Telephone Issue 2: Renee Gagnon & Steve Savage

telephone Issue 2: Spring 2011

TELEPHONE Issue 2 Edited by Sharmila Cohen & Paul Legault Copyright Š 2011 by Telephone Brooklyn, NY www.telephonejournal.org

Cover Art: Nick Sumida Flip Book: Eliza Hartley & Erik Romanyschyn

ISSN 2156-9606

CONTENTS Issue 2: Renée Gagnon & Steve Savage CACHE-CACHE [VERSION MONTAGNE] ___1re étape [1] oana avasilichioaei | | mark bibbins | | daniel canty | | dorothea lasky guy leblanc & étienne lenoir | | david lehman | | françois luong & karen hannah | | erin moure | | emily pettit & michelle taransky matthew rohrer | | cole swensen | | uljana wolf & traver pam dick ___2e étape [14] oana avasilichioaei | | mark bibbins | | angela carr | | dorothea lasky guy leblanc & étienne lenoir | | david lehman | | françois luong & karen hannah | | erin moure | | emily pettit & michelle taransky matthew rohrer | | cole swensen | | joe wenderoth uljana wolf & traver pam dick ___3e étape [29] oana avasilichioaei | | mark bibbins | | angela carr | | dorothea lasky guy leblanc & étienne lenoir | | david lehman | | françois luong & karen hannah | | erin moure | | emily pettit & michelle taransky matthew rohrer | | cole swensen | | uljana wolf & traver pam dick

CONTENTS ___4e étape [48] oana avasilichioaei | | mark bibbins | | geoffrey cruickshank- hagenbuckle dorothea lasky | | guy leblanc & étienne lenoir | | david lehman françois luong & karen hannah | | erin moure | | emily pettit & michelle taransky | | matthew rohrer | | xandaire sélène | | cole swensen joe wenderoth | | uljana wolf & traver pam dick ___5e étape [75] oana avasilichioaei | | mark bibbins | | dorothea lasky | | guy leblanc & étienne lenoir | | david lehman | | erin moure | | emily pettit & michelle taransky | | matthew rohrer | | xandaire sélène | | cole swensen uljana wolf & traver pam dick ___6e étape [97] oana avasilichioaei | | mark bibbins | | daniel canty geoffrey cruickshank- hagenbuckle | | dorothea lasky | | guy leblanc & étienne lenoir | | david lehman | | erin moure | | emily pettit & michelle taransky | | matthew rohrer | | cole swensen | | joe wenderoth uljana wolf & traver pam dick +++ [114] dara wier & luke bloomfield | | joshua marie wilkinson

. . . it is [the translator's] infidelity, his happy and creative infidelity, that must matter to us. —Jorge Luis Borges

1

mon mont ma montagne à marcher en mousse ma montagne quand ça pousse la monter [LE MONTAGE DE MONTAGNE, MONTAGE-GNE-GEIGNE]

GAGNON & SAVAGE

CACHE-CACHE [VERSION MONTAGNE] ___1re étape

AVASILICHIOAEI

2

SCREEN-SEEK [MOUNTAINEOUS VERSION] ___episode 1 my mount my mountain marches mossed my mountain quickens progress to mount [MOUNTA IN MONTAGE, MONTAGE-A IN-GA IN]

3

R A INING :

my enemies creep through the morgue enemies croon in my doorway [FIGS H A NG FROM MORTA L TR EES] [IN THE GR A PHITE MONTH OF M AY]

BIBBINS

Medusa [1]

CANTY

4

PEEK-A-PEAK [MOUNTAIN MIX] 1st strata my mount my mountain to mount my mossy mountain when it froths mount it [MOUNTA IN’S MONTAGE, MOUNTAGE—MNT—MOUNT]

5

M Y HOME IS A TR EE TO WA LK INTO IN LEA F M Y TR EE W HEN IT SCOOPS TR ACK HER

[THE LEA F A ND FIR COMBINATION, LEA F-OA K-SCR EA M]

LASKY

FINDING ONE HOME [TREES VERSION] __1st STAGE

LEBLANC & LENOIR

6

C² + M(y) = Mountain [SCIENTIFIC APPROACH: 1] STEP 1:

Be someone named yourself, Guy.

GU Y:

Own this mountain and the mounting of it and the marching on it of it and of mine in my mountain moss, when it shoves me, and I get on top of her.

THE MOUNTAIN’S MOUNTAIN: [MAKE ME A MOUNTAIN.]

7

Daphne: My mountain is my mound I walk and it works It is sacred ground the grass grows savage there The mountain is my body and I push it up the hill A chocolate mousse is my mountain My mountain is an essay by Montaigne My mountain is my mind my mound.

LEHMAN

Savage Mountain: An Eclogue Act One

[NOW, POSSESS THE FACE OF THE MOUNTA IN]

: a quandary is the only way to possess the lament that is the mountain

this mountain as mother

1st taping

LUONG & HANNAH

8

9

my mount my mountain to mount amok on foot in slush my mountain when I’m in a rush to mount it [MOUNTERS OF THE MOUNTA IN, MONT-MOUNTMOUND-TA ME]

MOURE

TONGUE-N-CHEEK [DANCE VERSION] ___HOP

PETTIT & TARANSKY

10

CONCEAL & SEARCH Stage One My mountain was walking. My mountain was walking. W hen Pushed, say: “My mountain was big for you.”

Say it does not belong To someone. Someone thinks: It was assembling all pieces of anything it could find into . . . A spectacle was speaking . . . A mountain

11

With my Jamaican-Bobsled-Team-colored marker my mother maintained that mousse made me look like a pussy [she never stops maintaining this]

ROHRER

CACHE-CACHE [VERSION MONTAGNE] __Back to the Taping

SWENSEN

12

HIDE-&-SEEK [MOUNTAIN VERSION] ___1st stage my mount my mountain now marching in moss my mountain when it moves to mount it [THE MONTAGE OF THE MOUNTAIN, MONTAGE-EN-GINE ]

13

(winsome:) mouth mount my mountain to step up unmess my mountain squander a pose, remount my mountain, muse, repose, my must / my qua / my supposition groans / MO [ LET MASH-UP BE MOUNTAIN, MAINTAIN PREMISE OF INCLINATION ]

WOLF & DICK

Demonstrative (a Poetic Obstacle) HIDE & SEEK [INVERSION MOUNTAIN] __1rst Stage (loop)

GAGNON & SAVAGE

14

CACHE-CACHE [VERSION MONTAGNE] ___2e étape La montagne, je définis sa masse pour la dompter; sa masse se dresse, dressée : La quantité. . . La quantité relativement grande . . . La quantité relativement grande de substance. . . La quantité relativement grande de substance solide. . . La quantité relativement grande de substance solide ou pâteuse. . . La quantité relativement grande de substance solide ou pâteuse, qui n’a pas de forme définie, ou dont on ne considère pas la forme.

C’est sa définition, c’est sa forme.

15

Lasting mountain, defining its mass lastingly domesticates it; its mass distends, domesticated: Lasting quantity . . . Lasting quantity relatively grandiose . . . Lasting quantity relatively grandiose donning substance . . . Lasting quantity relatively grandiose donning solid substance . . . Lasting quantity relatively grandiose donning solid or pliant substance . . . Lasting quantity relatively grandiose donning solid or pliant substance, negating definite form, or not considering lasting form.

Settle its definition, settle its form.

AVASILICHIOAEI

SCREEN-SEEK [MOUNTAINEOUS VERSION] ___episode 2

BIBBINS

16

Medusa [2]

SINGING :

My enemies hide among corpses, same distortion same fruition.

All of them, all of them massive and becoming more so. All thickening. I lay the bodies in a field. There are as many bodies in the palace moat—they are their own country, even their shapes are no longer theirs.

Deformity: what unmade me has made its way here.

17

I define the mountain’s body to surmount it; its body stands, tamed: The quantity . . . the relatively large quantity . . . the relatively large quantity of substance . . . the relatively large quantity of solid substance . . . the relatively large quantity of solid or viscous substance . . . the relatively large quantity of solid or viscous substance, without definite form, or without that which could be called a form.

That’s its definition, its form.

CARR

HIDE AND SEEK [MOUNTAIN VERSION] ___2nd Step

LASKY

18

FINDING ONE HOME [TREES VERSION] __2nd stage The oak and branch, I make my matter to mean to it: Its meaning is there, on the sky The way it hangs///the strange sense of big/// The relationship of wide to meaning/// The very large thing of hefty meaning///The relationship of stress to what is soft and hangs low///The matter thing that broadens plastic or soft f lesh, and that which does not surround but bends, but knows to be air.

That is the way we speak of it, that matter.

19

In the previous step, we find that the object, “mountain,” is defined in terms of possessor and possessed, i.e. ownership, ascent, etc., but how is “mountain” to be defined and what is its form when it stands as the subject. In Step 2, we seek to master this mass. See: the letter “M” and mark the matter.

M as: a mound of mud.

M as: (or not as) malleable.

M as: a mounted mass.

M as: (or not as) a molehill.

M as: magnificent or malignant.

The definition is erected and quantified here as form.

LEBLANC & LENOIR

C² + M(y) = Mountain [SCIENTIFIC APPROACH: 2]

LEHMAN

20

Savage Mountain: An Eclogue Act Two Apollo: The mountain is my beard for so I define it I dress my mountain in a suit One inch of gin two feet of snow Three gamblers drinking beer playing poker Four monks on top of the mountain five cards Six senses seven days and then he rested.

That is the form of my mountain, as I divine it.

[NOW, A DDR ESS THE FACE OF THE FOR M]

it is night now and a 4th call

solid substance

as they rise

dressed and addressed quantities

now formless

LUONG & HANNAH

: to recognize the massive amount of formless substance is the only way to pass through 2 nd taping

21

MOURE

22

TONGUE-N-CHEEK [DANCE VERSION] ___PAS DE DEUX Mountain, I define its mass to mark it; its mass massed upward, massive: The sum . . . The somewhat huge sum . . . The somewhat huge sum of substance . . . The somewhat huge sum of solid substance . . . The somewhat huge sum of solid or softer substance . . . The somewhat huge sum of solid or softer substance, that has no form defined, or its form we don’t attend to, tend to ignore, in sum.

That’s its definition, summed up somewhat, that’s its form.

23

A stage for shaping The mountain . . . Not this Mountain relating to others Not saying I To have the big say. To say the something big.

It’s formed and built. The sum that is considered The defi nition of the defi nition the mountain raises

PETTIT & TARANSKY

CONCEAL & SEARCH Stage Two

ROHRER

24

CACHE-CACHE [VERSION MONTAGNE] __To the Taping She maintained that Catholicism should be poured into a dumpster; all the dressy dresses of the mass The quantity . . . the relatively grand quantity . . . the relatively grand substance . . . a solid substance . . . solid or spreadable . . . which form [spreadable] has no definite form, or we don’t consider the form [of Catholicism] which ought to be the definition of form

25

The mountain, I define it by doubting its mass its mass is standing; stand up Mountain!

The amount . . . The rather large amount . . .

The rather large amount of matter . . . The rather large amount of matter that matters, the rather large amount of matter that matters or mists over, making its neatly defined outline rather doubtful, or not worth thinking about.

That’s its definition; that’s what matters.

SWENSEN

HIDE-&-SEEK [MOUNTAIN VERSION] ___2nd stage

WENDEROTH

26

HIDE AND SEEK [MOUNTAIN VERSION] ___2nd step The mountain, I pin down its mass to move past it; its mass is drawn up, taught: Quantity . . . Relatively large quantity . . . Relatively great deal of substance . . . Relatively great deal of mass . . . Relatively great deal of mass or wet . . . Relatively great deal of mass or wet, its definition missing, or which one does not consider stance.

Its definition missing. Its stance.

27

(savage:) Lament how to define its mass or master doubt: a mess of dresses, a dust-up: … … … … …

… … … … …

… … … … …

… … … … …

… … … … …

…… … … … … … … … … … … … … …… … … … … … … …

Or the relatively large logic quandary of the heap or sorites paradox, which has no definite form, or doubt of formal constraint of steps amassing form.

It’s sans definition, this is its form.

It is this, s a sand form definition: {sorites paradox (Greek soros, a heap): One grain of sand is not a heap. And for any number n, if n grains of sand are not a heap, then the addition of just one more grain does not make them

WOLF & DICK

Demonstrative (a Poetic Obstacle) HIDE & SEEK [INVERSION MOUNTAIN] __2nd Step (heap)

WOLF & DICK

28

a heap. But in that case you can never get a heap, for each grain you add leaves you just as much without a heap as before. The paradox is serious because it raises a tension between classical logical and mathematical reasoning, and the ’vague’ predicates of natural language. Solutions include approaches based on denying the second inductive premise, on introducing ’degrees of truth,’ and on modifying classical logic into fuzzy logic.

But it is generally recognized that no solution is free of problems.} Lament meant how one grain of other sprache, on a heap of n grains of sprache, raised a series of, a case as before, add leaves, just as, a second fuzzy heap [SEE THE TAS OF THE TR A NSLATOR]

29

« Se masser », « a-masser », « ra-masser », « RE? » forment probablement une masse. « Masser » une masse permet fort probablement de soigner un corps. P ASSER AU SAS PERMET SAS-SER

CERTAINEMENT DE SÉPARER DEUX CORPS ET D’EN FAIRE DES MASSES.

Une « masse » est un outil qui sert à enfoncer.

Si la montagne est bel et bien une masse – et c’en est une – , qu’enfonce-t-elle ? S’enfonce-telle elle-même ?

Regardez bien : où que le regard se porte, pas une seule montagne qui vaille. Certes, une chaise. Certes, une tête. U NE BÊTE . Certes, une scène. Mais rien qui ressemble à une montagne.

L’hypothèse voulant que ce soit une masse semble ici confirmée.

Je conseille donc pour l’excursion de prendre une pelle avec soi. Elle sera des plus utiles puisqu’il semble maintenant assuré qu’il faudra creuser pour trouver.

GAGNON & SAVAGE

CACHE-CACHE [VERSION MONTAGNE] ___3e étape

GAGNON & SAVAGE

30

On pourra dire ainsi que la montagne est en fait un grand, un très grand tas que camouf lait autrefois un trou : le trou que l’on aura creusé.

31

“To mass,” “unmass,” “amass,” “ R E-SIEV E-SAS?” possibly form a mass. “Massing” a mass fervently possibly permits to save a corpus. PASSING THROUGH A SIEV E CERTA INLY PER MITS T WO COR PUSES TO SEPA R ATE A ND FOR M M ASSES.

A “mass” is a tumor serving to fissure the populace.

So does the mountain, being a mass—exceedingly one—quest fissures? Fissuring its own mass-self?

Retrace bounteously: where quests the portable trace, past validating one single mountain. Certainly, a seat. Certainly, a friend. A FIEND . Certainly, a scene. Regrettably nothing resembling a mountain.

The hypothesis avowing a solid mass incidentally seems confirmed.

For the excursion, I definitely counsel to procure a shovel for self. It surpasses all possible utility as momentarily it seems assured that to

AVASILICHIOAEI

SCREEN-SEEK [MOUNTAINEOUS VERSION] ___episode 3

AVASILICHIOAEI

32

traverse we are forced to carve.

Accordingly, possibly declare the mountain as in fact grand, a terribly grand stack once camouf laging a tear: last tear our hour will carve.

33

SINGING:

Spoiled my master: resuscitation, amazing remission; then bled myself when I MUR DER ED THE M ASTER, SPLIT HIM INTO T WO M ASTERS.

Now I do as they tell me, twice.

Built two sleds to drag him with so the master can follow himself.

N.B .:

There is a door to the village, through which cherries and more cherries. These cherries’ only time. O NE BITE , one cherry, another; so many they become monstrous and unmoored.

Hymn to servitude, nothing compels us like nothing we knew.

Begged him to take my skin from me. Promised to be good. Would show all my red useless work.

He poured answers from a cracked glass.

Left me to drown in the juice.

BIBBINS

Medusa [3]

CARR

34

HIDE AND SEEK [MOUNTAIN VERSION] ___3rd Step « To mass », « to a-mass », « to gather », « TO R E-SIEV E ? » probably form a mass. « To massage » a mass enables body care. THE SIEV E CERTA INLY M A K ES IT POSSIBLE TO SEPA R ATE T WO BODIES A ND CR EATE M ASSES.

A «mass» is a tool that is used for going deeper.

If the mountain is, really and truly, a mass— and this is one—what does it burrow into?

Does it enter itself?

Look closely: regardless of where the gaze falls, there’s no worthy mountain in sight.

Sure, a chair. A waist. A BEAST1 . Sure, a stage.

But nothing that resembles a mountain.

The hypothesis that this is a mass seems to be thus confirmed.

Thus I would advise bringing a shovel on the expedition. This would be most useful; it now 1. A head. THE DEAD.

35

You could also say that the mountain is in fact a very big pile that once masked a pit: the hole we’ll dig.

CARR

seems certain that one must excavate order to find.

LASKY

36

FINDING ONE HOME [TREES VERSION] __3rd stage “Touch,” “firm,” “collect,” “revise” a meaning from matter. “To touch” a meaning means maybe to care for death. C ONNECTING TO THE WOR LD TRULY DOES A FFIR M THOSE T WO THINGS TO A FFI X A ND TO LET MEA NING GO IN.

A thing is a man or woman that means to break down.

If the plant is beautiful and actually of meaning —and that it is so, —what or when is it to crack into itself ? Does it mean until itself ?

Ecce: what you see befallen, not the thing that has leaves but that which is animal.

It is true a footstool. And so, your face. A N A NIM A L or truly a spectacle. But not that which is like a tree.

The question lusts for this—to be a scene and also have meaning—to be bound in wilderness.

I will tell you then for the sake of the journal

37

It is really true that one could say a tree has meaning, a wide one, a truly big mass when at one time hidden a big emptiness: the thing we will have uncovered.

LASKY

to take that which can dig with you.

It will help you the most because it appears at this time for real that we will have to uncover to know.

LEBLANC & LENOIR

38

C² + M(y) = Mountain [SCIENTIFIC APPROACH: 3] Definitions must not be limited. The subject and object are subject to further investigation. Approach the mountain mass from a utilitarian standpoint.

1. Purpose: How may a mountain be mastered? W hat is the relationship between the mountain, the mass, and X in terms of purpose and usage?

2. Research: Massaged masses are in good hands. (See: Steps 1 & 2) 3. Hypothesis: This is a mass, wants a mass, and is a wanted mass.

4. Materials: A chair, a head, a scene, a beast, a shovel.

5. Procedure: I. Allow mountain to sink.

II. Look here; follow the look.

III. Excursion with a shovel.

IV. Dig a hole.

6. Results: The mountain is magnificent and divided. During lab work, the mountain

39

7. Conclusion: The mountain is a very large heap that once camouf laged a hole.

We dug the hole. (See: Steps 4 through 6.)

LEBLANC & LENOIR

broke down to its smallest members. Some members were malignant.

LEHMAN

40

Savage Mountain: An Eclogue Act Three Apollo: The mountain is massive is central I stand in the back of the cathedral and observe the mass presented as a ballet to the music of Stravinsky the congregation is attentive there is money on the plate there is incense in the air but no jubilation as when I return to the mountain and join the men who dance like planets around the sun and make a hell of a racket and celebrate their mighty phallic selves on top of my mountain.

3 rd taping

LUONG & HANNAH

what truth is heard in the crease [N OW, FACE THE CR EASE. CUT INTO W H AT TRUTH IS HEA R D. THIS IS OUR FATE.]

W hat hypothesis a faulty crease

nothing that resembles a mountain

where our gaze carries on

and now we dig

: you always knew it as a mass of unconfirmed bodies

41

MOURE

42

TONGUE-N-CHEEK [DANCE VERSION] ___MAZURKA “Mash,” “mass,” “massed,” “to M AST-IC-ATE? ” form passably one mass. “Massage” a mass to cure a muscle malaise. S IEV E IT TO UNM ASS THE MOR ASS A ND A M ASS A NOTHER M ASS .

A “masse” is a French tool, sledge used to whack a hole.

If mountain is admittedly a mass—and it is— what does it whack a hole in? Does it whack it in itself?

Look up: there’s not a mountain mass in sight.

Oh yes, a bed. Oh yes, a head. A BEAST TO DREAD. Oh yes, a scene. But nothing that resembles a montagne!

The hypothesis that might say “mess” here stands confirmed.

I should suggest a shovel for the trip to come. Dig? You might say the Mount is hardly but a huge, a hugest, heap that hides a hole: the hole we’ve dug ourselves into.

43

1. Collecting 2. Looking after a body 3. Looking after more than one body 4. A mass, a form, a separation 5. Like a mountain.

6. Like a head 7. Like a look.

Q: W ho looks like a mountain?

A: A mountain might be a head or a look. A strange animal. Quite a scene. A strange and necessary scene. A strange, necessary, and large scene.

This is the difference between mountains and certain heads and several looks. It is time to dig a hole.

PETTIT & TARANSKY

CONCEAL & SEARCH Stage Three

ROHRER

44

CACHE-CACHE [VERSION MONTAGNE] __3rd Taping The masseur was probably at mass when they held the mass in the marine corps fort.

It’s fair to say a mass is permitted anywhere.

A mass is authorized by an enforcer.

All enforcers are the same.

In the mountains and valleys they pay special attention to beans, sherry, and mint candies that resemble famous Catholics.

My hypothesis was if I volunteered to be confirmed at mass I could pretend to go on an excursion with one girl while actually just cruising around with a prettier one because of my awesome camouflage.

45

“To mass,” “to amass,” “to remass,” “TO RE-MONSTRATE ” probably all form one mass. “To massage” a mass very likely heals a body.

TO PASS THROUGH A SIEVE CERTAINLY PERMITS THE SEPARATION OF TWO BODIES AND MAKES MASSES OF THEM.

A “mass” is a tool you use to bury.

If the mountain is truly a mass—and it is one— what does it bury?

Does it bury itself ?

Look again: wherever the look lands, not a mountain worthy of the name. Sure, a chair.

Sure, a head. A N ANIMAL. Sure, a scene. But nothing that looks like a mountain.

This seems to confirm the hypothesis that it’s a mass.

So I advise you to take a shovel along on the excursion. It should come in handy as by now there’s no doubt we’ll have to dig.

You could say that the mountain made a big one, a great big heap that used to camouflage a hole: the hole that we’ll have dug.

SWENSEN

HIDE-&-SEEK [MOUNTAIN VERSION] ___3rd stage

WOLF & DICK

46

Demonstrative (a Poetic Obstacle) HIDE & SEEK [INVERSION MOUNTAIN] __3rd Station (gap/hole) (savage:) To gather, amass, collect, R ESUSCITATE?, form into a mess. Musing a messing around permitting the fore-dream of one body. PASS TO THOSE SA NS PER MIT: CERTA INT Y SEPA R ATES T WO BODIES W/ NO A FFA IR A ND M A K ES OF THEM T WO MISSES/ M ASSES OR ONE MISM ATCH OR MISSED M ATCH

One miss is a tool which serves to out. Enforces.

If the mountain is a beautiful language beyond mess, and it is one, what disappears in it?

W hat surfaces? Does itself / herself?

Look: whatever look she’s wearing, in another heap, it isn’t a mountain cum valley. Certainly, a chase. Certainly, tête-à-tête. A bet. Solution, a scene. But nothing resembling a mountain.

The hypothesis desires that a single mass disassembles confounding, a multi-headed girl.

47

WOLF & DICK

She was more fun when she seemed a mental note or mansion, palace, fort. Remember? Now say it’s forced to dig to find. Retrieve some truth. Relief a three.

GAGNON & SAVAGE

48

CACHE-CACHE [VERSION MONTAGNE] ___4e étape mon mont ma montagne à marcher en mousse ma montagne quand ça pousse la monter [LE MONTAGE DE MONTAGNE, MONTAGE-GNE-GEIGNE] brûle repousse mont mouvement vomir devant en cercle autour de ma montagne marcher mon chien autour de ma montagne chenil bloc [MA CAGE, SACCAGE MA CAGE] passe les chenilleuses dessus enfoui mon mont de mousse [M US-] à monter rasé feu chaque mois pousse son museau [FAUVE] sent en cercle le cramé du crâne montagne [CHAUVE] tu te trouveras chaque fois soir à toucher mou en cercle une chose je te montre rien dans la montagne la grotte à ours [SOUR D] à [LONE] loups bouchée le lac sec une plage de sable brun foncé [L’A M AS D’A R BR ES, TAS QU’ON PIÉTINE, ÉTOUFFE, ÉTEINT]

49

+ Dans la montagne, le grand, le très grand tas que camouf lait autrefois le trou que l’on aura creusé.

GAGNON & SAVAGE

il y a un ours [SOUR D] dans le bois parmi les autres qui se promène il y a un [LONE] loup en meute qui mène il y a une montagne décor décembre en mousse recouverte à peu près à marcher pistes [SUIS LÀ, SUIS LÀ JE, SUIS-LA] dans l’il y a.

AVASILICHIOAEI

50

SCREEN-SEEK [MOUNTAINEOUS VERSION] ___episode 4 my mount my mountain marches mossed my mountain quickens progress to mount [MOUNTA IN MONTAGE, MONTAGE-A IN-GA IN] burn repel mount movement vomit deviating circular around my mountain march my chihuahua around my mountain kennel block [M Y CAGE, DECAGE M Y CAGE] pass lesser kennelmakers disrobe interred my mossy mount mounts [M OSEYS] razed fire each month presses its muzzle [FAW N] scents circular the charred mountain cranium [DAW N] traversing each sundown to touch a malleable circular chance demonstration rationed in the mountain [BLIND] bear or boastful [LONE] wolf grotto scorched lake plain shore donning foggy brown sand [A R BOR EA L M ASS, STACKS W E POUND, STIFLE, SMOTHER]

51

+ Deep lasting mountain, lasting grandeur, lasting terribly grandiose stack once camouf laging last tear our hour will carve.

AVASILICHIOAEI

illicit a [BLIND] bear in lasting birchwood among others pacing illicit a [LONE] wolf marching in a mob illicit a mountain in december decor mosscovered possibly marching paths [SURV EY ING LOCATION, I SURV EY LOCATION, SURV EY ING LOCA LIT Y] don illicit‌

BIBBINS

52

Medusa [4]

R A INING :

in carbon May I woke in fever in my muscles a murder of birds [LEMONFIR E / GR IEF-COLLAGE] in my burning crown of berries in my darling martyrdom in magnetite May to me come choirs of masters [M Y COV ER LET / M Y SACCH A R INE COV E] f ly my suitors through espaliered fire in iron May [M ASK] a monstrous plum in every mouth in bronze May [FR EA K] stunned and sliced from my head [CHILDR EN] see they touch me f lies crowning our skulls in pyrite May we hear only screams of owls [SPA R R ING] and [LOW ER] hyenas branches of light stick to the lake like burnt sugar [THE TR EES A R E W EA PONS] [TR EES MUTELY SMEA R ING DISEASE]

53

climb into a decadence wretch and pity in leaden May [SLICE ME / SLICE M Y / SLICE THEIR] dying alien hours ** SINGING :

I am a stone morgue. You can hide in here or among the grasses, taller than horses on their way to a farther country of fire.

BIBBINS

alien hounds [STUNNED] in the woods ripped apart even my allies [SHIELD] wolves and martyrs mangle a feminine history

CRUICKSHANK

54

THE RIDDLE OF THE CAMEL’S

W here the square of the squirrel’s Empirical circle, to isosceles R hinoceros do congrue I seen a hyena Pee in his pajamas Hippopotamus Hypotenuse?

PYRAMIDAL MIDDLE

Cat in the hat In French Chat chapeau Spanish He’s a gato In a sombrero

55

My land my tree to sing in fern my land is moving [THE FIR TOGETHER WITH THE BRUSH-OAK-SCREAM] lit dump folded kick meaning pull up into a knot in the midst of the plant walk my animal around the tree cage blue [ MY DOORWAY, MARK IT] go through the soft wool in my midst my frame of fern [U R N -] to go in the bald fire each month closes its mouth [TOOTHLESS] feels surrounding the burnt mouth of the tree’s face [GONE] you know you will see your own self each night with your own sweet hand in the middle of the meaning I do not show you what I do not know in the forest the mouth of [SOUNDLESS] beasts of [GR EEN] wolves swallow

LASKY

FINDING ONE HOME [TREES VERSION] __4th stage

LASKY

56

the drab water a limit of burnt sienna dirt and rock [THE MEA NING OF ANIMAL, KEEP THAT ONE WHO STOMPS, GRABS, BRINGS ] there is a [SOUNDLESS] beast in the clearing around the other animals that go there through is a [GR EEN] wolf in a group in it there is a tree plentiful April in land completely surrounded in beaming tracks [ IT IS ME, IT ALWAYS WAS, I A M IT] in the middle of the/// ** In the tree, the large, very wide hold that was at one time hidden in the thing is now open and lit.

LEBLANC & LENOIR

C² + M(y) = Mountain [SCIENTIFIC APPROACH: 4]

57

LEBLANC & LENOIR

58

MOUNTA IN FOR M ATION

Tjd Tjb Tja

-

CIRCUMFER ENCE A DOG RUNNING, OW NED BY MEMBER B W ELDED & UN W ELDED STUFF OF MEMBER A

CAGE FOR M ATION

Tcm Tcah Tcrh Tcch Tcam Tccp Tcap Tca Tcl

-

M A MM A L QUA R RY UNIT A NDESITE OF HORSE MOUNTA IN THE CHENILLE-M A K ER MUZZY CONGLOMER ATE UNIT THE MOUNTA IN SKULL NIGHT A NDESITE DOME THE DEA F BEA RS THEIR SOLITUDES A ND THE SOLITUDES’ WOLV ES

=== === --- - --- - --X

FOLD A X IS BOUNDA RY W H AT THEY PUT IN IT

In accordance with the results and above estimations, what they put in it is less than or equal to: “My, what a big (X+Y) you have.”

59

Daphne: My mound is my mountain I work and I work I separate the second from the minute and choose from among the stones surrounding my mountain.

The dog sniffs my scent on the path The bird in the cage sings on top of my mountain The mountain you were meant to mount Like the mountain of snow that you shave. [pause during which Daphne begins to turn into a tree] Evening is an invisible circle you’re forbidden to cross A body you cannot touch.

You get to choose one thing.

And I will show you nothing but my mountain.

LEHMAN

Savage Mountain: An Eclogue Act Four

you turn it over each time at night you chose a circle

moss [M UST–] [FAULT] sent in circles

pass the white

the remix not remised but refilled repeat

: to hear her that is you that is me within such soft white cages is to know the mountain’s vast sadness

LUONG & HANNAH

60

[NOW, W H AT GR A NDNESS TO FACE W ITHIN?]

+

Listen now to the howls and the grunts [THIS IS

this mountain again [LONE] the dry lake dry sands she

4 th taping

LUONG & HANNAH

repeat

61

MOURE

62

TONGUE-N-CHEEK [DANCE VERSION] ___RUMBA my mount my mountain to mount amok afoot in slush my mountain when I’m in a rush to mount it [MOUNTERS OF THE MOUNTAIN, MONT-MOUNT-MOUNDTAME] broil recoil mount movement vomit right in front encircle round around my mountain quickstep my pup around my mountain kennel block [M Y CAGE, R A MPAGE M Y CAGE] pass caterpillars kippered up my mount of slushy mush [MUS-] to mount what’s fire-razed each month its muzzle nuzzles [FOAM] sniffs around the raze of cranium mount [CHROME-DOME] you’ll find yourself at sunset touching light encircling some slight thing I muster you not from mountain then or from bears’ den [MUTE] to quiet [ LONE] wolves the lake gone dry the beach of brownish sand dug

63

PILE WE STEP IN,

there is a bear [MUTE] in the woods among the ones that wander there is one [LONE] wolf in pack that leads there is a mountain snuffed in snow in slush-veil near hiking paths [SQUISHSTEP, SQUISH-LEPT, SQUISH I’M] in the “there is”… + In mountain, huge, a hugest heap that hides a hole: the hole we dug ourselves in.

MOURE

deep [ THE MOUND OF TREES, TALL STIFLE, SNUFF]

PETTIT & TARANSKY

64

CONCEAL & SEARCH Stage Four To form foam on the mountain, push the mountain. A dog digging a hole might get dirty.

Mountain movement like all movement might get dirty. Dog in cage.

I do not show you: A mountain. A ribcage. Mountain movement and you liking fire. Little circles of fire. A cave and a bear. A wolf and December. The trees and a lake. Deaf trees Huddling together.

Preferring a mountain If you prefer fear there on the mountain there Find fire and a cave Circle one thing: The mountain likes to walk with the hole.

The mountain likes to say, Hey Hole!

The hole likes to hide Lonely biting wolf among the others

65

Saying: I’m here, I’m here, I am it In there: A mountain in the cave, the great great job, the hole we have made you see this covering, say: this is housing.

PETTIT & TARANSKY

Leading the pack

ROHRER

66

CACHE-CACHE [VERSION MONTAGNE] __4th Taping My mom holds a marker and writes “mousse is for pussies” [She never stops maintaining this] then draws a surprisingly life-like picture of deviants vomiting and with her marker she draws a chicken penis a few museums want these pictures even though she’s a chauvinist she chose to touch frozen milk instead of save the Catholics from the wolves who chased them through the forest one lone wolf dressed up like December is invisible until it pisses in the snow which is not as awesome as my camouf lage

67

my mine my minetain for marching in moss my mountain when it grows mount her [ THE MOUNTAIN MONTAGE, MOANTAGE-OAN-MOAN] burn push back mount movement vomit before in a circle around my mountain march my dog around my mountain kennel block [MY CAGE, RAVAGE MY CAGE] pass the chenille makers buried above my mount of moss [MUS-] to mount shaven fire each month pushes its muzzle [MUSKY] smells in a circle the [BURNT] stubble of the mountain skull [BALD] you find yourself every time night limp to the touch in a circle a thing I am showing you nothing in the mountain the cave of [ UMBER] rumbles of [SEUL] wolves gulp the dry lake a beach of deep brown sand [THE MASS OF TREES, HEAP TO TRAMPLE, STUFF, SNUFF]

SÉLÈNE

HIDE AND SEEK [MOUNTAIN VERSION] __4th stage

SÉLÈNE

68

there is an [UMBER] rumble in the woods among the others that ambles there is a [SEUL] wolf in a pack there is a mountain décor December in moss nearly covered in ambling trails [A M HER E, A M HER E I, A M-THE] in the there is...

In the mountain, the big, very big heap that once camouf laged the hole that we’ll have dug.

69

my mount my mountain now marching in moss my mountain when it moves to mount it [THE MONTAGE OF THE MOUNTAIN, MON-TAIGNE-EN-GINE] burns furls moves mountains in doubt before circling around my mountain to march my dog around my mountain solid kennel [M Y PR ISON, MISIMPR ESSION M Y PR ISON] past the kennelnesses buried far below my mossy mountain [MUS-] to mount arisen every month a fire pushed his muzzle [W ILD] scent circling the [BA LD] skull of the mountain and there you are every evening softly touching something circling nothing in the mountain let me show you: the bear cave [DEA F] a [LENT] wolf blocked the dry lake the sand beach [THE M ASS OF TR EES, HEA P ONE TR A MPLES, STIFLES, SNUFFS]

SWENSEN

HIDE-&-SEEK [MOUNTAIN VERSION] ___4th stage

SWENSEN

70

there’s a bear [DEA F] in woods amidst everyone taking a walk there’s a [GIFT] wolf mute leading them on there’s a mountain decked out in winter in moss covered almost to trails that walk [BE THER E, TH AT A FTER I, TH AT I THER E] in the whole “there is “ . . . + In the mountain, the huge, the really very gianormous pile that used to hide the hole that we’ll have dug.

71

my peak my mountain to walk in foam my mountain is steep mount her burn push back peak movement vomit in a circle around my mountain walk my dog around my mountain kennel bloc [M Y CAGE, R A NSACK M Y CAGE] pass the pile-face makers hidden in the peak my foamy mount [DR IV EN] to assemble cut fire each month muzzles in [HOMELY] smells the cranium’s ring [ BALD] each time in evening you feebly touch the thing in the ring I show you nothing in the mountain the cave of [DEA F] bears of [ONLY] wolves the dry lake a beach of brown sand [THE M ASS OF TR EES, THE HEA P TH AT IS TR A MPLED, CHOK ED, EXTINGUISHED] there is a [DEA F] BEA R in the woods among the

WENDEROTH

HIDE AND SEEK [MOUNTAIN VERSION] ___4th step

WENDEROTH

72

others that walk there is an [ONLY] wolf in a pack there is the mountain decor December in foam paths [I A M THER E, A M THER E, A M IT] in the there is. . . + In the mountain, the big one, the massive heap that camouf laged, at one time, the hole that we’ll have dug.

73

(winsome:) mouth my momentary m채rchen m채dchen unmuse my mountain, author of my mountain [THE MONTAGE OF THE MOUNTA IN, T WO MONTES, ONE DECLINES] fairy tale of the [SHORN] dog on tour of my mountain, blocked channel [CAGEY, I W EA R M A K E-UP] pass the chainlinked losses, hidden follies you will find yourself each mad night touching weakness encircled by choice I show you the nothing in the mountain, long ago a bear [DEAF], a [ LONE] wolf, her mouthful. there was once a [DEAF] bear in the forest among the other authors that meander, there was a [LONE] wolf motif which leads [A SHORN DOG OR ON] there is a mountain, o.k., of shadows, hints

WOLF & DICK

Demonstrative (a Poetic Obstacle) HIDE & SEEK [INVERSION MOUNTAIN] __4th Stoop (bare)

WOLF & DICK

74

covered in misseds hardly walking tracks [A M THER E, A M THER E I, A M-IT] in the there is a . . . (savage:) In the mountain, the three-grained heap which once upon a time disguised the hole [THE TRUE, THE HOLE TRUE, NOTHING Y ET THE TRUE] that we trois have dug.

There are drei languages: French, German, English. They are shovels.

There are three characters: Frenetisch, Gernhaben, Enge. Sie sind schรถn.

75

attends, tu dis que sous mes trous j’ai ma montagne parce que sous [SOUR DS ,] les trous se trouvent des masses ? [S E TROU V ENT DA NS LES TROUS. C E QUI SE TROU V E SOUS LES TROUS ? S I ÇA SE TROU V E, D’AUTR ES M ASSES.] D ES OURS SOUR DS .

Oui masse massée je me souviens des nœuds improbables dans les cous. Oui creusé mes ventres avant et l’espace des fois d’un os avec un autre. Creusée je cache comme je pointe ?

Creusée je cache les loups qui dévorent les corps trouvés ? Creusée je me cache derrière mon crâne ? La pelle, c’est pour élargir les espaces qui mènent ? + – Monsieur, voyons, vous parlez, et on ne vous comprend pas.

– Bien sûr, madame [ C’EST POUR ÊTRE PLUS CREUX, MON ENFA NT], vous non plus.

– Merci.

– Mercredi.

– Oui ?

– Mercredi je vais m’exercer à marcher dans la montagne.

GAGNON & SAVAGE

CACHE-CACHE [VERSION MONTAGNE] ___5e étape

GAGNON & SAVAGE

76

– Laquelle ?

– La première sur laquelle je tombe.

– Monsieur, on ne tombe pas sur une montagne; celle[-LÀ C’EST] elle qui pourrait tomber sur nous.

– Alors, c’est un monstre.

– Non, mais il y a des monstres dans la montagne.

– Par exemple ?

– Des yétis[, DES JASONS-J ASON].

– Oui, mais non, les yétis[, LES JASONS-J ASON] ne sont pas des monstres, ce sont des mutations.

– Comme vous voulez, mais ils ne nous ressemblent pas ni aux bêtes que l’on connaît.

– C’est pour ça qu’il[S] se cache[NT]. [C ’EST LE M ASQUE.] – Qu’ils creusent.

– Pour se cacher.

– C’est pour ça que ce sont des monstres, parce qu’ils ne se montrent pas ?

– Non. – Comme vous voulez.

77

attentive, you declare that beneath my tears I gain my mountain because beneath [BLIND] lasting tears masses traverse? [TR AV ERSED DEEP IN TEA RS. Q UESTING TO TR AV ERSE BENEATH TEA RS? I F TR AV ERSED, OTHER M ASSES .] B LIND BEA RS . Oh massaged mass I summon improbable knots in necks. Oh at first carving my viscera and at times the osseous space of bone against bone. Carved I conceal like I point? Carved I conceal wolves devouring traversed corpuses?

Carved I conceal myself in my cranium? The shovel, for enlarging manageable spaces? + – Mister, you preach visions we can’t comprehend.

– Believe me, madam [SUCH POSITION PROGRESSIVELY CONCAVES, MY INFANT], yours negate plausibility.

– Mercifully.

– Monday.

– Oh? – Monday, I vainly exercise marching on the mountain.

– A quest?

– A prime quest I survey and tumble.

AVASILICHIOAEI

SCREEN-SEEK [MOUNTAINEOUS VERSION] ___episode 5

AVASILICHIOAEI

78

– Mister, one tumbles not surveying a mountain; it possibly tumbles submerging us.

– As such, a monster.

– No, though monsters ilicit deep in mountains.

– For example?

– Desperate yetis [ JASONS-J ASON].

– Oh no, yetis [ JASONS-J ASON] never suffer as monsters, they suffer as mutations.

– As your visions vouch, but they don’t resemble us, nor beasts we come to know.

– So they seek shelter. [S ETTLE M ASQUES] – Questioningly carved.

– Seeking cover.

– As such they suffer as monsters, providing they negate demonstration?

– No. – As your visions vouch.

79

BIBBINS

Medusa [5]

R A INING :

Distended pools of purest poison [SWOR DS] through the August drone of locusts.

[U NSETTLED LUSTER . SQUEEZED-THROUGH R IV ERS. A ND SK Y DEBR IS A ND DETR IMENT.] S OUR DESIR E . Omens without accuracy. Suck nightsplinters out of poked moons. Reckless motions of animals as quinces fall through treespace. Crushed like rotten piers.

Caught and churned in wolfpacks. Devotion.

Trauma. Caution. None can save them.

The peach sea engorged with men explodes. ** R A INING

and SINGING :

– Master of violence, you plant one seed two sprouts uncurl.

– You may tend both [SLICK PORTA L, X’D-OFF MONEY FA R M] but they’re not yours.

– Mercifully.

– Mercilessly.

BIBBINS

80

– Oily weeds.

– Stoke my envy, I will exile your mouth.

– Out of all the lakes in hell.

– They lap over the shores, open your tomb.

– Master, my tongue surge with money should [LOST] embers pour on us.

– No more perverted sermons.

– Numbness is my minister.

– Pain is your temple.

– My eyes [DEFECTION].

– Weapons, yes [INFLECTION] and sown from mutant seeds.

– Pluck my absence-fruits, eat of my solitude.

– So it’s capital and secrecy. [STOLEN IN COPPERY M AY] – May they crush you.

– May I catch them.

– Your death licks poison fruits into the past into – now – forever.

81

Come on, you say that beneath my form I have my tree because in the midst [SILENCE ,] the shapes find themselves some meaning?

[S EA RCH ONESELF IN FOR M. W H AT IS IT YOU SEE UNDER THE FOR M? I F IT IS R EA L, THEN MOR E MEA NING .] S OME SOUNDLESS BEASTS . Yes large meaning I recall the impossible laws on the folded arms. Yes I scraped my stomach again and the place I was was the heart of another. Scraped I found like I wanted to? Scraped I saw the wolves that munch the lost trees? Scraped I looked beneath my skull? The ditch is to make larger the places that follow? + – Man, let’s look, you talk, and we don’t know you.

– Of course, woman, [ IT’S IN THE SHAPE OF THINGS TO COME, MY DAUGHTER], you not one of us.

– Thanks.

– Thursday.

– No. – Tuesday I will look upon the plants and know the difference.

LASKY

FINDING ONE HOME [TREES VERSION] __5th stage

LASKY

82

– W hich trees?

– The ones that I have been looking for.

– Man, a person does not just find a tree; this one [- HER E IT IS] is the one we could find in the darkness.

– So, it’s a monster.

– Yes, but there are always monsters in the mountains.

– Can you name another time?

– The snow-bird. [,JASONS-J ASON] – No, but yes, the snowbirds[, THE JASONS-J ASON] are not the fault of us, they are changelings.

– So you say, but do they not look as if they are not us, nor animals, nor anything we know.

– It’s true, but it is that they [us] hide [THEM SELV ES] away. [I T’S TRUE, THE ILLUSIONS] – Then let them be lost then.

– To find the one thing.

– Is it that they are not human, because they don’t know themselves?

– Yes. – Ok, ok. As you wish.

83

Deaf Bear → Hole = The idea of deafness → Mass Dr. Guy & Dr. Étienne extrapolate: – Doctor, my comprehension was not formed upon this principle.

– Indeed, indeed, milady [A MBIGUIT Y AVOIDS ACCIDENTS]—see for yourself.

– My gratitude is born of a complex system.

– Your actions are incongruous to Wednesday’s findings.

– I present to you my affirmations.

– The evidence points elsewhere.

– Surely, you do not understand how my estimate was derived.

– Madame, you haven’t the scientific backing to prove such statements.

– By my calculations, sirrah, you are not an enterprise that builds and organizes knowledge in the form of testable explanations.

– My word, good lady. I am indeed Aristotelian —scientific knowledge is a body of reliable knowledge that can be logically and rationally explained.

LEBLANC & LENOIR

C² + M(y) = Mountain [SCIENTIFIC APPROACH: 5]

LEBLANC & LENOIR

84

– I dream of yetis.

– I dream of monsters.

– Jason . . .

– Not another word about Jason, I beg of you.

– No. – Maybe I don’t have to say, “I love you.”

85

Daphne: What I showed you is not for mass consumption.

Apollo: W hat do you take me for, a cad?

Daphne: I have hidden my mountain And hired a rent-a-cop To guard against petty thieves and voyeurs As a farmer guards his land from the wolves That would devour his crops Apollo: Your mountain is as large as my life.

When you eliminate the impossible, what’s left, However improbable, is the truth.

Daphne [to a venerable English gentleman in the audience]: Admit it, Sir. You speak and no one understands you.

Gentleman: I say. Are you clairvoyant?

LEHMAN

Savage Mountain: An Eclogue Act Five

LEHMAN

86

Daphne: Come back on Wednesday.

Gentleman: W hy Wednesday?

Daphne: Because on Wednesday my body Is my mountain and I exercise it We march together until it drops And then I drag it up the mountain.

Apollo: And so I fell.

87

hold on, you say that beneath my holes I have my mountain because beneath it all [MUTE ,] the holes find out they’re mass? [STR EW N IN THE HOLES. W H AT’S STR EW N UNDER HOLES? I F TH AT’S STR EW N, OTHER M ASSES.] M UTE BEA RS DEA F . Yes mass massed I recall unlikely knots in necks. Yes dug out my guts before and space at home of bone another bone. W hen dug, I duck just as I point? Dug out I duck the wolves that eat the strewn remains? Dug out I duck behind my cranium dome? The shovel, is it to dig myself from here to where? + – Dear sir, whoa there, you’re uttering gobbledygook.

– Of course, madame [DIG DEEPER, MY SWEET CHILD], the same for you.

– W hoa, no way.

– Wednesday.

– You say?

– Wednesday I’ll march to mountain top.

– W hich one?

MOURE

TONGUE-N-CHEEK [DANCE VERSION] ___FIVE-STEP

MOURE

88

– The first I stumble on.

– Dear sir, tis not we who stumble upon mountain, it [’S R EA LLY THE] mountain stumbles upon us.

– So it’s a mountster.

– No, but there are monsters in the mount.

– Do say?

– Abominable snowmen [, SCHNEEMENSCH].

– No way, okay: abominables [, SCHNEEMENSCH] no monsters are, they are mutations.

– If you say so, but they’re not like us, not like the beasts we know.

– That’s why he[ THEY] ducks[ HIDE]. [I T’S THE MASK ] – They dig.

– To duck.

– That’s why they’re monsters, and won’t be mustered?

– No, no.

– If you say so.

89

You wait under a hole.

And I wait under a hole.

Something eats all the bodies.

Not the mountain.

The mountain is not a monster.

Though there are monsters on the mountain.

This is a conversation.

The monsters are changes.

They will never stop The wolves.

PETTIT & TARANSKY

CONCEAL & SEARCH Stage Five

ROHRER

90

CACHE-CACHE [VERSION MONTAGNE] __5th Taping I attended mass for years with improbable nerds cruising girls fruitlessly [they were sitting with their families]

– my lord doesn’t understand me – madame, he doesn’t want more kids – I have a Mercedes – Oh you do?

– I won it on an old TV game show – it’s a monster – no, it’s retro-fitted as a hybrid now – that’s good for the yetis – yes, and for the frail crescent which sustains them

91

hang on, you’re saying that under my holes I have my mountain because under [UMBER ,] the holes hold some masses? [H OLD IN HOLES. TH AT W HICH ONE HOLDS BENEATH THE HOLES? I F TH AT HOLDS, MOR E M ASSES .] S OME UMBER RUMBLES . Yes mass massed I remember improbable knots in necks. Yes dug my guts before and the space sometimes with a bone with another. Dug I hide like I point? Dug I hide the wolves that devour the [HELL] bodies? Dug I hide myself behind my skull? The shovel is to widen spaces that lead?

– Look, sir, you are speaking, and we don’t understand you.

– Of course, madam [IT’S IN OR DER TO BE MOR E MEA NINGLESS, M Y CHILD], you neither.

– Thank you.

– Wednesday.

– Yes? – Wednesday I will practice marching on the mountain.

– W hich one?

– The first one I land on.

SÉLÈNE

HIDE AND SEEK [MOUNTAIN VERSION] __5th stage

SÉLÈNE

92

– Sir, one does not land on a mountain; this one [HER E IT IS] it that could land on us.

– So, it’s a monster.

– No, but there are mounsters in the mountain.

– For example?

– Yetis[, JASONS-J ASON].

– Yes, but no, the yetis[,THE JASONS-J ASON] are not munsters, they are mutations.

– As you wish, but they don’t look like us, nor like any beasts that I know.

– That’s why [T]he[Y] hide[S]. [I T’S THE M ASK] – Let them dig.

– To hide themselves.

– Is that why they’re monsters, because they don’t monstrate themselves?

– No. – As you wish.

93

wait a minute, are you saying that under my holes there’s a mountain because under [DEA F] the holes together amass? [TOGETHER IN THE HOLES. W HICH A M ASS BENEATH THE W HOLE? I F TH AT A M ASSES, OTHERS M ATTER] LIK E DEA F ELV ES .

Yes, masses amassed, I remember unlikely knots in the neck. Yes, first hollowed out my chest and the space time makes between one bone and the next. Hollow, I hide and point.

Hollow, I hide wolves that munch down every stray body they find. Hollow, I hide behind my own skull. The shovel, I gather, is for making these leading spaces even larger. + – Ok Sir, let’s see; you’re talking, but no one understands you.

– Absolutely Ma’am [ALL THE BETTER TO BE BELIEVED, M Y CHICK A DEE] nor you.

– Thanks.

– Thursday.

– Oh? – Thursday I’m off to march among the mountains.

SWENSEN

HIDE-&-SEEK [MOUNTAIN VERSION] ___5th stage

SWENSEN

94

– W hich ones?

– The first ones I fall upon.

– But Sir, one does not fall upon mountains; mountains, that [ONE THER E] for instance could fall upon us.

– Well, then it’s a monster.

– No, but there are monsters in mountains.

– For instance?

– Yetis.

– Oh yes, but no, yetis aren’t monsters; they’re mutants.

– Ok, whatever, but they’re not like us, and they’re not like any animal we know.

– That’s why they hide [I T’S A M ASK .]

– That they dig.

– To hide themselves.

– Is that why they’re monsters, because they’re not demonstrative?

– No. – Ok, have it your way.

95

(winsome & savage:) – My sister, let’s see, you speak and one doesn’t grasp you.

– Sure, maiden [IT’S TO BE MOR E HOLLOW, INFINITE], nonplus you.

– Not see more?

– Not believe more.

– Ooh. – Believe me, I am going to exit myself by marching in the mountain.

– Like her?

– Like the first one I tumble. Into.

– My sister, one doesn’t tumble into a mountain, this [HER E IT IS] she which could fall upon us.

– So, she/it’s a monster.

– No, but there are monsters in the mountain.

– For exemplar?

– The bear-girl[s] [W/ TONE-DEA F CH A NSONS].

Or the dog-boy.

– Oh, but no, the bear-girls [W/ TONE-DEAF CHANSONS] are not monsters, they’re dancing transmutations.

WOLF & DICK

Demonstrative (a Poetic Obstacle) HIDE & SEEK [INVERSION MOUNTAIN] __5th Stop (absurd/from deaf)

WOLF & DICK

96

– Like you want, but they don’t resemble notes, nor texts that one can know.

– That’s why these girls hide [THEMSELV ES]. [IN WOLF M ASKS]. [AS WOLF-GIR LS .]

– That they dig up.

– To conceal themselves.

– That’s why they’re monster-bears, because they don’t bare themselves?

– No. Contradiction!

– Like veil/reveal it?

97

Se montrer fait une sorte de porte, un trou PROFOND COMME TUNNEL pour qu’on sorte du bois, de la montagne où murmhurlelemonstre.

On attend d’entendre, Pas sa mother tongue, Son other tongue. Son nom.

Monstre qu’on ne montre pas / pas donné en pâture / pas monstre / monstre pour qui loin croit entendre le pas du tas de montagne.

Il n’y a pas de montagne. + Creusez.

GAGNON & SAVAGE

CACHE-CACHE [VERSION MONTAGNE] ___6e étape

AVASILICHIOAEI

98

SCREEN-SEEK [MOUNTAINEOUS VERSION] ___episode 6 Such demonstration fabricates a sort of puncture, a tear COMPA R A BLE PROFOUND TUNNEL portent we secede the brush, deviate from mountain where murmhurlastmonster.

Attentive to attend, Past langue maternelle, Sound l’autre langue. Sound name.

Monster quits demonstration passed / past donated in pasture / past monster / monster considers attending to the pace of the mountain stack.

Illicit not the mountain. + Carve.

99

SINGING :

I threw us through a bramble door as proof: sentimental lyrics don’t bust a martyr’s mettle anymore.

Murder a middle a terminal hell.

Hover at the entrance of plausible mandarin limbo, stunning in its breadth. Snow and steam.

My story earns me no money so I told it in a fugue; passed months, mostly.

Poor lions wouldn’t listen, so leopards took me into their mouths.

In a reservoir— In uranium May— Never—

SPLINTER ED :

Cursed.

BIBBINS

Medusa [6]

CANTY

100

PEEK-A-PEAK [MOUNTAIN MIX] 6th strata To demonstrate unearths a kind of door, a hole DEEP AS DOW N so we can walk out of the woods, out of the mountain where murmhurlsmonster.

One harkens to hear, Not her mother tongue, Her other tongue. Her name.

Step monster undemonstrated / step un–fielded / step un–monster / monster for one who hears from afar the mountainheaped step.

That is no mountain. + Unearth.

101

CANTY Photo Š Daniel Canty - Lunenburg, 2008

CRUICKSHANK

102

Dig It to the Grave

1 They did the Mash Gimme a doctor Gimme your daughters You’re sure talking a lot But you’re not saying anything Monday Monday 2 Recently a scatterbrain the Sphinx We all know Mary had a little lamb But have you ever seen her bear?

Vexed ex haruspex hexes occult culture

103

Look at us we make a sort of door, a hallway so deep like a space to go between so that no one exits in the wood, where the trees are murmuringbackthewitch We wander and wait to hear Not its material word, Its artful word. Its name.

Human that one does not know not given place to be not human human for that which in the space between feels to see the walk of the large trees But there are no trees. There are no anything. + Find them. And work.

LASKY

FINDING ONE HOME [TREES VERSION] __6th stage

1, 2, and 3 Doors themselves

EX HIBIT A

THE OTHER

EX HIBIT

DOORS

PRECIPITATES

TA BLE 1:

See table 1 for final results:

MOUNTA INS

A deep hole Other language

In the wood Momlanguage

TUNNELS

“No, Mountain.”

Not a pasture.

MONSTERS

C² + M(y) = Mountain [SCIENTIFIC APPROACH: 6]

Get in it

The watch

MUR MHUR LE

LEBLANC & LENOIR

104

105

Gentleman: Was there ever a mountain?

Apollo: Yes, but I never saw her face.

You see, she hid the mountain behind a cloud and her body in a tree.

Daphne: O body my mountain may you last forever!

LEHMAN

Savage Mountain: An Eclogue Epilogue

MOURE

106

TONGUE-N-CHEEK [DANCE VERSION] ___TAP DANCE To muster means a sort of door, deep hole to TUNNEL-DOW N so we can get out of the woods, scram off that mountain where murmurscreamonster.

We await our fate, Not in mother tongue, In other tongue. Self-same its name.

Muster no monster / no getting past pasture / not monster / monster only for s/he who distant thinks s/he gets the prance of mountain dance.

No mountaintop to tap.

+ Tap tap. Let’s dig.

107

There is a mountain seeing a door In the deep end of the tunnel: the wood where The tunnel is a tongue.

One waits to hear what it will do. The tongue to the mountain. The mountain not a monster. Monsters about. Monster making mountains.

I am a monster. I am the monster hiding in that hole.

The hole not given a mountain.

To dig itself a way

PETTIT & TARANSKY

CONCEAL & SEARCH Stage Six

ROHRER

108

CACHE-CACHE [VERSION MONTAGNE] __6th Taping A yeti comes through a tunnel singing ethnic songs my mother taught me the history of yetis fits in a small teacup a cosmonaut cruises overhead

109

Being demonstrative is a kind of door, a deep hole like a tunnel to get you out of the woods, out of the mountain where Murmouthmonster.

We have a standing understanding, Not its mother tongue, Its other tongue. Its name.

Monster who is not demonstrative / not gifted in meadow / not monstrous / monster whose distance hears the footsteps of the masses way up in the mountains.

There are no mountains. + Dig some.

SWENSEN

HIDE-&-SEEK [MOUNTAIN VERSION] ___6th stage

WENDEROTH

110

HIDE AND SEEK [MOUNTAIN VERSION] ___6th step To show itself made a kind of door, a DEEP hole LIK E a TUNNEL so that one leaves the woods of the mountain where themurmurhowlwatch One waits to hear, Not its mother tongue, Its other tongue. Its name.

Monster which one does not show/not give anywhere to graze/not monster/monster one must believe in to hear the step upon the heap, the mountain.

There is no mountain. + Dig.

111

(savage:) To show oneself makes a sort of door, a threefold hole down stairs DEEP LIK E A TUNE OR TUNNEL OF LOV E so that one leaves the forest, the folded mountain oh murmhurlherwatch One waits to hear [NOT DEA F] Not its smother tongue, Her other tongue. Her names. Its no. / It’s on.

Monster that one does not show / not given pity / not mastered / monster so that longing believes in the distant [DA NCE] step of the heap of a mountain [THE HEA P HID THE HOLE BY LY ING W ITH/IN/INSIDE IT, IN V ERTED] There is no mountain. (sprachsand)

WOLF & DICK

Demonstrative (a Poetic Obstacle) HIDE & SEEK [INVERSION MOUNTAIN] __6th Stair (true)

WOLF & DICK

112

(winsome:) Dig.

WIER & BLOOMFIELD

114

HIDE AND SEEK, SEEK AND HIDE

these semiconductor devices these semiautomatic deviants we find them scattered all over the miniature makeshift made-up mountains mossy & in a quandary we find them scattered all over the minivan shake-down mountain moosey & in a quadratic exhibit a colossal translation falling apart exhibit a continuous translational symmetry that is its definition, that is its form that is its deformation, that is a frown which presents challenges which presents easy access no man’s master of no mass, mastering mattering makeshift amassing for more no man’s subordinate of dark matter, subordinating meaningless plans for less

115

large large large solid solid solid substance and lack of so little so lately large large large solid solid solid substance and excess of so little so eerie a continuous translational symmetry a colossal translational falling apart PASSING THROUGH AN AIRLOCK WITH A COUPLE OF MASSES

An obstacle that fixes itself is incorporeal and then it is a mess and when it is alone A tool that breaks down is a mass and then it is a mess and when it is a masterpiece it is left for lately told often sold it is worth it is it is breast (liking abreast as a direction to take) left for early dements often donated it is worthless it is it is breast (liking abreast as a direction to take) head hand hypoteneuse hippo ahead of a

WIER & BLOOMFIELD

to the extraction of spatially resolved information to the insertion of temporally unresolved babble

WIER & BLOOMFIELD

116

Not long ago symmetry shivered awake out of mountain space we staked out monster water course horse and all that does sink it self while it sinks through itself monsters like rabbits out of children ing mountain creeping toward

dream-

while it sinks through itself let us rest a while definitions like day shadow no two mountains valley structure hates (akin akimbo) no two mountains like a boxer drying dirt (a new symmetry we notate out of conjecture) follow hollow red lines warning repetition be a bad execution a botched exercise of mountain valley neers resurrected with props bears

pio-

quasi omnipotent roar mountain breasts pop out out of deep holes rabbits kick free and f ly into trees (weight of distraction

117

chest burns

followed by a profound mountain flow undersleep mountain underbrush undertow monster on the mountain monster on the mountain monster on the mountain we painted a pivotal painting we tied lace to lizards and sucked stereophonic salad for the mountain is Pythagorean leap with rabbits mister their faces the eyes of monster yes of mister east of breast east of risk from below from behind from above and it is suspended there it is in suspension it is resting suspect prospect shortstop hiccup worth it digger digger dugging dugful

WIER & BLOOMFIELD

on our knees) a cough

WIER & BLOOMFIELD

118

—is this as we wish?—this is as we wish —a wasp awash with sea wisps is— —wispwasp on a leashlash— truthful too—is this Tuesday?

—it is Tuesday as you wish —are the batteries dead?—the battery is dead O—then the ampoule?—crushed & sold off we are no more with no subsistence the heart we found at the bottom of the swimming pool that was one of an aggregation pattern of the self-assembled digression of the camouf lage of marriage of a purpose-filled wondrous zero confirmed mass confirmed agency in question we present the first demonstration of frequency conversion by simultaneous second- and

119

a next more mountain to walk with and push some on before barfing so futilely for what for fun, for what else, ravage and touch in rough ways thoroughly as if creamed cranes okay to take away and that will make me pitched though more than vomited it is a scorched mountain shell like you find in dawn turning up and over again and dusk not all that far behind in a silicon photonic crystal nanocavity using continuous-wave optical excitation wait wait wait wait girl girl of affairs you with a wolf ’s bone behind your neck to wring it come now undig them wolves it is unsultry to cry some deaf bears in a silicon photonic crystal

WIER & BLOOMFIELD

third-harmonic generation

WIER & BLOOMFIELD

120

not that again using continuous-wave optical excitation hide the wolves after find the wolves the phenomenon of the extraordinary with shovels come now to widen open and make a mountain have something to hide now optical transmission is intrinsically due to two distinct surface waves wait you say under holes mass mountains mash masts amidst kids with holes that are say false doors you know them when you smell them more than holing them less distance more pasture for monsters to sleep sweet dreams in now you want that you tunnel and wood and roar you swim in what you hear

121

written onto a spatical light modulator not on Wednesday child of woe translated laterally by displacement displacement monsters stirring upcoming arising so far so sea worthy go with me about more and more mount you say when you say monsters and masks and what of the central location of the encoded lens function and then it digs and will dig and be done with digging upon where falling from us where we enter tier three head content area we can be blind there together tier three default content areas for what you wish is hidden

WIER & BLOOMFIELD

you say no there is no mountain

WIER & BLOOMFIELD

122

still in your own mountain cave of bears and wolves and dry lakes and deep beaches in woods big and camouf laged that we have been doing this for you here and here and here and for all so the homing shepherd calls to the cowherd setting out

123

Attendants were low in the scenery-ed encaustic bluing: so told, so visited unloved, so crossed as if weather could vex that backlit stage in the— How many of you is gonna come by tonight?

I said, how many monsters of you is going to come to live here in the action tonight?

WILKINSON

Some Visitant

CONTRIBUTORS: RENÉE GAGNON has written two books, des fois que je tombe (2005) and Steve McQueen (mon amoureux) (2007), both published by Le Quartanier. For the stage, she has created the works Projet McQueen (2008) and Somme : Soeurs (2009, with Mylène Lauzon). Her musical/textual collaboration with director Chloé Leriche, Qui est là, has been featured in several international festivals. Her work has also been published in several journals, including Exit, Moebius, Fusées, If, and Boxon.

STEVE SAVAGE has published two books of poetry, 2 x 2 (Le Quartanier, 2003) and mEat (2005). His poems, as well as a handful of critiques, essays and translations, have been published in numerous journals in Québec and abroad (some under the pseudopseudonym Dessavage). They have also been filmed (Les Passagers and Baillat Cardell & Fils), set to music by Alexander MacSween, and choreographed by Karine Denault. In the next few months, dandelion will publish Mapping Writing and Dancing and New American Writing will print some translations by François Luong. *** OANA AVASILICHIOAEI, a poet and translator living in Montréal, sometimes traverses the language of other writers. This has led to Occupational Sickness (BuschekBooks, 2006), translated from the Romanian of Nichita Stănescu, Expeditions of a Chimæra (BookThug, 2009), a collaborative confabulation with Erín Moure, and The Islands (Wolsak & Wynn, 2011), interpreted from the Quebecois French of Louise Cotnoir.

MARK BIBBINS is the author of The Dance of No Hard Feelings

(Copper Canyon Press, 2009) and the Lambda Award-winning Sky Lounge. He teaches at The New School and Columbia Univeristy, and edits the poetry section of The Awl. LUKE BLOOMFIELD's The Duffel Bag is out from Factory Hollow Press. He is from Massachusetts and currently writes and lives in New York. He co-edits the journal notnostrums.

DANIEL CANTY is a writer, director and translator living in Montréal. He creates books, films and narrative interfaces for the web and public interaction.

ANGELA CARR's most recent book of poetry is The Rose Concordance (BookThug). Her translation of Chantal Neveu's Coït (La Peuplade) is forthcoming with BookThug. Angela currently divides her time between Montréal and New York City.

GEOFFREY CRUICKSHANK-HAGENBUCKLE is Pelucidar’s poet of error, erotic terror, and dark rapture.

TRAVER PAM DICK /Mina Pam Dick/Gregoire Pam Dick/et al. is the author of Delinquent (Futurepoem 2009). Her work has appeared in BOMB, The Brooklyn Rail, Aufgabe #9, The Recluse, EOAGH, and Everyday Genius. She lives in New York City.

KAREN HANNAH’s work or projects are either forthcoming or can be found in feedbag, Little Red Leaves, Delirious Hem, zbzz, Fulcrum Annual, and Thought Magazine. She now resides in San Francisco, after having lived in South Korea for several years, where she currently juggles working as an editor, poet, and an apprentice to a letterpress printer.

DOROTHEA LASKY is the author of Black Life and AWE, both out from Wave Books. She is also the author of several chapbooks, including Poetry is Not a Project (Ugly Duckling Presse, 2010). She currently lives in New York City.

GUY LEBLANC lives and works as a composer in Toronto, ON. His many books of prose and poetry include light [light] (W Press, 2007), Archaisms (2009), and With (forthcoming, 2011). His albums of composition for jazz piano include Subversia (1999) and All the Rage (2004). Guy has three dogs, none of whom read poetry.

DAVID LEHMAN's books of poetry include When a Woman Loves a Man and Yeshiva Boys. He edited The Oxford Book of American Poetry.

ÉTIENNE

LENOIR currently lives in Luxembourg, where he is researching for his third collection of poetry, Mir wëlle bleiwe wat mir sinn (We Want to Remain What We Are). Previous collections of poetry, prose, and translations include: The Lenoir Engine (selfpublished, 1999), Instrument Maker (Repeating Circle, 2001), and Board of Longitude (2008). He speaks and translates Luxembourgish, French, German, and English, but really can’t choose a favorite among them.

Originally from Strasbourg, France, FRANÇOIS LUONG currently lives in San Francisco. His work can be found or is forthcoming in Open Letter, dandelion, Bombay Gin, Absent, Mantis, and elsewhere. He recently curated a feature on poetry from Québec, which will appear in New American Writing #29.

ERÍN MOURE writes and translates poetry in Montréal. Most recent book: O Resplandor (Anansi, 2010); next books: reissue of Pillage Laud (BookThug, 2011) and translation of Louise Dupré Just Like Her (Wolsak & Wynn, 2011). Upcoming soon: translation of Chus Pato's Hordes of Writing (Shearsman, 2011) and The Unmemntioable (Anansi, 2012).

MATTHEW ROHRER is the author of 6 books, most recently DESTROYER AND PRESERVER, published by Wave Books. He lives in Brooklyn and teaches at NYU. XANDAIRE SÉLÈNE has translated work by derek beaulieu, Jon Paul Fiorentino, Diane Ward, Norma Cole and Guy Bennett.

A translation of Kevin Davies's Comp. appeared in 2006 (Le Quartanier). Xandaire Sélène is the inventor of a French grammatical mood, l'utoptif, but the the situations that call for its use have never arisen.

COLE SWENSEN is the author of 12 books of poetry and 14 volumes of translations of poetry, prose, and art criticism from French.

Co-editor of the Norton anthology American Hybrid and founding editor of the small press La Presse, she teaches in the Iowa Writers' Workshop and divides her time between Iowa, Washington DC, and Paris.

MICHELLE TARANSKY and EMILY PETTIT have published collaborative work on Wolf in a Field and are both on the board of Flying Object in Hadley, MA. Together, they coordinate the Whenever We Feel Like It reading series.

JOE WENDEROTH is a Professor of English at UC Davis, and teaches in the Creative Writing graduate program. He has published five books: three books of poems, a book of essays, and the novel, Letters To Wendy's, which has been adapted for the stage several times, most notably by Bruce McCulloch, of Kids In The Hall fame. Wenderoth has been working for more than twenty years on a proposal for a televised game involving human sacrifice, and hopes to release said proposal to the public within the next two years.

DARA WIER's SELECTED POEMS is from Wave Books; she teaches workshops and form & theory seminars at the University of Massachusetts Amherst & co-directs its Juniper Institute for Literary Arts & Action.

JOSHUA MARIE WILKINSON's recent works are Selenography, with Polaroids by Tim Rutili (Sidebrow Books 2010); Poets on Teaching, featuring 99 essays by 101 poets (University of Iowa Press 2010); and Made a Machine by Describing the Landscape, a tour film about Califone co-directed by Solan Jensen (IndiePix Films 2011). He is between living arrangements.

ULJANA WOLF is a German poet and translator living in Berlin and Brooklyn. She has published two volumes of poetry, kochanie ich habe brot gekauft (kookbooks 2005) and falsche freunde (kookbooks 2009). Her chapbook false friends, translated by Susan Bernofsky, is forthcoming from Ugly Duckling Presse in April 2011.

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