DENISE LETO

 

                                     



BRIEFING FOR A CONVERSATION IN PARTS


With all available repetitions unsafe,
the spectator bedazzled between
syllables in extremis.

“Post-modern discontinuity”
becomes “house, daughter, pottery.”

(dash, space, cut, break)

Not individual perceptions, thoughts, sensations nor a cloud
of undifferentiated hum all the same all the way up or down.

Of, can you say “of”?

(the doll had no mouth)

Cut between a part and a whole,
the normative salutation: is it an act?
A loss toward?

Stuttering is in the table of elementary
linguistic and literary operations.

“A work which then extrapolates…”
becomes “alert the extra pilots.”

Of can you say:

expressing the relationship between
a direction and a point of reference.

Or: of the queer fingers under, in, me

About letters, the writer can use the talking about something
to be something, and even better, vice versa.

(the doll had no mouth)

The project, that is, the speaker
offers the page opposite
the body in the polis.

(dash, space, cut, break)

The conversation stashed in buoyant cages
outside the mouth: each other.
If it is understood at the gate?

(your mouth on mine: legs, sweat, cantilever)

Of can you say: governed by a noun expressing
the fact that a category is vague.

Invisible now, underworld mince now.
In this economy, do not crush
phonemes: the aspirating CV.

(the doll with the string pulled too hard)

What do you do with something that is so other to others?

Matter becomes what opening in the face
through which sounds transfer.

To negate our ideas of objects and subjects,

(in part, in part, in part)

but that it suggested so much.

 

 

                                                                                                      

 

      

 

                                   

 

 

TYPO 25