Wednesday, July 29, 2015

Asemic magazine & ASEMIA

downloadable pdfs

Asemic Magazine
Vol~1
and
#s 1 - 5
edited by Tim Gaze

ASEMIA
edited and published by Jim Leftwich & Thomas Lowe Taylor

Sunday, July 26, 2015

ASEMIA / Gaze, Leftwich, Tournay, Maneri, Diarra. 2003 (anabasis . xtant)

ASEMIA, anabasis/xtant, 2003

Jim Leftwich
singing the flat opaque. each letter a thicket of vines distinctly our moan and squeak, copse into which the rabbit flops grinning from ear to ear, wrung through a wavy grid. ornament is the oldest tradition of every surface. an ornament in isolation, or in any context other than its own, is a glyph, primordial aura around the priority of speech, and prior to that the embryonic phonemes of the hunt, vocables of sex and harvest. the letters entered through the eyes as birds’ feet and broken trees and their birds built nests in the forks of the tongue. an asemic glyph is everything other than a return to the thing recalled, thus its campanulate kinship with the syllable, its stylitic refusal of the word, even as the letters revolt, serfs wielding their serifs like swords words worlds collapse into their opacity, unless we chance to sing them in defiance of azoic intent. asemia is not silence, nor is it any sort of absence, it is a song imploded everted, imbricate membrance. our words belong to our discarded calendars, to a childhood of astrology earlier than eleusis, or to the murder of kennedy and planes flying into towers. we want our words to transmute into glyphs, easier to thread a camel through the last straw in a haystack, then to transmute these glyphs back into words. glyphs live in the future, gandharvas across a bardo, we coax glimpsed sound from memory of things to come. in its purest form, a syllable is a vowel. much the same can be said for the singularity of a glyph. in the company of words glyphs cloak themselves in surface, and hide their songs like vowels inside a sentence. they gaze out at the reader like mute ornamental gargoyles. we read around them, shy and tedious, like the broken image of an elf. pixies among their pylons juggle our refuse and cavort for the surveillance cameras. they build pueblos of basalt at the base of the brain. dreams sweat feathery purr of missiles. polyphonic medulla sex in the gaps of signs.

10.27.03



_______________________



Saturday, July 25, 2015

Four questions about asemic writing, #05: Jim Leftwich

Responses to Questions about Asemic Writing from Marco Giovenale


  1. Anthologies, exhibits and web pages collect very different kinds of asemic works. Some of them resemble scribbles and calligraphy, so they fit the definition of “writing”. Others do not, since they include recognizable letters and symbols, or abstract art. Do you think asemics can include these areas or not?
In my experience, asemic writing begins with text. The text is subjected to a series of processes. Some processes are recombinative, others are subtractive, others are improvisational and associational. A text is a mutagen when fed to itself repeatedly. In my experience, the origins of asemic calligraphy are in the shapes of the printed letters. The poem had already long ago broken the word into its syllables. We can say as a kind of historical shorthand that Marinetti broke the syllable into its letters -- and from the Italian Futurists to zaum, and on to Zurich, only 1909 to 1916 so far in this story, then out of that war and into the next, out and into Isou, and everything begins to unravel and replicate, concrete, constellations, the mimeo revolution (THE MIMEO REVOLUTION!)... to too much of everything, everywhere, all the time... the road of excess leads to the road of excess... Marinetti's parole in liberta as ornaments in our immersive environments... on billboards... on buses... on t-shirts... Text, even radical, avant-garde text, has become a weapon in the war against us, in our wars against ourselves... in the end was the word, and the word was SHIT. What to do in such a wor(l)d? Well, we have thought, some of those among us, more times than we can count, that maybe the time has come to wage war against the weapons, against the weapons being used against us... So, this is how we come to the current configurations of the concept of asemic writing... We were thinking about creating a temporary autonomous zone deep in the crevices of our minds... and then we were thinking about taking it to the streets. The practice of asemic writing was to have been a small part of our training manual.

Sunday, July 19, 2015

jim leftwich, poems

taapes llll slight sea
for experii diffic
bats introduo
are out the toe. things
ne.do doir o wa
fishes
of eyes chair have seen
Nowhere. by readt
choose asked the walls
rece as wel the tavern,
profits vulture nest,
it ax psychedelic doome!
across the out of odd,
thumbs-down immediately,
poems glow
with prankster sand,
impuuch at Paradise Dune.





What price a foaming formalism?
button-down and immediate.





true locker room Marbles
nut hovering Palace
of Tornadoes,
O demographic
O brutal
OUR.
the Marbles wrestling combing guts.





punk an Republic
the utopian delegatic score.

Thursday, July 16, 2015

jim leftwich, 3 poems

wherever forms when but 
spectacular glimpsing f
or the known where know
n criminal known we bel
ieve known leave else d
amaged nothing the nowa
days once no longer soc
iety the one at catalog
ues what instrumentatio
n wrongly terrain known 
extremely three they ow
n one makes the remarks 
isolates certain k,nown 
known finished wantants 






we believe known leave else 
damaged nothing the nowaday
s once no longer society th
e one at catalogues what in
strumentation wrongly terra
in known extremely three th
ey own one makes the remark
s isolates certain known kn
own finished wants wherever 
forms when but specta,cular 
glimpsing for the known whe
re known criminal knownnown 






damaged nothing the nowadays 
once no longer society the o
ne at catalogues what instru
mentation wrongly terrain kn
own extremely three they own 
one makes the remarks isolat
es certain known known finis
hed wants wherever forms whe
n but spectacular glim,psing 
for the known where known cr
iminal known we believe know
n leave else leave else leav
e else leave else leave else

Monday, July 13, 2015

Roanoke afterMAF 2015

Roanoke afterMAF 2015

Schedule (organized by Olchar Lindsann)

Friday
All Day Starting @Noon:
Micropress Fair / Object Displays & Video Loops


1:00 pm    Olchar Lindsann: Revenant Archive Share-and-tell (1.5-2 hours)
3:00 pm:    Olchar Lindsann: Lecture-Reading of Avant-Garde Romanticism (1 hour) / 30 min
4:30 pm:    Ex-Avant-Writing Club (1.5 hours) / 30 min
6:30 pm: Olchar Lindsann: Sound Poems
7:00 pm: Post-Neo Mayhem (Anti-Bar Vim Blat Vom Blit kuH un-itna etc.)
7:15 pm:    Michael Peters: Bar Bar Bar Lecture (30 min) / 30 min
8:15 pm:    Reid Wood: Solo Set & Skype Session (30 min) / 15 min
9:00 pm:    Cathy Mehrl Bennett: Solo Set (45 min?)

Saturday
10:00 am-Noon:     Morning Session & Breakfast @ Jim Leftwich’s Home:
    Wilheim Katastrof & Aaron Bensen: Blacksmithing Demo (2 hours)

1:00 PM @Art Rat Studios:
    All Day: Micropress Fair / Object Displays & Video Loops / Joe Abel, Nonsalonanonathonalong 3


1:30 pm: Michael Peters: Sparrow Sound Poems (45 min?) / 15 min
2:30 pm:    Bradley Chriss: Solo Performance (45 min?) / 15 min
3:30 pm:    Claire Elizabeth Barratt: Skype Performance (30 min?) / 30 min
4:30 pm: Eames Armstrong: Solo Performance (45 min.?) / 45 min
6:00 pm:    John M. Bennett: Solo Set (45 min?) / 15 min
7:00 pm:    Olchar E. Lindsann: Sound Poems (30 min) / 30 min
8:30 pm:    John Thursday: Solo Performance (30 min) / 30 min
9:30 pm: Be Blank Consort (45 min?)


Sunday
10:00 am-Noon:     Morning Session @ Wilheim’s Home:
    Anti-Brain Rot Mail Art Show

1:00 PM @Art Rat Studios:
    All Day: Micropress Fair / Object Displays & Video Loops 

1:15 pm:    Anti-Mass? (45 min?) / 30 min
2:30 pm:    Jennifer Weigel: Performance Scores (15 min?) / 15 min
3:00 pm:    Edwin Birch: Static Puppet Play (30 min?) / 15 min
3:45 pm:    Brian Counihan & Olchar Lindsann: Punch & Judy (30 min) / 15 min
4:30 pm: At the Moment No Idea (1 hour?) / 30 min
6:00 pm: Noise Set (Chris Cobb, Wilheim Katastrof, Olchar Lindsann) (45 min)
7:00 pm: Brute Salon (????)


Monday
Noon—Evening: AfterafterMAF Field Trip to Pulaski

Tuesday, July 07, 2015

Jim Leftwich, SUBJECTIVE ASEMIC POSTULATES, PART 2 - 2015

SUBJECTIVE ASEMIC POSTULATES, PART 2

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

Asemic writing did not evolve from handwriting, it
emerged from typewriting, and more specifically
from typing on a keyboard for a computer screen.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

Asemic writing developed from typography, not
from calligraphy.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

Asemic writing is derived from the manipulation 
of letter-arrangements in words, phrases and
sentences.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

Asemic writing did not come into being as a
result of emptying the mind and imitating
the processes of nature. It came into being as
a result of activating the mind and analyzing
the processes of writing.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

We can read things that are not written. We can
be frustrated in our attempts to read things that
are not written. But we gain nothing and learn
nothing by choosing to call things that are not
written asemic writing. We look at the sand on
a beach, or the bark on a tree, or the ripples in
a stream, and we can if we wish say that we are
reading what we are looking at, or that we are
unable to read what we are looking at, even 
though in some ways it reminds us of writing,
but it does not become writing if we take a
photograph of it, it only becomes a photograph,
and it does not become writing if we make a
rubbing or an imprint, it only becomes a rubbing
or an imprint.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

Asemic writing began as a kind of experimental
textual poetry, not as visual poetry or visual
writing. It was in a sense a by-product of the
processes of recombination, permutation, 
improvisation, and iteration.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

Asemic writing has as one of its immediate
antecedents my experiment of rewriting a
John M. Bennett poem while thinking about
Stephen Smale's horseshoe map and the
concept of topological mixing. Words and
letters that begin far apart will eventually
be close together, and words and letters
that begin close together will eventually
be far apart.  The variations are at least
in theory endless. (cf., Am Horseshoe,
John M. Bennett & Jim Leftwich, Luna
Bisonte Prods, 1996)

I took this kind of procedural experimentation
and added to it a subjective, processual stage
of associational improvisation. One source
text could provide the initial conditions, so to
speak, for the generation of a long series of
derivative texts.

The kinds of texts produced via these procedures
and processes seemed at least potentially
destined for asemia. The crucial aspect of this
critical concept was (and is) its existence as
potential, not as actuality.

Therefore, then and now: no such thing as asemic
writing, only a kind of unattainable goal posited
as a source of energy for our ongoing textual
mutations.

/\\\\/\/\/\/\/\/\/\/\/\/////\/\\//\\\/\/\/\/\\/\\/\/\\\\\/\/\///\/\/\\\/\\/\/\\/\/\\/\\

My first explorations of quasi-calligraphic faux
writing came the morning after a particularly
intense experience of taking what Terence
McKenna called a "heroic dose" of psilocybin
mushrooms. I had experienced a complete
annihilation of the self, and not one of merging
harmoniously with the universe, rather one of
being ripped apart, as if in a ritual sparagmos.
The next morning i was sitting in my car and i
started for the first time to write lines of illegible
fake writing. It felt as if i were being guided to do
this, as a kind of healing for the night before.
When i sent some of these pages to John Bennett
for LAFT he called  them "spirit writings". I had
no argument with that name. Later Tim Gaze
published a book of them with that title. My
contribution to the recent Anthology of Asemic
Handwriting is taken from that book, in response
to a request from Tim.


07.06.2015

jim leftwich, subjective asemic postulates - 2003

subjective asemic postulates

as one route through the experiential, a moment encountered as encoded information is decoded in the sensorium to a biosemiotic aggregate subsequently reencoded as language. at this distance, twice-removed, we find ourselves cognizant of our own experiences. human commonality in the sense of its social utility is predicated upon the assurance of subjective experience having become relatively homogenous through its encipherment in shared language. as one route through this encipherment, we might posit as its root components the recognizable variations on the standard shapes ascribed to a set of alphabeticals used in its written depiction. another, related route would investigate the sounds evoked under normative conditions by this same set of alphabeticals. by mutating the standard alphabetical forms, asemic writing destabilizes the encipherment at the site of its visible construction. asemic writing necessitates processes of navigation and decipherment only analogous to normative reading strategies. reading becomes recombinative, recuperative, and improvisational, in direct transgression of normative linguistic homogeneity, opening to a reconstituted subjectivity of experience within language. a strictly semiotic system is reconfigured as asemic when subjectivity assumes primacy for its interpretive elaboration. one effect of this is to introduce the seductive fallacy of having returned to an origin or immediacy, as if the act of destabilizing a human code could erase the human factor from a continual dialectic of the coded, the decoded, and the reencoded. destabilization of the alphabeticals disables received strategies of reading, thus opening the asemic text to interpretive experiences outside the set of acceptable interactions as reading. consensus reality is not communicable by an asemic field. structural censorship constraining the spectrum of permissible experience is not enforceable within an asemic field. hierarchical stratifications of the dominant culture, delineating slots and roles for authorities and subalterns, are available only as transparently arbitrary constructions within an asemic field. the asemic text offers an alternative subjectivity, a site for extrapolations of the experiential, in direct opposition to any homogenous template sanctioned in the diminished capacities of socially- and linguistically-constructed identities. the asemic writer extends an openness, an absence, to the reader. as one route through this absence, we might posit the provisional reinvention of reading as a radical extrapolation of subjective experience. nomadic reading strategies along the rhizome of the asemic insinuate fractal basins for the anarchic subject.

02.27.03

Sunday, July 05, 2015

John Crouse & Jim Leftwich, Acts

Wednesday, July 01, 2015

Jim Leftwich: ONGOING RESEARCH in and around ASEMIC WRITING

Monday, June 22, 2015

ongoing Notes On Asemic Writing / Jim Leftwich. 2015

ongoing notes

ongoing Notes On Asemic Writing / Jim Leftwich. 2015

jim leftwich, poem

tact fou at project emitting pox
which tact fou at seep whiffle b
all beaks tact fou at trace of e
tact fou at xfoliation cyme abys
s tact fou at noon heaps the sto
ry logics tact fou at multispell
tact fou at ing for permanent mo
thball tact fou at art glistenin
g porcupine tact fou at the tact
tact fou at ical palace in a fou
ndational tact fou at culture at
tempt by tact fou at aspects con
tact fou at note the dots, ox or
iginally tact fou at an ey,ebrow 
uselessly pra,ctical tact fou at 
tact fou at what aspirin armisti
ce tact fou at relict Detroit hu
mp and tact fou at femur shark j
tact fou at ar solstice outs,ide 
them tact fou at writing an oblo
ng springboard tact fou at proje

Jim Leftwich, Poem

outside them
project pox
which beaks
for permanent art
by aspects ox
originally an eyebrow
an oblong
practical what aspirin
hump and femur
porcupine the palace
in a foundational culture attempt
collaborative
noon

jim leftwich, poem

outside the
project p
whicb
for permanent art
by aspects ox
orig an e
an o
practical what aspirin
hump and femur
porcupine the palace
in a foundat cultura
collaborative
non

Sunday, June 14, 2015

Asemic Magazine, edited & published by Tim Gaze

Asemic Volume 1
http://issuu.com/eexxiitt/docs/first1/1?e=0/6970491



Asemic 1
http://issuu.com/eexxiitt/docs/asemic_1?e=0/7002844



Asemic 2, 1
http://issuu.com/eexxiitt/docs/asemic_2.1?e=0/7002866



Asemic 3
http://www.scribd.com/doc/82862141/asemic-magazine-3



Asemic 4
http://en.calameo.com/read/00155997396ffa94b4233



Asemic 5
http://en.calameo.com/read/0015599735d1bbcdab23f

Friday, June 12, 2015

jim leftwich, poem

discrimp overflop Aesop Kaleidoscope 
in the p, slots rust preconc
(against) eptions adult imag
the diacustorn inations the straw 
circuit, radio, fetish locust b,ag 
affecte NI whiff liminal disc,arded 
breake simply NI jerk conjunct 1970 
target posters collabe exaura fas
later, ir, ircinations law auba
for knowirn pedest de in chicken impu
networf lse bruxis clothes 
legibilift classified hammers 
out of beatrio doors flavor silve
the gale invest rware holiday Than
sign orx ignore ksgiving incongrui
genres breakim ties antiseptic in
space, vanguam ner counterculture
mhist them aesthetics haute c
questic mirrour outure everyday fu
dream typograft nction rambunctiou
its purple synonym s raw enaction dog 
letters rightly one root-instant shatt
markeft and no ered narrations pr
where stubbote museu ivilege ivilege iv

Monday, June 08, 2015

jim leftwich, poem

minute systems pieces where reality
dialog fur envelope of
material typeface marble
success today
staging
mimetic avuncular
trashpo glob exception
harmolodic report the butter
personal inclinations sombrero knowledge globular
and folklore conservatively clay
with century self-critique
garvey-gun
predictable
props full
gravy pleasure acting
year as activity manzello
and stritch the was inclusion
"pumpkin prayer OM" closed
nature and despite
delta lasso
borders
plaster having
spark plug cartoon
syncretic restaurant the sense
starlight traffic sample advocate example
utmost uproar motive details
street caution tape
of irritant
sock
concrete colors
theory awning slingshot
iconoclasms construction its part
emotion predicate tricycle of a
splash foam barn poems
consumption initial western
bleak blade
medieval
mousetrap writing
where hammer prank
inkblot story postcards last
of studious shrinkwrap attention conceptual
prototypical secret thistle hut

Friday, June 05, 2015

John M. Bennett & Jim Leftwich collaborations 2015

Thursday, June 04, 2015

jim leftwich, poem

dissipate evolu wall of weaponized
pre-surplus entropy invisible leg
suction politically reversed
circuit prairie
dog
centralized climate
paradigm of practie
incarnate solar machine orange
cow fur permanently current register
younger pollen food occupying
nocturnal enlightenment and
tropic proje
daylight
mathematics one
notic was encode
recombinant wonders ebb-roller
socius flickering oppositional dazzle loom
astonishing flows luminous the
potato brand myriad
underworld mattress
shell
angel profane
anthropocene hair simultaneously
dispersing foottongueguru copius junkhunter
hegemonic probability juncture damage
non-as-non soup on
The Hermes-Correlation Dorothy Path
personally negation elected
shiny receptivity grammar

Tuesday, June 02, 2015

Tape transfers, jim leftwich, at ReDux Arts Magazine

Monday, June 01, 2015

Roanoke Festival Mail Art Call

NEW OR NOT / ANTI-BRAIN ROT
Roanoke AfterMAF Festival
422 Walnut SE #2,
Roanoke VA 24014 USA
festival dates: July 10 - 12, 2015


Saturday, May 30, 2015

jim leftwich, poem

punished grain what poetry 
hums foam spare 
rib punished 
languages 
civilization within 
foam without oath 
ladder civilization are remainders 
oath spare grain 
remainders within 
hums 
without ladder 
rib what languages 
are poetry 

Wednesday, May 27, 2015

dbCinema mix of jim leftwich, Andrew Topel and bill bissett by Jim Andrews

jim leftwich, poem

finger apartment mousetrap
opportunife knife curatic
social poems in the
continental powder, elusive
religions are working
against our expedition,
Periodical Ta Mu Corr of F,
rhythm publise
is 22 organizerode yes,
ye,s
to the nose,
sundial and astral vocabulary,
FOR half-Sale $300 million,
Owe, the beauty of obscurity,
postcardsemphatiddifferent
boundaries styles
anchovies
Diabloom foaming vehemently,
one works from them
properly half of a goat in
thirsts, burning the
lettuce-juice, as if the moths
are asking us, what are you
thinking, there are so many
pleasures in the
assertions of the plough.

Monday, May 25, 2015

jim leftwich, poem

proora 
a ar 
o commi,ttee toy 
art seled alongside initiative 
o temporary culminates farcili tho 
backbone 
business commist 
visiorn case-studies 
framework ughtlsalt stasis nine 
cooked paddle sparklers nose gold 
totemtooth 
to come 
ers red chicken 
anatomy desigr collective junk 
mail motley nal animaon kitchen 
dolphins 
symposiu moose
wandering ghosts of 
wal-street for golf 
balls, solutiont danglingeyemood knocking at 
the 
door, dripping, 
unstretched serpentine inture 
after kiln kittens Venus 
feathered duration cloth recombinant threads 
inin 
w,hid textiles 
puffing clanging changes
self-taught steakstate ontlox 
revea memorororororoorororoorial daysysyysysysy Roman giraffe
manic 
mannikit orange
depression cherubim loots 
retan nev bex blue 
Californian skymachine whot adjacent invisible 
meatstaples 
ques bat 
red experimenta serl 
prok muster histories reappears 
outrun soak rtil banuets pondstrife 
messages 
clarity peanuts
reveal eye ghosbt 
flavors ae baguette left 
repetition lakes secret tension antic
languagechallenge 
encyclopedia if 
cila horse scribble 
neon pedagogy organelle volute
absurd raw fragmented body ughu 
tennis 
shoes, tennis 
shoes, salts mustard 
includes a world in 
several pieces, decor metamorphosis shaping 
remembering 
cabbage organic 
time-based authorship 
to combs culinary tablet 
lotions biographical Rimbaud cornfire rare 
and 
precious nail 
anima inventic works 
meanwhile nomadic catalysts returning

Thursday, May 21, 2015

tape transfers, 2005 - 2015, jim leftwich

Wednesday, May 20, 2015

jim leftwich, poem

language describe its beehive
indegoattic actuall-concave
by which it meanings tooth
are televised wherever
the concrete presents in loops,
a couple of unwritten
exchanges over-easy,
from beyond the foamrubber boats,
vast and imbricate.

jim leftwich, poem

forms release
amoxe the self
with evoke
weave of melting shoes
>

>
><<>><
>
thus our relapersonal
periscopes

Monday, May 18, 2015

jim leftwich, poem

cound misinistry nosefeathers 
based biased boss bus busines
71 among the vulture Tiresias
laconditione dealer humaine a
fter nineteen twenty twenty-o
document voiceless hundred an
d e f g h i j k l m n o p q r
legacy-juncture twenty nine l
ab amok ok? ok. ok? ok. ok? o
during previous intentions cl
othings nothings o things not
photograpplers memory exhibit
ten eleven twelve thirteen fo
do not freeze the chilly sauc
e, were rose those hose froze
experimental narrative factor
ies and archon chin are chant
minor cheese housing kind red 
knife kindred kin dred kindre
tulip the sausage Adonis stal
ks the ls ms ns os ps qs rs t
cauterized utopian storebough
t triage tirage tirades tires

jim leftwich, poem

nosefeathers based he vulture
after nineteen hundred and
twenty nine clothings
exhibitten
were rose and archon
kindred knife
stalks the utopian storebought.

Sunday, May 17, 2015

jim leftwich, poem

dozen soap operllation at
bean soup represships
link-froth motivvvvvvvvilla
respiratory shaman and their
department of sacred container ships world will
econ-fou, econ-fou be
sweet potato highway the logical
emerging indiscriminate world

Monday, May 11, 2015

jim leftwich, poem

understructure to analyze
in action
beginning reception and
authorship at
the 21st the
the the the the the the 
the the the the the the 
the the the the the the 
the the 
possible which is also
here 

Sunday, May 03, 2015

jim leftwich, poem

role letters cat-camp e wioneierc negate
their e (fa) burrito truck the page aueu
glue awe flu fle of fragments w suite of
batteries the visual ul gaeulfot throw p
i how can llow carbon-bone neu the alpha
bet tral trail trial hou while the leuie
r-culciaes mous goal goat etrap tube-pho
ne eia is poetry eriectrs erasers ere ab
le to ctor set eraseers er and themselve
s asures hea is burrit Bob Dylan o truck
cat-camp cat bond to one nip ho eieseoci
e thr recombination ow no episode pillow
in the form agins epic sh sheets dissolu
tion against again suit s frenetic roman
ticism uite of sweet batter Rimbaud ieis
ieexepleueraio m within these images ous
etrap carbon-neut geometries ral n witne
pir wi b explores the urrito truck tube-
ph disappear around one 0eeis uoeiienuoi
punctuated with que throw pillow low law

Saturday, May 02, 2015

jim leftwich, poem

carbon-neutral throw pillow uouoiioeaaieiii
tube-phone iio etaeieurry mousetrap formide
cat-camp e wioneierce(fa) burrito truck aue
suite of batteries ul gaeulfot throw pillow
carbon-neutral houleuier-culciaes mousetrap
tube-phone eiaeriectrs hea is burrito truck
cat-camp ho eieseocie throw pillow agins sh
suite of batteries ieexepleueraio mousetrap
carbon-neutral n witne pir wi burrito truck
tube-phone 0eeis uoeiienuoique throw pillow

Wednesday, April 22, 2015

Roanoke Festival Mail Art Call


from Tomislav Butkovic

Friday, April 17, 2015

jim leftwich, poem

rain crumbles
the giant crink
and floats off
into the Coleman lantern
smelling like cheap carrot diamonds

Tuesday, April 14, 2015

jim leftwich, poem

certain memories
those that
are themselves
work as
an openness to
distract their
authors from
the cycle of
lions and silence

Friday, April 10, 2015

jim leftwich, poem

time not within itse chariot don't
you hate that shit deals go down
consecutive over what do you think
you're doing the p societies building
pale don't you hate that shit urbana
urba spar visible dissolved what do
you think you're doing modified glass
cut hues ga don't you hate that shit
fresco pianist sweating swirling
stretched what do you think you're
doing increasing sock of soup reptile
don't you hate that shit coffee
auditoriur admissiont technol perfecti
what do you think you're doing technol
perfecti pral jump leep don't you hate
that shit compulsive them subjected
dazzling cultori what do you think
you're doing obsession the picturesque
duality kinetic don't you hate that
shit Virgo no control was sought what
do you think you're doing autoconceptual
velocity society reality cigarette don't
you hate that shit butts bleached
auto-destructive wall what do you think
you're doing street rockets in a fou
don't you hate that shit formaldehyde
60-cobra work a what do you think you're
doing few auto-self will grocery don't
you hate that shit bags otabe the avenue
contexts what do you think you're doing
technological formself of plastic between
don't you hate that shit event-horizons
is bare manifesto oath what do you think
you're doing faith howls headliner of
steam don't you hate that shit stress
steam stress steam stress what do you
think you're doing dir serve debris
capitalist attack-dog don't you hate that
shit trombone castles made ornamental dirt
what do you think you're doing in
annihilation bearing computers irrevere
don't you hate that shit nothingness trapeze
singular what do you think you're doing

Monday, April 06, 2015

Jim Leftwich, Poem

scheduling constructed revolutionary identities tailings
pond scheduling torrent churning neodymium
sacrifid green scheduling austerity employment
geot sludge magnets scheduling liqu
resuh systemic fiscally caucus scheduling
sulphuric strome endless scheduling headphones
waste legitimate scheduling pre-school
dissolving scheduling nickel toxic gadgets
scheduling script glosses available scheduling
laznil scheduling socialis stret forg
touchscreens 2009 scheduling car mot
fou and themselves scheduling owe
Delaware tree memory borl scheduling
cerium factorie monume scheduling field
oar crossed scheduling by moons
China scheduling to ou oxide
scheduling imposs percolates five-rib
modelleo scheduling supply a commercial
groc cult scheduling of fire
dou char clay scheduling we
cone abundant Baotou container scheduling
samples freedom and scheduling initiation
at sea scheduling ships catalytic
route scheduling realism cultural barbarism
scheduling electric dystopian smelled Detroit
three-inner scheduling technologies romanticism
and footpath scheduling Mongolia industrial
hell peak heroic scheduling sentiments
cooking stove senses pipes scheduling
pylons roar abandoned scheduling interot
conformity sulphur lake scheduling flame-tipped
dustbin scheduling of majestic consumers
scheduling byproducts waste chemical forthcorning

Monday, March 30, 2015

DOUBT, Jim Leftwich

DOUBT

eBook (PDF), 593 Pages 
DOUBT
Price: Free
Download immediately.