Then [the object] as retreat


among ten or twelve yards


my hands  heavy     [lift]


Shadow positing the thing


as a way of stopping [use]


Will I mean for?


I think of “before it can happen”


delay in the newspapers


             covering over her body]


you know the big blue and white buildings [gray and white]


in front of myself





Open mouth without scream


The men return


        with sacks    [over their shoulders]


[“I can feel the tablecloth”]


      [before it can happen]

The scene quiet as I leave it


[and they became one person]





This in the act of emerging –


accounts for the blurred – grass.


Being fired at [seven] times. The grass


in the act of emerging,


already from ten or twelve yards,


right among us, the being fired at, already there.


Then “grass” already there. Nothing


new is [happening]. What I


can’t say about the bullet, the grass


silvering as it’s posited


       [there are sides]


[burgeoning] [back down]





Photography becomes social because we can’t kill anything


Also not seeing herself also showing her the photograph


            You see, she’s moving back

[then the – still – being left] [we see or we know by then]


to feel myself rising but I want to feel – the other going down – I cannot feel down for the other. I


cannot feel “observe” for the other


I can only observe the other [it used to be] – I would have to begin


as the object. What I “know” comes in and shuts




As we have to have – the beginning – of the line


[the plane in another language finding back]


What if I stood in a building


[between “disciplines”]




Up to now we’ve been talking about photographs which are in existence – [which you choose]


Now let’s talk about photographs which are not in existence


We will have to talk about all of them


[“this” as the only human interaction]


First there is the photograph





The bag of peas and potatoes falls flatly on the floor of the – lift


[but suddenly through a graph]


DS   You prefer to


FB   Totally alone. With their memory




Answers are made by finding back and changing the questions


[injury] But tell me who today has been able to record


anything that comes across – as a fact without causing [I meant]


to the image



if I had really thought about what causes somebody to scream,


what is it would come like


the water which is [already there]



Buoyancy: an open mouth may not be a scream


[“not”] [on the other side of] [limit]


The image of the human –


– the names for things –


there would not be centuries –



[stopping action?]


We throw something on




Now: which the other does not know



: and this constitutes the demarcation point



[what we call describing a technique]


[what we call nor to tell time]


[the voluntary] [one slick side]


from “now on” we saw a dorsal fin in the water. There was no time. In which that became


what we saw




A man but further off    [waving]


The side of sleep like a bell





Also people sitting on benches


a kind of caution


[the numbers being called


before they came up]


what they mean. And yet I don’t know what they mean. A strategy [but you can throw]


[now working beyond reason]


[now /wavers/]


[There’s a further step to that: the whole questioning


of what appearance is]


[I mean it comes about somehow one doesn’t know how]

[Somebody paints my room]


[reading the poem as]


[thinking about doing]


[like a street]


[the images would be naked figures, but not literal naked figures]


[“this” limit to my pain] [and the other side of the limit]


Because this is not a film, I cannot say what grass means


[I saw you from the hill in the park


and running, came into each word


            for the first time]



I write back


and if shadow has a subject


is unaware


for charity we have to posit action


described as the hawthorn


she comes up the walk


its opposite like a shadow


zip, [she] whispers zip

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