Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Quarries •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
A confused mass // // A unity of thing
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
A stroll – muted parks, pale rose blocks filled with technical variations, greenery. A thigh. A companion with modulated companion.
Hear the towers and the embankments flagged with praise. The smoothed out surfaces presented, a way, to extend the figure further than once imagined. Stunning hermaphrodites.
• • • • • • • The Pregnant Girls • • • • • • •
Laurant • Sotuya • Harbison
Pink ceiba trees vocalize / the young mothers, their daughters strapped to their bright feet. Luminous cries. A large indebtedness.
Mexico is more a thought than anything. Executions structured with the properties of Beauty. A religion. Girls crusted in light, struck, at the sharp lip of each reflection. Their curved windows, burning exteriors.
• • • • • • • The Pregnant Girls • • • • • • •
Laurant • Sotuya • Harbison
Alternating columns of light progress, the cacti on the floor | Halved cacti cool Sight lifts from the scene
Outside, heat floods. Repetition. A stack of distance … Sight lifts from the Object a unity of object and distance … The interior around the form / an object itself, pronged.
• • • • • • • The Pregnant Girls • • • • • • •
Laurant • Sotuya • Harbison
All minds sway to prostitution // Ideas of love, of vanishing into one another // Payments of love … the burning of fruit trees, clap of hulls
And what of debt in their hours of happiness? Sweat-glistened laborers, or kids expanding with their affection. (What notions of debt will soon interrupt their minds?) | Let debt kiss debt, finally.
• • • • • • • The Pregnant Girls • • • • • • •
Laurant • Sotuya • Harbison
Depart the pregnant girls – their large forms cornered with domes, pigeons, doves – a variety of domestic birds. Love? The calls from vertical halls as the city surrounds with prostrations. Here, arrival!
Expanse of cornered hills … jutting at immeasurable angles … whole beaches beneath these beaches, crowded with intersecting bathers …
• • • • • • • The Pregnant Girls • • • • • • •
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Quarries •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
During the summer all the prostitutes sit on the curbs, sharing habaneros between each other … they mark each plane of the body before beginning … they mark each rotation, the drift of sweat …
Exit corner stores, packed with foreign ideas of love // An existence beyond debt. Channels filled, orange trees and floating cigarette papers
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Collections of domes that march into the future. Uttering | Prisoners gleaming in scattered lamps. Groomed jackals, clean curves, erected interiors, forms of grandeur and pause. Laughter of forms
Here all things are bathers. | Order displays itself as shedding ****** Objects pinned to the walls on wet poles ******
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Prostitutes with shining gums and frames, gnawing any numbered expanse of God // Shelters composed // Young whore before her idea of wealth. Division of stomach by a stomach, a table by stomach
Water washes the corners of the bay. Children go boating along the roads. Another car passes. The bay reverses … and moves back again.
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Bathers prostrate themselves to their fear of the ocean / ships unfurl, rapid spray of gravel presses to their chests, masts extend horizontally | The exhaustion of the bather watching subjectless reflections …
Continue passed the shattered ships that rock below and above into the slicked fronts of our naked terrors. Masts at various lengths.
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Nopales swing in angled wind of the plains. Green paddles or bells, marked with crossing poles : en la mañana, dices, se calo!
Girls tell you what they see at the edges of all things : the drifting slabs of all figures, crossing mosques / factories, burning films / cigarettes, limes / grapefruits / hell. All the great signs of love, en la mañana …
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Young prostitutes their affectionate gaze, doll-like possibility of form. Built from unfastened lines, swoops, pleasures … fat on a heated ladle.
Ojos de chiltepin, le quieren … Tight mouth / simple construction. Tejados inclinados de casas // Ponga el sol sesgado en los nadadores … fat floats the surfaces of bending forms.
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Stabilize connection between Prostitutes and Debt : Tender mouths of the Age, mothers for your boys : Everyone walking, watching the cars
All of the orange trees and colored houses tilting the hill // Traveling highways. Dispersion of mass. Boats boxed by current and lending scales of light against water fitting, a reorganization of the eye
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Furred pilots perched in broken windshields claiming Vision as their own | Barren poplars whip the square pool. Wide casitas. They begin their flight, young pilots after the hanged sight in torn blossoms.
Calling the taxis. Cries with rolling r’s and desperate affection. Arms confused with wheels. Purses of intersecting nopalitos. Wonder! Love!
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
All things observed – Impossible reflections. The variety of holy cacti displaying themselves across – /+ /+ /+ + //+ Each surface | Displaying all the surface and end of all surface
+
Headaches coil / The mind wanders where it is told to wander / exposes itself a flesh cushion counting the pins …
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Multifaceted object. Bathers of form // tocando el vaso del alcohol, un instrumento para llamada la madrugada … ¡Las dulces y fuerzas enojadas la sangre del todo interior // del todo exterior, que pena!
This leg belongs to this other leg. The turning ramps of thought, of touch, of sight … disorganizing itself with the love of other’s movement.
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Bring the long history of bathers, polished with fine abandon. The cluster of small fish eggs trembling on the much larger blue dish.
Far fleshy lights, tall on gated poles – to strain each block, yard, suspend each act. Bathers push each interior / exterior and scatter the parts. Such prisons wander the pools of water and surface.
• • • • • • • Bathers / Prostitutes • • • • • • •
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Quarries •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Ah, all the moving bicycles spreading their limbs and lips across the structure of the habanero. The smell of the young // Dead.
Los jóvenes muertos demostrando maravillas brilliantes. Los jardínes son construidos con astas y hambres … y solo las mujeres saben qué hacer con ellos. | Mira, una colección de cosas rompe la escena.
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Exiting the slope the colony of eucalyptus, slender towers tbowing toward steel vessels lapping against the bay. All the variety of trade … The image skips across the total surface, before …
Occasionally a band of children sitting among the terrific poles // Witnesses of visions together, before, vertical bars break the beachhead.
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Impassive beast. The idea of the Object—all objects a cactus and tsieve. migrating, allowed to breathe | Firmly pressing each surrounding body. … the future, unfolds in tremendous bounds of lapping color …
Surrender distance between Object / Lack. A monster that builds ships and sinks them to her heart, her skirt. A love of porous fruit.
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Listen – the glistening architecture of grapefruit / Prison / the tilted pelvis, ornamented with the warmth of proud lovers. All exteriors press to each other, a state of bewildered exchange – arcs on a bridge.
A curved chair on two planes // Existing by the division of the window. Swelling light bulbs, circles of soft radiation, childlike applause
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
The large blunder of parades – progression of thought among poplars, of crowds. Sight from the vantage of single points. Order as Progress. The beliefs of cities and of thoughts …
Goldfish in the clear glass (near the window) each lazy orange motion, collapsed – a pattern also on the surface in waves.
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Aspiring buildings – neither modern nor antique. Dialects of rarity, of structural charm // Composed with softest blue pencil marks, upon Egyptian linen … hung in unframed groupings, lined, reorganized …
Steady arcs, doubled pillars, cleanliness, fine ground rubbed across … A delicate shift, embankment, courtyard, sheer unbelievable mass.
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Madrasas curving over the planes of dust and heat // some twander the neighborhoods. Tiny departures living among the wilderness.
Passing between enclosures and parapets of speech // Irregularly shaped parks with regular trade. In order, single boats slide beneath lifted bridges … in order a single inch follows and drifts to wilderness.
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Después libertan las bicis … ellos van a comiendo maravillas de la chocha del ojos | Transportes de todo … irreal madura verdadero.
To cross objects of thought into the grain of cotton, wood, the quiet frames of bicycles … looks moving in both directions … the abandoned bikes to the sun and other flesh things, watching the kids move …
• • • • • • • Prison / Bicycles • • • • • • •
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Quarries •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Los hoteles suaves : borders spring and stir / enfolding calls travel from open walls. Darts of existence, closing their brief minds …
Climates of beaches. Variety of languages. Pebbles move unnoticed. Such luck to say … among the debris of the rented rooms // lists of inventions … reinventions composed by a single dead rose colored girl
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Beben todo el atol. Entertain all the dumb poets spilling from former schools, dipped with marigolds, as all the sold dying dress themselves.
… islands of hermaphrodites clothed in cornflower. Their mouth, distant shouts of toasted maize. To say, their mouth, before the crop is cut for the vendor, before their mouth is vehicle in many mouths, nameless.
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
The Sonora is long and wide / is as tall as the eye and as false. The foreigner began, Mexicans lost in Mexico, and expanded with full schools of poetry. The infinite mistake of the eye – inverse of a point.
Cosas muertos. Cheap cotton dresses the transvestites of Juarez wear. The history of logic // Movement of one thing against another.
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Summer fastens its thick body // What a loving body has formed … against whole slabs of lengua thrown from the curbs of high palaces …
Marks move along the exterior. Small incisions. As the presence of tongue ebbs out // An accumulation of foreign colors and mass … Kids lining the curb test wet colonies, uncovered feet covered …
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Taxis pour from dirt slopes into freeways, embankments of angled failures … objections give away … offering payment to displacement of locations, to Polish melodies and floating lamps …
… our propensity for loss … to the mind what is foreign and tipped with surreal acts : a poem in the taxi as simply as a grocery list.
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Collapsible palaces of Oakland // Liquor stores deified by morning bay mist. Brightly colored packages. Constant lap of surroundings …
Against naked ankles … designed gates and bars, slim curves on either side of the walkway. Numbered streets chopping uneven blocks and corner stores. Mute palm trees adorned with sleeves of bark / color …
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
March of symbols and stringed instruments … below the balconies, funneled to a couple of banked streets … clapping wooden bells among their ankles, clapping mouths among their mouths … the lasting parade
Both hermaphrodite and child drank among the open windows. Ears pressed | Like Eurydice, only the dead are able to write Poetry
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Russian stacking dolls freshly handled with the care of Rublev’s icons. | An icon positioned within an icon then … the crisp smell of shaved wood, sanded, waxed, perfected // With edges and gentle planes.
Descending corner stairs / the geometrically severe slope of cheeks / alternating pattern of a lifting skirt. See the dolls in insistent embracing
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
The smell of overripe pears irrigating the mind’s wilderness // Women lying before large windows organizing coded postcards …
Repetition is the rule – edges of all things, mosques, factories, limes, grapefruits, packages of cigarettes, films, glasses of orange juice – scaffolds of toothpicks supporting the idea // its unbearable bearing.
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Comiendo tamals podridos (Along the large laughter of lifting heads). Platos delicados, llenos de comida y risa (tied to tall, skinny poles …) Explican la flor del muerte (the wealth of our exquisite nations).
Bring eyes to see how the plate itself is eating / even eats itself, as the total act of its … a girl with a skirt of snakes, patient, monumental on the lawn.
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
The focus of Being // Forgetting already, its history formed … using the single logic of Sight. The inverse of universe – a grand producer.
The eye does not delineate object from lack. Or object from object. The love of objects among each other or violence within each … Other sights split, move … Lack from lack. The hotels move gracefully.
• • • • • • • Hotels / Tamals • • • • • • •
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Quarries •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Desert and all the misery of images. Complete structure to compromise … Chiltepin doesn’t stick, it is dust. It is the holy god’s breath — memory of images, not the images themselves. A complete departure.
Only an expression of thirst. To exist as a collapse of place and distance. Beads of pale rose the bird leaves the near hollow husk.
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
Describe the structure of a habanero … the actual reality of the orange moist bell … place the cities and swing of sex. Hold the Opera // Lease the tongue. Each figure overturn with living and foreign smells.
In the films the boys ride their bikes across the curves. Chasing after the ringing, the viewers believe. They call. They ride without limbs or sight.
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
The stacks of dead roosters could just be an image, or the young girl sitting next to them, an exchange of music. Large painted signs reply : HISTORY OF LOVE AND DEBT
Name the only symbol of Love / the only collection of Debt and Flood Las calaveras borrachas de gallos cantan más allá y su f orma pasa más
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
Bells dispel the finale of the cockfight. Empty throats fill with external reverberation of sounds. Colored ties and beams, light on thin blades, the opened ribbon / dissonant rhythm harmonized. The bells exclaim!
The mystic children lay claim and part | Untied in the enclosure, the rocks and pastel plants shedding. The cock drains to the cool tile.
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
The blue designed dome porcelain top with a spade at the apex matching the form of a habanero. Each cut / each shoveling and flush to the reclining surface / temporarily distorting this notion of scale …
You look at the painted towers, repeat // Released at the indicated markers, designating the objects of love from differing vantage points.
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
Gallos hermosos | Son bañados con la boca antes de la vida realidad. Darlos el amor y todo pena. Limpia la boca de los muertes.
The sucked curve of the beak. Glistening before the fight, the multiple rings of women, children and sweating faces of men … against the shape of the yard … bordered soft pink walls … the song after it all …
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
Hurry with pictures pinned to screens / taped to sliding glass doors | Before crowds of cities, of moving objects. Vision to deny Sight / or Sight over Vision? Calls of cockfights exceed the courtyard –
The constant striving for music; music kills all things. Replacing of new harmonies / organized cockfights, placing of ideas and things. Health!
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
The smell of orange orchards | Living off cigarette papers and leftovers. Orders of value invented with the logic of filmmakers.
Who could imagine ballets beyond Russian effluence? Disposable vulnerability. Disposable sternness. Such stature! Buildings erected for the building of scaffolds | Rotating orchards from young mouths.
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
ORDER { punctured _ nopales puncturing _ nopales
— the welcoming of a new
economy! The boat / the gallo moves back and forth between space and breathing // Toward a new space. A transition of fools and hulls.
The idea of order // A structured loss of order. If a child wipes chile in her eyes and becomes a loss of chile and herself sight of chile …
• • • • • • • Habaneros / Gallos • • • • • • •
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
The Pregnant Girls •••••••••••••••••••••••••••••
Bathers / Prostitutes •••••••••••••••••••••••••••••
Prison / Bicycles •••••••••••••••••••••••••••••
Hotels / Tamals •••••••••••••••••••••••••••••
Habaneros / Gallos •••••••••••••••••••••••••••••
Quarries •••••••••••••••••••••••••••••
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
White pounds of dirt, massed above the garden’s pool – flaking – reproduced on the waters, the shape of form changed by the angle.
And the boats on the surface, among the poles and lines, the wandering collection of men and women | Their hulls do not increase above into the slopes but swell small sections, and launch against harsh jets.
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
The quarry moves in somewhat unified slopes // Throughout the year, directed material, losses and gains. Experiments in orderly love.
The many birds are moved, dressed in colorful skirts, playing with their mouths. The dry plants comb the edges of the slopes. Beyond the eye, Mathematical institutions sway – an order of foreground …
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
Líneas de hormigas, canciones de gringos, tamals podridos … la chingada vive en todo. Ella pregunta te : ¿La pan está tuyo?
Slowly the small lines measure the skull, they notate and expand the mass | The prostitutes sit you down to give their ideas of order, a true structure to loss // Love, along the embankments of ants …
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
What more can they do with quarries? Inner thigh crossing, budding at the edge of each border each barrier of the thigh // Another
Among them, laborers over the uneven shine of thought | Labor perfected. Poets describing a language beyond Poetry : a complete compression of distance. A single thought before the scatter of points.
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
Quiet minds adorned // cempoalxochitl, peaking quarry remains // Drift of inner thigh … mound of stomach reflected on the pathways.
Is a pregnant girl a corner? … of a street, of a quarry, the slopes … a unified thought / of images … The singing from the mine, smooth, purified forms in the background brought to standing … partial signal.
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
Bicycles, prostitutes, prison – the swelter of signals / of human affection. What of love in these zones of reflected barbarity?
Seatless bicycles rove the dawn. Love exits worst those in poverty of love | Cows gilded in gold, emerald, sink with affection / disgust. Smile with cool blankets, towering fields, a network of sinking disguises.
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
Shackled with bells of unbelievable sound! The leg moving against the shores of the quarries’ robust curves. Figure without the head …
Burnt cheeks of girls, pointillist orchards cover their total surfaces | Curbed boys, fantastic mosaics, a rush of agonizing green through the carnivorous flower. New bells of unbelievable sound … insect quiet.
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
Thin vapors just above the edges of breakwaters – barges make their moves across bare reflections // pass beneath bridges also extending, quarry to quarry. Slow, wheeled motions. Quiet overturning figures …
The weaker trees bend or are ripped out. Landscapes display their stilted patterns // The eye struggles against the Object ++
• • • • • • • Quarries • • • • • • •
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Even movement with quarries embedded //
// A wish for quiet minds
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison
Laurant • Sotuya • Harbison