Ever since I wrote under the prisoner’s constraint I’ve been looking at almost every word I read and write. It’s become involuntary to examine their shapes. There’s no point to doing so, or to even write about it now, but I like it.
ex: how you can write can but you can’t write can’t, nor can you write how, you, write or but, but you can write nor and or but you can’t write and
“Because the Impaled Nazarene trademark from the very beginning has been that we have the goats title on our song. Our very first EP was called Goat Perversion. And then it continued with the Goat Sacrificing, Goat War, and actually on our website, I asked the question. ‘do you want us to continue having the goat songs, yes or no?’ and everybody else except one guy said yes, continue with the goat song. We want goat songs. So I said ok, you want goat songs, and so goat songs you shall get! The thing is that when you are doing a goat song, the song is called ‘Goat Sodomy’ you can be sure that it’s not going to be deep social commentary of our problems. The goat songs will have Satan, the goat songs with have goats, the goat songs will have bleeding rectums, they will have blood, shit, all things that we all love and like. And have a nice day, thank you!”—Mika Luttinen
The Christian parody band ApologetiX parodied “Pepper” into “People”, a song about the disciples of Jesus Christ. The song is labeled on the CD as “People (A parody of “Pepper” by The Buttonhole Surfers).”
Immediately after marriage, his wife, Layla (Traylor Howard), cheats on him with a dwarf African-American limousine driver named Shonté (Tony Cox), who, like Layla, is a member of the high-IQ group Mensa. Charlie’s friends try informing him of his wife’s infidelity, but he denies the possibility. One year later, Layla runs off with Shonté, leaving Charlie to raise three biracial sons who are the products of Layla’s adulterous affair with the limo driver (and one of whom is actually named Shonté, Jr.).
i carve an economic missive: saves me room. i am in woomera in error. no, i am no con. one assumes no severe crime as or ere one arrives. seems reverse is our case. now no reason one can ever even come. remain in our zone. never come see me. raise our sons sans me. summon sis’s service, as i am sure sis cares. i now miss russia.
in sorrow, ivan
(With acknowledgements to Ian Monk, whose “russian con’s economic missive” I have partially appropriated)
I’ve spent so much time with Jacques Roubaud’s The Great Fire of London, always conscious of its themes, but staring at it so closely that they almost ceased to affect me. Almost. Then just now I thought of it, remembered that all through the novel
[the subtitle calls it a novel, even as it centers around a real event, and is told in the voice of whom we can assume to be JR himself - I got so used to the book that the reality behind it, which is really so present in its (traces of) composition and its structure, became less real]
he is talking about the death of his wife, and got sad.
Pleased if some Souls (for such there needs must be)
Who have felt the weight of too much liberty,
Should find brief solace there, as I have found.
Rather than doing a close reading I’m just quickly commenting on the sentiment of the poem, how it is to me. Wordsworth varies in quality, and I think I can only take so much. This is one of the good ones. (I will say a little more than planned in a note here: I also like the alliteration, the repeated n and t sounds at the start in particular.)
Mainly the appeal is the sentiment, more or less simple, that there is solace in self-imposed restriction: as in the sonnet form, which is being used in the telling. The suggestion that liberty can be a weight, that unrestrained outpourings may have value (though constraint is ever-present, from genre to form to language) but are weighed down when the contact with perhaps the greatest restriction, language again, is unmediated. The barriers narrowly focus the creation, and are comforting. [Comment on Universal History necessity for master.]
It’s semi-Oulipian, even as the Romantic idea of inspiration is so unlike the Oulipo.