Marshian

What I have is massive confusion. I am starting two Chilsons, Calm and random. They both feature Marsh in a side way. But I need another Marsh, maybe a shorter one that I can draw my next piece of the parking lot from. All the more valuable if it becomes a firestation. Like Mrs. Disberaki and Mr. Thasaki. THere is a time element to it. That is mostly bad. So too with Bob. Time becomes an issue. If you rush it is not ;good for the work or me. Just get it down and in machine. All the time in the world.. For what it is given you to do.

No more Manhattan Bagel. Need place to get warm. Stop and Shop. The new source of instigation.

Can't figure out the Jenkins book except I don't like it. I am not a poacher.

Who owns what? Why do they own what goes over public air? Also I am not of this culture. I reject it at a deep level.

What am I? A dead shepherd. Greek. The Thomsen book is as good as Blood Orchid. A very dark and beautiful book. Non-connection. I'm dead. SO is Chris. Which one? The role of the total observer. A lot of people like Thomsen go dead.

Traveling music, for me and blondie and Bob and the parking lot. The thing doesn't mean a damn to the gulls, as they will just work the joint down the street. The fast food will always be there and so will the gulls to the end of time. Like the shepherd on the hill you have the gull in the parking lot and also the little pigeons. All three are free.

And Kevin will escape to New Hampshire.

Fast t'ing. Fast shots like a qix to do a few little shows to illustrate what I feel. As it comes to feeling that we wish to convey, is it not?

Now you go to seferi. Just do it and he will elucidate New York and Franklin and Wrentham and Superman for you.

Notebook. Have to take Waylon out again. Hopper's book on commercial art.

What Sully says I am cooked because I talk to the detergents. Talk to the detergents.

When or pote tha ksanamylyses? or potee. When is aweful close to never.... in the Greek language.

When is close to never...in the Greek language.

Print and the power of the two languages, the fruit boxes, the Franklin print and that of Marsh or Evans or whoever. ;Print and witness as we traipse the stations of devotion that get us through the thirties and into the intense nineties of the Blondy era. \

Stations of devotion. The traveling troubador. Goes to tell the story of this place or that place.

How Blondy is now witnessing a Christmas holiday. Take a picture of the trees and Billy's thing.

Run to the blood coursing line from Seferi to the line in Jennings on page 254.

Jennings is performing all the time as he goes on the drugs. "Waylon," 1996 with Lenny Kaye. " I'd get my hat on and grab my guitar, walk out there, and everything would settle down. It was like the pulsing in my blood duplicated the rush of performance adrenaline." Recall also the outlaw theme and connect to klefts.

It would seem everything is connected to power here. The Waylon book is Warner's. THey aren't real outlaws. Just a stance as he says everything he does is. A reaction to what fans want and what buys him money. Audience driven. Not pure in that sense.

Now look at the notes. The theme of in-visible, the idea that what appears not to be there, is. A take on what is reality. Page 36. First notebook. I have something on the invisible.

Plowden. Page 35. "We suffer from a pathological inability to read what is happening to America." not seferi here but my own man, David Plowden.

Looking over the old notes and Plowden and what he says. What we did was dress up as someone else and then got lost in the role, forgetting who we are. An American people rooted if we will it. Now, we have to find the old tea room and reproduce it faithfully. In Dover. Now. That is the point and why we got messed up. We played dress up and then forgot the baseline. In Marsh it is the honky and Coney Island. In Bob it is the beach. In Seferi, the old culture. Always looking back, as Peter Macauley says. Which is what I do. Look back. To find the future.

Baselines. Marsh. Bob. Beach. Seferi. old culture. NIneties.1941.

Says above we dressed up as someone else. As a consumer rather than as a homo faber. A doer, a maker, a mover.

Very conservative perspective.

Charioteer 15, I think Apollo still plays unconcernedly among the pines

Phocas. Page 7. There is no escaping a world permanently ancient. I think that may be the point. We can't and don't get away. We don't want to . Look at the postage stamps of the last few years. All the rural postman and Elvis etc.

four centuries of almost total extinction. in last sixty years. two Balkan wars, two world wars, a massive catastrophe in Asia Minor, three years of Nazi occupation, four years of civil war and a shift from an agricultural base to industrial. Society could not handle it. IT broke down. Had to.

Page 37. We are the first generation to live entirely in its media. Like in Marsh's time they were the first to industrialize sex. Lost every day or lost every night and found the next day. The poem fits here I believe. Where is it?

I think that may be it. The first to live like Mary entirely in its media. Lost in space and hypernet. In a virtual or hoked reality. Call it real and it ain't. The music and the mtv and the net and the rest of it. Not real life but its substitute. Marsh's people fell into a mass marketing of sex thing. WE do the same now, only it is makebelieve. We don't do it. Only think about it.

Called Land of the Immortals and it is in Calm. They wake as someone new. They are just momentarily confused and the Americans will win out. I count on it because we learn from our dressers up from Superman and spider man and them. The little kids are getting socialized early to recognize the sense of dressup. A complicated and a dangerous thing but no big deal to a thespian of old like Aeschylus and Seferi, his child. They know the power of theater because they own it and have for a few thousand years.

What are you dressed up as? The Greek knows and so can the Americo. Just passing the time and letting the media educate us so we can act and make a better world with not any crimes, bombs and hates.

Use the poem for a hook.

Now go back to page 37 and dig a little more. Get address of Charioteer. Get price and tell them nothing.

I am of a simple people. THe shepherd. or the villager in the field up over the village and goes home to no lights. Says on notebook. Me.

Light is a miracle not an invention.

My brand of Greekness in peasant. Tied to trees, rocks and sky,, says I in the notebook. I don't know machine. Don't like it at all. The tricycle that came to Nisiro.

Then I go on to say the american tradition is strong. That is what I am plumbing with Mary and Waylon , with Marsh and Blondy. With Plowden and how much I love him and Walker Evans and Leibovitz. Dress up is a phase only. Must result in deeds. When? Or do we say never? ANd go down the chute.

I say we are all still here. Like Bob Briggs is here. "It is our place. Our home." THis is all the new immigrants are saying also. THey like me have figured out early how to have their cake and eat it too. The glorification of the home culture and the blend to the American base. This works as in La Plaza and the works of Nancy Savoca. Endless subrosa modification as Seroca shows in dress for the photograph.

Can't find the first notebook.. Go back to Charioteer and try to start over again. That is what is really called for at Rgis. Work the poem finished in to my narration. By Cavafi. Mas synepairnei. THis is poem about watching the horizon for trouble and missing its real direction every time. It seems that Kavafi really points to do and do not think about it. Just do it. Then pay the price and talk about it as a past glory.

Page 37. We quote Mylas in Children of Necessity. We carry a commitment to be human!/ WIth this Commitment we will reach the border/ where our goal becomes sun! Charioteer 31-2 Page 160

Where would you like to live? In the hard world of survival, Bob's parking lot or the world of soft. Before the people come out to do the Christmas shopping. The soft world of art and music. Poems and flowers. Where would you like to live?

Answer. In the soft world of art. BUt daily I clean the place for the tourists of the soul. SO they will be happy.

Stay with notebook two. page 39 tripsters. Makryanni learned to write inorder to fight injustice.

Makryanni learned to write at age thirty plus in order to fight injustice. And so how I am him dressed up like a bum. I do the same thing he did only I can use the digits to tell the story and the truth. In the now universal language of the gods. The american language. of mine.

The dad in Crooklyn is filled with dreams like the big trees.

Page 40 does Mylas and his lines on "I carry my tombstone under my arm. and "We are heading for the gates of darkness/ with a bit of dawn concealed in our heart."

The idea of Blondy is it is still dark. Dawn and that is when she and I are not distracted but can see.

Like Mylas says. On the dumb shore the wind awaits us.

The sails must swell/ withour songs. Then I go to a good title. Where freedom sings. All this Mylas in 3132 Char. Page 166 The executioner got frightened/ and then on 167. we walk/ against the wind/ with torches/ and then on 168 that will never go out./ When I reach my destination/my wounds will sing/ of how much blood was shed/in order to bring the reign of love/ to this world/ nice title the reign of love./ It is in this kingdom/that my own justification also exists! What a nice poem. Mylas is really terrific. He experienced war. Came out positive and focused. Used his line in Akou.

172 collected poems

Hey, you who are scared/by the thunder of the fight for justice/ your name/ will never be heard/ in the prayer for human glory./

177 I promised you the sky with its stars/ diamonds and pearls/ to adorn your white neck/a warm kiss/ from the leaves of my heart./

Then I was watching a power suit go the back of library at At regis to read the professional want ads. God bless him. He bleeds print.

Then the notes turn to Bourgeois and her statement. "Her subjects are ancient and she worries them for decades."

we must 'reckon with our subjectivity." That and responsibility. SHe is a cell theorist who says "cell, you better grow up." or what we can say is "call, if you grow up."

I can't get ahead of myself. Just go forward as I can and be patient with my self. That is all I can do. Go at a pace that is faster than death.

A pace faster than death.

It seems I can circle back to the second notebook and find the small themes I pursued earlier in the year.

I like the look over the parking lot and hope to connect to Marsh. The mundane Marsh who taught me to see straight. The warhol who taught me to see ads, the profound Plowden the Burchfield, the Hopper who taught me to see structures. The visionaries like Mylas who taught me to seek songs. His lines get me to sing over Blondy's shoulder.

Again a grey world of Greek and American culture that allow me to verbalize a thing. A parking lot where the world comes to play and shop and throw its wrappers. All presided over by a cardboard figure from the fifties and some surreal kitchen furniture.

49 Elytys. "Poetry is a mechanism that demechanizes humans and their relationships to things." THe poetic vision is able to be expressed and experienced in poems and in prose. My vid on Blondy is such an effort. I just tell a story as I feel it and I am in the story and it is a kind of poetic view. THe figure allows me to see anew and that is all poetry does. I demachanize my world and me and the people in it.

really funny. I am doing at this time, "This Greece," and it seems so long ago. I am worrying over modern ads. I have come such a long and hard way. I use ads effortlessly now. I know how to use them better.

51 I better quit now. I use the line in my notes. "You must have compelling reasons for being the way you are." I think it applies to Pam and to Karin. To Mary and to Ed. To Kevin and BOb and to Berinice.

Use Dover town as weapon for overweening commercialism. 24 hour a day camera down town. THrow back images as one would a ball.

then i go to the vid as a visual type letter. me thinking. really noncommercial and kind of worthless. Art still.

] This is really circularity in the notes I am playing with. Yet I can handle it as long as the mind really stays calm. Not out of control.

when will you speak again? Now now. seferi's compass off his granfather's boat page 55.

57 Finish as it is almost ten thirty. Sunday. Bob's for milk and walmart and damouls. Here is what the master seferi has to say to me today. page170. saw a couple on an island"who did not have that rapacious or hunted look which he has observed in everyone else." and he "wondered whether these people knew they escaped from the nets of the world." That says it all for me. The line of seferi that is so real. He never stays in this world. He is a clever celestial traveler whom no-one notices somehow. Until he dies and then they know but do not care still. What the things of the world are telling me. How they interact with my soul and my body and to express them. Here you can add the idea that his blood courses like thought and history and the river do. They are all analogous.

59 141 "a drama of blood, played out between the light of the sea, all around us that very few sense." in attic summer. a black void. 'a frightful black." that we are all of us playthings of this black."

the new man and the new woman. You must have compelling reasons for being the way you are.

12-4 I wrote this thing and do not know what all it seems to do for me or Mr. Reginald Marsh. I call it marshian. What it is is reg up to date. It goes like this. We were liberated from the confines of poverty and the dead village. Given a taste of ambrosia with the products, the porn, the sex. We like it. But Marsh says to exercise caution as it is not really reality but a substitute. Any idiot knows that. But we still like it. The job of family and community are still there as we get lost in this new reality. This reality of the box in the house. The vid, the tv and the internet thing. From1930 to 1997 it is the same. When or never -Title of piece. "When or never?" when or never will we grow up and out of this device? we need wean ourselves and get down to tacks and tackle realities that call forth. SO we can live as real Americos and not as constructs who go about as little Roseannes, Maryannes or supermans. The guy on Married with children, Friends. These people are not real. They are made up/ They dress up so we will learn from them. How to be real. They are stage actors on the Aeschylean stage only. The stage is not reality. It is not real. Not really. We are real. Why don't we see it? That is the Greek call. Get real. Know Greek. "Ti athropos eisai?" Take wednesdays to find out.