounds like a sellout. I'd side more with Emily Dickenson, who thought it was free (that is, poetry). Poems are about opening orifices, our faces, oroboreas's, (not sure how to spell them, I'll just expel it) putting holes in our head, let some world come in or find us a hole, so with Emily, escape it. The word for this feat's receptivity and that takes place with poetry (or mushrooms, lysurgics, in haled or in tea). Hunters with secret secretions should stay well clear, lest Seductress could smell, or Morgaine La Fey induce amnesia and lead them astray. And that only takes a look or a twinkle in eyes auspiciously cast your way.

It is sometimes important to be able to close your own holes, under cover, so to say (though not digging your grave). Hence the need for practice in altered states of conscious (some say mind but that is a headset) is not to sustain, but to stay ahead of the game, exercise all, not just the brain so if it should happen by, something more pleasing to the eye, you might catch it (I hope not a cold). Old poetry's on about eating and sex, or it's just a matter of consumption, then rest (for the weary or old). It's easy to see most goddess mythology was authored by men. Perhaps it is penance? More like wishful thinking – who wouldn't want an authentic mother – someone to trust in, relieve you or nurture? It may be the stories of gods adolescent, "they could do no wrong, 'twas an accident" were spoken by she, who, as if worshipping them, was just self-defensive as they came from her womb.

Not their fault? Then who took her babies and made them all men, and mistook the lion, a lady, for King? How is it then she lives without a lament, 'neath asphalt, bridges, corn-rows, cement? Maybe Graves was on to something or other, because there's hardly a mention or bother in all myth-time of offing the mother unless Junior's an asshole and she's in his way,

or she is just acting as proxy for dad.
A fascist in any gender or sex
is equal, fraternal, obnoxious, bad,
particularly when it's ordered by Rx.

– see Amber Jacobs, on Why Matricide?
on how boys got wronged psychoanalitic'ly
and girls still drown in The Sea of Anxiety
and mothers are rendered to objects of feed.
 

And we should know better, they've only been hid,
they live in the middle, "you're it", it's been said.
Aristotle excluded you, Apollo denuded you,
and each child proceeds as an orphan or blue.

Language or Politics?

Zerzan, in 1988 said “Only a politics that undoes language and time and is thus visionary to the point of voluptuousness has any meaning”. Shouldn't this read “Only a language that undoes politics and time and is thus visionary to the point of voluptuousness has any meaning”?

"Iconographically restored myths, incorporated as lived experience, abolish time because they are timeless, derived from the achronous condition of Dreamtime. And myths are embodied, not in referential language (in which words are taken as referring to some external reality), but iconic language (a term which denotes the notion of mythic language being its own reality, rather than merely symbolizing some external reality).

Zerzan complains that art, like all systems of symbolic representation (including language) “is always about ‘something hidden’. But does it help us connect with that hidden something? I think it moves us away from it” (Zerzan 1988, p.54). Symbols “stand for” a reality which can be apprehended only through their mediation, which inevitably produces alienation. But mythic thought does not function in this way. It operates in a metaphorical, not a literal, manner. And metaphors function, not by pointing to a reality which they symbolize and thus render inaccessible, but through a play of resemblances and differences. Mythic consciousness results from a “desire to apprehend in a total fashion the two aspects of reality... [the] continuous and discontinuous; from [a] refusal to choose between the two; and from... [an] effort to see them as complementary perspectives giving on to the same truth”. Rather than signifying a concealed reality, it perceives analogies through modes of associational thought: “it is this logic of oppositions and correlations, exclusions and inclusions, compatibilities and incompatibilities, which explains the laws of association, not the reverse” (Lévi-Strauss 1963, pp.98-9, 90). The resulting semiotic lattice, based on the principle of bricolage, remains entirely ludic. Mythic consciousness thus avoids the alienation inherent in all symbolization, yet retains the possibility of linguistic expressivity. It abolishes language, and yet facilitates unestranged intersubjective communication." – John Moore

Ambrose, again: Nine Theses

1. NOUMENON, n. That which exists, as distinguished from that which merely seems to exist, the latter being a phenomenon. The noumenon is a bit difficult to locate; it can be apprehended only by a process of reasoning – which is a phenomenon. Nevertheless, the discovery and exposition of noumena offer a rich field for what Lewes calls "the endless variety and excitement of philosophic thought." Hurrah (therefore) for the noumenon!


2. PROOF, n. Evidence having a shade more of plausibility than of unlikelihood. The testimony of two credible witnesses as opposed to that of only one.


3. LOGIC, n. The art of thinking and reasoning in strict accordance with the limitations and incapacities of the human misunderstanding. The basic of logic is the syllogism, consisting of a major and a minor premise and a conclusion – thus:
   i. Major Premise: Sixty men can do a piece of work sixty times as quickly as one man.
   ii. Minor Premise: One man can dig a posthole in sixty seconds; therefore –
   iii. Conclusion: Sixty men can dig a posthole in one second. This may be called the syllogism arithmetical, in which, by combining logic and mathematics, we obtain a double certainty and are twice blessed.


4. GRAVITATION, n. The tendency of all bodies to approach one another with a strength proportion to the quantity of matter they contain – the quantity of matter they contain being ascertained by the strength of their tendency to approach one another. This is a lovely and edifying illustration of how science, having made A the proof of B, makes B the proof of A.


5. NEWTONIAN, adj. Pertaining to a philosophy of the universe invented by Newton, who discovered that an apple will fall to the ground, but was unable to say why. His successors and disciples have advanced so far as to be able to say when.


6. OUTCOME, n. A particular type of disappointment. By the kind of intelligence that sees in an exception a proof of the rule the wisdom of an act is judged by the outcome, the result. This is immortal nonsense; the wisdom of an act is to be juded by the light that the doer had when he performed it.


7. ACCIDENT, n. An inevitable occurrence due to the action of immutable natural laws.


8. PLAN, v.t. To bother about the best method of accomplishing an accidental result.


9. MYTHOLOGY, n. The body of a primitive people's beliefs concerning its origin, early history, heroes, deities and so forth, as distinguished from the true accounts which it invents later.

Insanitary Conditions or Conditional Sanity

• sanitarium 1851, lit. "place dedicated to health," as if from Mod.L. *sanitarius, from L. sanitas "health," from sanus "healthy, sane" (cf. sanatarium).
• sanatorium 1839, from Mod.L., prop. neut. of L.L. sanitorius "health-giving," from L. sanatus, pp. stem of sanare "to heal," from sanus "well, healthy, sane." Latin sanare is the source of It. sanare, Sp. sanar.
• -ium a suffix found on nouns borrowed from Latin, especially derivatives of verbs ( odium; tedium; colloquium; delirium ), deverbal compounds with the initial element denoting the object of the verb ( nasturtium ), other types of compounds ( equilibrium; millennium ), and derivatives of personal nouns, often denoting the associated status or office ( collegium; consortium; magisterium ); -ium also occurs in scientific coinages on a Latin model, as in names of metallic elements ( barium; titanium ) and as a Latinization of Gk -ion ( pericardium ). Used to form the names of metal elements, after the style of early-named elements, as well as the isotopes of hydrogen. By extension, appended to common words to create scientific-sounding or humorous-sounding fictional substance names. Used to indicate the setting where a given activity is carried out: gymnasium, auditorium, stadium, colloquium, planetarium, podium, sanatorium. Words so formed often take "-a" for the plural.
• sonnet fourteen-line rhyming poem with set structure: a short poem with 14 lines, usually ten-syllable rhyming lines, divided into two, three, or four sections. There are many rhyming patterns for sonnets, and they are usually written in iambic pentameter. [Mid-16th century. Directly or via French < Italian sonnetto < Old Provençal son "poem" < Latin sonus "sound", see Sanskrit Sama-Veda [sáamə váydə] n. ancient Hindu sacred text: [Late 18th century. < Sanskrit < sāman "chant" + vedaḥ "knowledge"]]
• sonata 1. classical composition for solo instrument: a piece of classical music for a solo instrument or a small ensemble. It consists of several movements, at least one of which is in sonata form. 2. one-movement baroque keyboard composition: a piece of baroque keyboard music in a single movement [Late 17th century. < Italian < feminine past participle of sonare "sound" < Latin sonare ]
• um representing hesitation in speech: a word used in writing to represent the kind of grunting sound that people make when they hesitate in speaking [Early 17th century. Representing an inarticulate sound]
  – from the dictionary

Insanitarium: The prefix in- can refer to absense or negation ('not') as well as inclusion ('within'), which generally means 'clot-forming', but may (rarely) also indicate the quite opposite 'scattering' ('incoherent' or 'not clot-forming', 'unglued at the hinges'), which we must as well accept as colloqially more accurate with the common phrases, "scatter-brained" and "blown mind" when referring to the insane and "clod-hopper" for the rural variety on the twin analogy of leaping (a symptom of madness) and breaking soil (a known source of unsanity or perversion) rather than wind.

The leakage, fault or deep crack is clearly seen on the part of the diagnosticians (crackpots) and not in their clientelle. This is because of the inherent split still open within all acadaemic circles as to the nature of ill-health as ultimately derived from within or without. Medievil doctors who thought all sickness was due to insanitary conditions, producing infection like a ford factory, pit themselves against the churchmen who insisted on internal construction error (sin as birth defect) or the more Platonic attitude of a "station" one was born into and from which one should never attempt to stray (still the standard definition of 'crime'). The churchmen had to back off a bit when it was pointed out the contagion factor in sin much resembled succombing to temptation. After much bloodletting, there was a resolution of conflict when the external microbe was found hobnobbing with intracellular materials. Artaud, diagnosed with scatterbrain disorder since art is supposed to be constructive and destruction best left in the capable hands of governments, was electrocuted 37 times for suggesting the microbe was a particle of grace (god) dissected to form atoms usefull for evaporative affects when they themselves were split.

Lastly, um, we should not discount the phonological resemblence of the root morphemes /san-/ (> 'health', 'cleanliness') and /son-/ (> 'sound', 'pronouncement') as mere chance linguistic anomoly. There is always, by definition, a culprit or sin hiding behind each pronoun. The only evidence a quack (which is a digital crackpot tuned in to disharmonic soundings) can go on is aural or literary: disorganized speech must, in theory, follow disorganized thinking just as infection is known to derive from living in slovenly habitats or through lack of rigidly sanitary habits. Interesting that a soiled or dirty mind (and they're pretty solid on this matter) is still considered a moral rather than purely psychological condition, but literally, a sanitarium is 'a place of brain-washing with a technical or scientific ring' (hence the final and unhesitant articulation of "hum" even when accompanyied with much beard-rubbing with one hand between puffs on a pipe with the other to stimulate clarity in thought – in smoke-free environments, beard rubbing alone is sufficient when attached to a distinguished or patronizing "um"). Most often, a negative health diagnosis is warranted solely on the basis of others' reportage in the form of accusation or hearsay – one is invariably reminded of heresy. A consonance is always achievable with a consensus of the proper pronouncement of consonants. Don't let those tricky vowels fool you.

Not another Word

Take one word. Take any, but for the sake of experiment, or what someone else might say, "humour me", just this once, just one if you please. You can proceed to write an infinite book or speak a never-ending discourse, a rant to be more precise, utilizing, or scripting or uttering every other word in the existence of former future noises and sightings in any language, even those never before heard or seen, and you can make sense to more than just someone. Might be anyone. Nothing said will displease everyone; how could you know such a thing? Are they even real or is there only a need for deafening applause and then who cares how it comes about? That could be your execution! Recognition and encouragement are quite other words altogether.

Your word. Every other word has something to say about it. And then you notice there is no word. There are no words. Alphabets grow on no tree in any combination but much reference to trees and reverent trees at that. There are war nodes, but these are imaginary. Iterations and re-iterations of sightings and soundings plucked from a string and immortalized in fret-work. If all the frets are in the wrong place, like around your neck instead of across it, there is still some play which makes music. The brain is just an organ, simulating horns like a rhinocerus mask and strings making you as well as a puppet. Don't fret. Bow. That is to say, fiddle.

In Japanese, the sensei is the one making sense, especially when it is not common. The sensei has a bag filled with arousals. Some druids had letters in their bags. Each letter is a word. There is nothing else like it in the world except a string of them. Robert Graves, the grave robber that is, he may well have been but noticed the secrecy of cranes forming cuneiform on the sky and some ancient one collected them and discovered the post office weighting for the right brothers to hear news of flying human thought impossible before writing. And so there is much precedence to wronging, setting both phones and ears to ringing.

Dialectics was always the crossing of lines and there was always the confusion between lines and words, immortalized by the latin word, 'lect' which sounds so much like a leg someone somewhere must have seen a utilitarian connection with running and then there was a flying off of the handle for the hard of hearing and their hand signals. The most efficient way to pull a leg is with the mouth. Taking care not to bite lest there be insult or fright. Without language, there is no magic. Ecology proves it in no certain words – it's poetic. There is no representation. There is no exchange. There are no terms. Senseless? There is more and less of it, depending on your firms or variable density. Gibberish, or the double reductive jibber-jabber is perfectly reasonable in the language of rogues and gypsies, which, in fact, is any cant or cryptolect but your own, and that is the final word on that. Take it or leave it.