X

Other Books by John Cagefrom Wesleyan University Press

Silence: Lectures and Writings

A Year from Monday: New Lectures and Writings

M: Writings '67-72

Empty Words: Writings 73-78

W R I T I N G S 79-'82

WESLEYAN UNIVERSITY PRESS

X

Wesleyan University PressPublished by University Press of New England, Hanover, NH 03755

Copyright © 1983 by John CageAll rights reserved.

Most of the works in this volume have previously appeared elsewhere:The first part, including the preface, of "James Joyce, Marcel Duchamp, Erik Satie: An Alphabet"appeared in Zero in 1981."Another Song" appeared in 1981 in Another Song, Callaway Editions, New York."B.W. 1916-1979" was published in the Proceedings of the American Academy of Arts and Lettersin 1980."Composition in Retrospect" was published by Point Publications in 1982.Mesostics:"There is not much difference between the two" appeared in Misuzi 1979, Tokyo."Toyama 1982" was published by the Museum of Modern Art, Toyama, Japan, in 1982."Untitled" appeared in the United States in Chelsea in 1980."for her first exhibition with love" appeared in an exhibition catalog, FANNY "nach Strafiburg"Collagen 1980-82, Frankfurt/Main, in 1982.

Permissions:The original text on which "Writing for the Fourth Time through Finnegans Wake" and "Muoyce(Writing for the Fifth Time through Finnegans Wake)" are based is Finnegans Wake by James Joyce,© 1939 by James Joyce. © renewed 1967 by George Joyce and Lucia Joyce. This text is used by kindpermission of the Society of Authors, London.From The Bride Stripped Bare By Her Bachelors, Even by Marcel Duchamp, used by permission ofRichard Hamilton.From A L'inftnitif by Marcel Duchamp, used by permission of A.H. Ekstrom.Écrits by Erik Satie (collected by Ornella Volta), used by permission of M. Joseph Lafosse-Satie.From The Cantos of Ezra Pound, copyright © 1969 by Ezra Pound, and from Cantos LXXII andLXXIII, copyright © 1973 by the Trustees of the Ezra Pound Literary Property Trust, used by per-mission of New Directions Publishing Corporation.

Library of Congress Cataloging in Publication DataCage, John.

X.I. Title.

PS3553.A32X2 1983 8i8'.54O7 83-18275ISBN 0-8195-6098-7Manufactured in the United States of America

5 4 3

In Memory of Bill Bueno (Jose Rollin de la Torre Bueno)1904-1980

Editor for the Wesleyan University Press1958-1979

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C O N T E N T S

F O R E W O R D i x

Writing for the Fourth Time through Finnegans Wake I

'There is not much difference between the two. " 51(Suzuki Daisetz)

Toyama 1982 51

James Joyce, Marcel Duchamp, Erik Satie: An Alphabet 53

Another Song 103

Writing through the Cantos 109

(untitled) 117

B. W. 1916-1979 119

Composition in Retrospect 123

for her first exhibition with love 153

Diary: How to Improve the World (You Will Only 155Make Matters Worse) Continued 1973-1982

Wishful Thinking 171

Muoyce (Writing for the Fifth Time through 173Finnegans Wake)

VII

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F O R E W O R D

I am as ever beholden to R. Buckminster Fuller. His recent booksCritical Path and Crunch of Giants clearly tell what our world sit-uation is and what must be done if life on earth is to continue.Though some nations have tried, none has succeeded in becomingsupranational. Only business, industry, most of it American, Coca-Cola, for instance, is downright global in its operation.

Nations belong to the past. They merely fight one another. Wemust study carefully the ways of large industry, so that we can im-plement the fact that there is no limit to the place in which we live.Patriotism? Take it with you out into space!

National differences can be dissolved by global problems. If wewere to be attacked from outer space we would all quickly get to-gether. Industry is now beginning to suggest that the differences be-tween currencies should be eliminated. It would simplify the count-ing of profits.

The title of this book, like that of M, was found by subjecting thealphabet to chance operations. It signifies the unknown, place wherepoetry lives, tomorrow, I hope, as it does today, where what you see,framed or unframed, is art (cf. photography), where what you hear onor off the record is music.

Years ago in a review of Silence Alfred Frankenstein wrote thatmy writings were the story of how a change of mind came about.From the beginning in the late '305 I have been more interested inexemplification than in explanation, and so I have more and morewritten my texts in the same way I write my music, and make myprints, through the use of chance operations and by taking the ask-ing of questions rather than the making of choices as my personalresponsibility. Or you might say that I am devoted to freeing mywriting from my intentions, and so, in those cases like the writingsthrough Joyce's Finnegans Wake and The Cantos of Ezra Pound in-

ix

eluded in this book in which chance plays no part, I merely followthe rolling of a metal ball (the name of the author through his work)which serves to free me and the reader not only of my intentions butalso of those of Joyce and Pound. I am confident, however, and somefriends support this view, that Joyce would have been delighted bywhat happens when intention is removed from the Wake, and I haz-ard that Pound, if not delighted, would have been relieved. CantoCXX: "Let those I love try to forgive what I have made/7

X, then, as I write in the Diary (CCXXIV, 6th remark), is onebook, the most recent, in an ongoing series: to find a way of writingwhich comes from ideas, is not about them, but which producesthem.

It is illustrated fortuitously by twelve photographs made atmy request by Paul Barton of twelve weathered images on the SiegelCooper Building, first balcony level (eight images on the Avenue ofthe Americas, two on i8th Street, two on ipth Street, New YorkCity). I call them Weather-ed I-XII. I did nothing to make them theway they are. I merely noticed them. They are changing, as are thesounds of the traffic I also enjoy as each day I look out the window.

x

In January 1979, Louis Mink wrote me an excellent letter saying that havingbeen reading my first Writing he noticed that I had invented the impuremesostic. A pure mesostic, he said, would not permit the appearance ofeither letter between two of the name. This criticism fascinated me and Iprofited from it by writing a third time through Finnegans Wake. That textresembles the first, whereas the following fourth Writing, which followsthe same rule, like the second does not permit the reappearance of a givensyllable for a given letter of the name. It is the shortest of the four writings.

W R I T I N G FOR THE FOURTH TIMETHROUGH F I N N E G A N S WAKE

i

wroth with twone nathandjoe 3AMalt

jhEmShen

pftjschuteOf finnegan

that the humptYhillhead of humselfis at the knoCk out

in thE park

Jiccup 4the fAther

My shiningthE

Soft

JudgesOr helviticus

sternelYwatsChfuturE of his

I

febel 5And

heed it May halfhavE

hiS back

and the derryjellybies 6arOund

fancYmudereCtion

dimb hE

fjordhis bAywinds'

hiMhEr 7

innS

JameyOur 8

paddYis a ffrinCh tip this is

bullEt that byng

mons injun this is theAlps hooping to

sheltershock the three lipoleuMswith thEir

book of Stralegy

Jinnies is awillingdOnephillippY 9

dispatChto irrigatE

2

Jinniesto fontAnnoy

bode belchuMbonnEtto buSby

waxing ranjymad 10fOr

hneYCry

willingdonE

Jig-lAnthernMonth

and onEand Such

Jist IIdOes

till bYes will befliCkflEckflinging its pixy lighting

Job of 12bAndyMounds

likESo

mujikal 13bOx

mirYinCabususEd

3

1111

mammon lujiusin his grAnd old

historioruMwrotE

annalS f.

up Jerrybuilding 15tO theYear

aCrossus frEsh

Juniperyor Alebrill

Mahan it is 16wE

kraalS

Jutelet us swOp hats

YutahhasatenCyi trumplE

i rimimirim Juteone eyegonblAck

ghinees hies good for you Mutthow woodEn i not know

old grilSy

Just 17hOwbY a riverpoolClompturf

rEx

4

of objects 19Alfrids

corMacks andarE

See

Jadesses withmOuths andsaY too usniCk

sons littlEsons

Jined 20mAy his

MudsundErit cloSeth

Jarl van 21lamphOuse

la Y ingCold hands

on himsElf and his

Jiminies cousins ofcAstle

derMotprankquEan

a roSy one

up the Jiminywith sOft

mY earin stopto tauCh him his

shE

5

Just 27doAt with his

postMan's knock roundhis oldE

lauS

Jane's acOming

theY're surea tourCh of

flamE

no Jugglywugglywith her wAr souvenir

MurialassurE

a Sure there

majesty 31who wAs or often feigned to be

froMinquirE what

had cauSed

JubileedrOgheda

sYmbolising puritasdoCtrina

businEss

6

JomgrAy

in his house in the MourningcrustEdroadSide

the Juke 33at One time under thehaY

C.suggEstion of

Jesses 34ripe occAsion to provoke

theMwhilE

iS

thaw tool in Jew me dinner 35Ouzel fin a niceYou-do

in poolblaCktimE

Jurgensen'sshrApnel

goodManovEr

South at work

and commutative Justice 3 6nOttYpe of heidelberg 37

mannleiChmannleiChEthics

7

Jointly kemthe quiet dArkenings of

MraftEr

callouS

Jesuit's ^gclOth

Yet inthe faCts was

sEcondary

Jenny 39eglAndine's choicest

housingrooM 4°abidE with

my horSe delayed nom num. the

many Jiffies 41

pOtlidstheY

CuriouslythosE

Joined 4^Apply

toMorrow casual and avariEty

juSt been

Juiced after 43Over at

tarrY theClings

hEr

8

mountjoy 45of All

MilkopEnair

choruS

mr J.f. 48colemAn offenn Mac

nEachpaSt with

Juxta- 51explanation was put in

exrace eYeslokil Calour

arE said

with Jedburgh 57Acquitted

contestiMony with 5 8clErgy

madthing haS done him

JudgementsthOse

malrecapturable daYsin whiCh

widE

9

John 61leAned

MoultinstEnch ofgladS ome

hejirite 62,silentiOussuemeant under

deep YourluCtuouspEasant

Jink ghostlyAs were he

to condeMnso thEy might

him firSt pharoah

Jumphet 64frOm

plaYingon the raglar roCk to dulyn

prisEd

astrollajerriesfor the love of the sAunces

Machinskyor othEr

muSclebound from being too pulled

a large Jugful 65sOmeplaceslY where

he CouldmixErs

10

swift and Jolly 66mrs hAhn

dorMant ina hErm a

houSe of

meatjutes 67On

said simplYCaptain you did

in Error

Josephine 71with inkermAnn

MidnightbiblE

tyrannous blau clay tight

in conjunction yggArrotted

whiggissiMus 79incarnadinEd

opposition the feeling that

two Jars 82and several bOttles

Yethe vermiCular

with a vEry oggly

ii

JokinglAying if

coMpanion who stuck still toinvEntion

Strongbox

I- 83befOregaY

whiskwigs wiCk'sEars

Jennerously exhibited 84to the pArts

it proved MostfortunatE that

and Six

whole padderfagmartin 86cOpperas

chrYstalisations of alum on evento stiCk

firE to

Jew's totems tospite of thescAttery kind when

MainsatE

Selling the gentleman

gale and roaring o'crian Jr. 87bOth

dalkeYs kings of mud andCrimson

o'donnEr ay

12

Jowl 89the mAthers ofhircuManswEr

Siar i am

it Jah 90i shOuld

Yeshow suCh

bEginall finally struck him now

punic Judgeshipstrove with penAl

stucckoMuck 91fEw

jurorS

and highajinks 94nOw

minster York do i mind i mind the 95rossies Chaffing him

you do todo north mistEr

Jonnieshold hArd

i'M gladsEz

lankyShield gobugga ye

Jackass harik harik 96the rOse is white in the

rhYme andContradrinking

ninE

13

Juletide's 97geniAl

MullinahobthEn

upon tankardStown the outlier

the Jenny infanted thehOux

awaY 98a dutCh bottom tank

undEr

asia majorflAtty

of his oMniboxhE

almS of

JamstO wards

he and YewevereaChbird from golddawn 99

glory to glowworm glEam

JestrAce

fieldMarshalprincE

with a moliamordhar manSion in the

Jutstiff ioobuttertOwer

the wasting wYvernbaCkwords

or morE strictly

14

iuld van dijkecertAin fixed residents

through our systeMbE

Still o

Jeer and 101zhanyzhOnies

had given his eYe for her bedand a tooth for a Child

till onE

Journey to 104never hAs

with the cooMbing ofof aEgypt

wiSh i

my o'Jerusalem 105and i'm his pO

train trYhe Can

Explain

what JumbomAde to

MouthstoppEd

Should flow and

15

Jealesies 106childsize herOes

and thin dYediCykiCyksEx

a Jolting series 107long lAne

Mountback against a 108usE of

Style

Jungle 112yOu

maYpiCk

a pEck

JustifiedthAtluMililts

asshEfolS

Jullyglad 113when christmas cOmes

aYe to 114noticing

linEs

Jew 116fAr

in duMbil'syEar

Sea merged

16

majestybOrn

uggamYg hapaxleCountry

stilEs

Jeers 117for the grApe vine

ruMhis End for himoff Sooth

dejectedly 121diapered windOw

baYleavesnondesCript

a palmtailEd

final always JimssAhib

exhibit ionisMof thosE

capriciouS

rubyjets 122amOng

as daY theloCks

you'rE

fjorgn 124first instAnt

nor the huMpharstill kEpt

Small

i/

and loojingtOrba'saY and would have as true as

muChonE's half

Jhon 126rAtedMic

thEm andartful diSorder

faypees and 134theban recensOrs

the maYds was midst the hawthorns 135pimploCo

to stand for suE

on a fjeld duiv 136ruz the hAlo

on the lodge for hyMndapifEr

magnuS

Juts 138he's cOme

shampaYingClouts and

pottlEd

18

Jorn 142-bArty

and toM8 and how war yorE

anSwer

Jeff's 143gOt the signs

but YurninglovemutCh

a brEf burning till

Jumps 145so she sAys

so Mushnot takE it

courSe i know

JumpyOurtrYsting 146

buCkinghopE in

gilda hilda ita Jess 147kAtty lou

reforMatorypravidancE

waS

Javanese i will give all my 152Old

hYbreds andharped on his Crown and

out of his immobilE

19

Juice of 153hAdMust to

hie sor a stonESingularly illud

kelkefoje funcktas 160kelkefOje

crYing toreCoil

with a grEat

sotisfiction how his abject 161is nothing so much more thAn

the dogMarksof origEn on

Same time and with the

Jaw 162mOuthful 163

butYrumut sCiat

malum Et

Jeffet 168four-in-hAnd

buM and dingo jack bybrokE

to Say

20

Jem is 169Are

sheM'sgEtup it

Skull an eight of a

tragic Jester I71

sObbed himselfYellagreen funkleblue windigut

applejaCkto hEar him twixt his

Johns is 17 2-next plAce

for luvvoMonyhopEd or at

among morticians

Jansens chrest 173JawOuld

samtalaisYmerchant

bElfry

and Judder on the mound 175heAthheMpalheMpal

poursuivEpoursuivEfrownSfrownS

in Junk et sampam 178his bOnafide

straY whizzer sang outto avenge maC

jobbEr

21

173

Jymes 181wishes to heAr

druMcondriacrEallyShamiana 182

objects 183cast at gOblins

YoungClippings from

toothsomE

Jos 184giAs neys

the stoMachfair chancE of

tumult Son of

JigsmithdOdginess

whites and Yolks andCinnamon

and asthEr's mess and

Joyntstone 192let him pAss

with your cruMbs 193tEll me

not a loanShark look

Jigs andinnOcence 194we Yield our spiritus to the wind

the pole the spaniel paCkthEir quarry

22

ijypt 198sAw

nyuMba nooErring

aiSy-

changeable fade that 200rObeYou'llCloak so

dEaf as a yawn

tipting a Jutty 202pAlling in

when MaidswhEn

Stood

Jub 204verOnica's wipers

is it a pinnY or is itstarChsmEll

or Jude's hotel or 205vArtryville or

ikoMtipsidE down or

and morriS

23

piped und ubanjees twanged withr O tundarkinkingnYne 206

tell me quiCk and dongumaguE

Join in thegigguels i cAn't

by the holy well of MulhuddartswEar i'd

killy'S mount

and a Jetty amulet 207clicking cObbles and

eYannushka lutetiavitCh pufflovah

lEllipos

of injonshold your peAce and listen well

it MighttEn

allcloSe or the nexth of

Jary 210saccO

and llewelYn mmarriage a brazen noseCraig and a

harE

JonesloAf of

Morning forvalE

and outflaSh

24

Jill 211brOth

tYneviCtor

rakE and

JoyssAintMoor

sawyEr andtropical Scott

Jane in decline and my 214mOngrel

laundrYmanCollars and

hEir

II

opal who having Jilted 220seAngeMinally about caps or puds

a pattErnSet and brought home

Jibsheets andsupercargO

gugnir his geYswerks 221his earsequaCk

milldiEuw and butt of

Jestsfor the wAke lent

M.fmnEgan

hairwigS

^5

and Jean 222sOuslevin bass

claYbladeof Clubs to part from

fEar acts of

djowlreleAsed

shehind hiMs backunhErd of 223

mary louiSan

Jawrin the frOnt

givin Yoe upwith searCh a fling

did diE

an injine ruber 224At his thinker's

freightfullness whoMhis collinE born

She

ploung Jamn 2,25sOYateman hat

stuCk hitsalthrough his spokEs and if

would Jused sit it 229rAte in blotch

in hyMnsignorancE

Sorey

26

worth leaving nej 23°zOkrahsing

pumme if Yellwhile itChish 231

shomE

by Jove chronides seedsumm After

MalthosrollEd

Snivelled

Jerka redhOt turnspite

whY was thathis spurt of Coal 2,32

dilutE

Juwells 236fAns

foMor's in hispaaralonE

dublin'S all adin

thejthOu

straYedof pa's teapuCs

as lithE and

Juneses 238duel mAkes their triel eer's

coMbshonEyyourSelf

^7

her eckcot hjem 242his flamen vestacOat

Yahrds of annams 243Call

wrongEd by

Jempson's weed decks 245bong bAngbong

how Matt yourlukEd your

mugS and troublebedded

bij de -246whO

fifteen YearsCampus

thEm

lerkoffeAtsoup

yeM orworth hEaling

muSt walk out and

Jasper and 249fOndance and

curtseY onemettenChough

thEy

focubus nic for 251stAnth

Mun in hissonsEpun

wiSe

28

Jacquemin 253accOuntibussweYnhearts 254

meeresChalipsE

wijn 256withouten pleAders

Masis huEd

fumingS

on our Jambses 258nek nekulOn

Yea let usloud graCiously

havE

Judges orb 263gAyMill 265ElmSkole

June 266fOnd

thYselfattaCh

with thinE

29

Jeg suis 269thou Arr i

MaidbiggErthat;S

fillies and 273bOmbambum

maggYCastoff

dEvils all

Jelly 274shAkeforkluMps 275

or any otthErbaStille back bucked up with

JinglishdolphinsdYeing to 276

zumboCkyEt

Jr 279he inst my lifstAck

piMp andnaturEnourSe

la Jambe de marche 2&°piOus and pure

plaYed 281belletristiCksb

aux tEmps

30

aux Jours destrAnslout

Mail socowriE card i

Sad

hoojahs 282dOwn

Yerthereunn enoCh 283

Endso

Joke 290will hAve

synchronisMs allquatrEnwhoSe

in par Jure ilOtherYves 291

so inseuladed as Crampton'sEurn

Jup 294cArpenger

centruM and olaf'scyclonE

aS

Jukes 295private properties

the YulessundaClouths

hung up for tatE and comyng

3i

Jeldy 2-97this is whAt you'll

Mygh and thyspit of dEad

diScinct

armjaws at the 300de vere fOster

sprY him 301miCk

varsEs

apolojigs 302thAnksleMan

jow low jurEplumpduffS

ajax 306fire at the sOuth

sYstem the usesand abuses of inseCts

pEnny post 3°7

Jomsborg 310tuned up by twintriodic singulvAlvulous

tyMpanrEunionaSkold

3^

till time JingshOst

the keY of efas-taem o 311a ketCh or hook

alivE a suit

Jewr of 312plebs but plAbs by low

Mint 313liquid couragE

Stowed

apullajibed the 317pOwer

Yon peakwith its Coast so

knEw

Jelks let be buttercup 321bAll

you scuM 322turnEd out

alaS

lavantaj 325ahOrace

YsnodsCat

doEs

Jodhpur 329smAllsi. Magnus

good lifEbarkonS lough t

33

Juinnesses 333rapin his hind and the bullingdOng

staYs outsize herblanCking

dronnings kissEd

Jude if you'll 334stAy where you're

Mizzatintcanins to ridE with

caninS that lept

ajaculate 338the glOwrings

bruYant the brefsing Ching

lEw mang

fupes 339grAze the

consoMationrEntS

the dfublian 3trulOck

nYeto reguleCt

stragglEs for

his mujiksy'sfArst

which seeMs 34J

to sharpnElSpool of the little brown

34

340

pamfab pgrOss

hermYnwith dramatic

rEproducingr

pojr 343greAtes

qwehrMini grandthinkEd

obraS after

nodje 3in the pOestcher

his chimbleY photloveCurling totakEcups

Junking 348the pAlposes

of woMth andlysE

Screeneth hulp

what we warn to hear Jeff is 359sweecheeriOde and

Yoreswift sanCtuarygang oiboE

Joh 366beAuty

Mask 367kullykEg

viSiting dan leary

35

342

345

Jiffexby 3^9rOde

the rhYmer that lapped at the hooseCourt

sEight of that yard

Joynes 37°trAynor

to puMpfirE

into thoSe

Jameseslane begetting a wife 373which begame his niece by pOuring her

dizzYCrops out

in your flEsh 374

that Juke built 375wAit till they send you to

woMhoods twotwElfthgaSping

of a rhutian JhanaralwidOwer

me prhYseCaulking

any shapE

and a good Jump powell 376cleAn over

the Massus for tobarrEl

Slick

36

Jitters 377yOu'll

Yores the strake ofthe Cloth

to forE of

so hattajocky only 383quArtebuck 3 $4

interiMsfor auld lang synE

palmS in their

Jules 386with the hOughers

Yamanfrom the Curragh and 387

and the authoritiEs noord

fibhAirshirt

reMindsvillEm and

blank print S

of lady Jales casematethe fOurth

raYburnthe old Conk -388

yE gink

37

for a Jool 394to breAkegotuM

dEprofundity ofpancoSmic

mummurrlubejubes 396mOtherpeributts up

lethargY's love at the end of it all 397Community

sEnior

III

and as i was Jogging 404dAwdling

cluMpdrEamta Shaddo

without prejuice 405came alOng 406

gaulusch gravYwith seCondand thEn

Jistr to gwen his gwistelprAties

MockgurglE

to whiStle

Jamwhile the lOaves

quaYnuCkling down to

nourriturEs

38

Joust 416tAntoo

o MoyhEartily

Swallowed the

Jiltses 4i7gracehOper

in the mYreactually

and preEsumptuably sinctifying

Jetty 4^0noon sick pAsonopened by Miss

nighumplEdanShout at

contempt and dejeunerate 422

a skillytOn be thinkingi buY himhalfCousin

of minE pigdish nor wants to

Jeune premier 430fAirest donesMilingly

broad by brEad andSlender

39

Jaun asking kindlilyhillO missies after their

tYke 43ibenediCt

world and his lifE

Jomping 441hAul

libidinuM inyou'vEthingS to look

our Jakeline sisters 447Out

like hYmntheir Coals

will soothE

JnoegAn

for freedoM of 44 8uproosE

of lorcanSby

crekking Jugs at 449grenOulls

in the shY orient 45°poaCh

rEnt

Jiesisin the lAtcher

suMtotalwholE 451

Strafe

40

to Jeshuam I'm 452

nOrawainYoustobe 453

sweeping reductionswEaring out your

June to our snug 454rewArd

luMpit 455but givE it

flock'S at home

for the Jemes 45 6Oh

chutneY andnaboC andfustfEd

Jooksthe Act

him i'll stuMp it out ofdoorstEp

Saint 457

Jungfraud's 460pOsts

waYs and hertwiCk

twinklE twings my twilight

Jill 462his fAil

sMallplacE

i Smelt the

4i

Jilting 465penals shervOmm

Yez how idos belike the Corks gain

sibstEr

Jousstly 468cAseMind

twinEtwoS

Jerne 469abOarderYnnana

now's nunCor nimmEr

Jourd'weh 470to-mAronite's

Mirra 471sElfrighting

pillarboSom of the

fun Juhn 473that dandyfOrth

phaYnixshall Crow at

wEst

42

phopho foorchtha aggala Jeeshee 475clAss of

MakingsquarE

yards of him one half

oh Jeyses fluid 480it's his lOst chance

heY didown tripe aCushlathat you tiEd

Jong 482of mAho

of the Mghtwg grwpp isyour wEight

hooShin

ho look at my Jailbrand 484exquOvis and

angliceYsuCk at 485

whosE was

djoytschoy soy bleseyblAsey where to go

is knowing reMaindiscoursE

uS

of Jenkins7

dullaphOneanglY mo

moohootChnipponnippErs -486

43

futs 491luckchAnge

deMaaschstrikE

drarakS

djanaral when he was sitting him 492vOlvular with

vikramaditYationists 493mendaCiis

yErds and

Jorth would come 496bumgAlowre

seeMlyhEavy

in Sugar

Jusse 502icecOld

plaYsone expeCts that kind ofon

rimEy

Joints 503cAused

siMplywEllknown

winning^

Jazzlike 511brOlliesbeYawnd

tweendeCksshubladEy's

44

Jokes bowlderblow the 517mAsket offsMutt

dykEShine

the mujic 518peace in vOina

if You've 519pootsCh

and proprEy

Juppettes 53igAuse be

hobMopshakE up

Sake all

Jaunted 542

rapt in necklOth and sasheswhile the Yanks 543

were huCklingpEtitions full of

Jets 548wAterrosespiM's and

pyrrhinESourire

45

their Juremembers 557imputAtions ofi

Mitigationin any casE

waShleather

Jark 558vOlans at six

Yeastwind and the hoppinghailoutskirts of City 559

groovE two

Jezebel 562in mAidenly

MuchdulcE

onSk a lovely

Jem 563will knOw him

lYlian andbredsCrums

jExkoff and

Juices 5 64olAve

tonoblooMbluE

marks athwart

gaij 565vOrtigern

muYmalinChily

fathEr

46

Joustlefor 568but mArk

pouMpEal

our boorgomaiSter thon

majers arise sirhOrse

alfi bYrni gamman dealtereaClatrEacla youghta

Juin 569shAll

Marlborough-protEctor

Shall have open

hedjes 571sOld

i praYhorsehem Coughs

a noisE

conjunct 573consummAte

Mauritius with sullatranslatE a

goodS of cape

Jumped 578she's bOrrid his head under

konYglik shire with hisduCk-on- 579wEnt up

47

stands abjourned 585is lArgely

Misturbing your nighboortirEd

Strictly

Jeebies ugh 590yOnd

christmastYde easteredman fourthchrisCalp halp

drummEd all

IV

byjoge 594you've tippertAps in your

exMooth ostbys 595Each and

dombS

he conjured himselfhthetheatrOn 596

chYstrepurchasing his

sorEnsplit and

Jerks 6nthe rApe

huMp 612EbblyballySukkot punc

hugly Judsys what 620mOre matcher's

sluskYteachingmE

48

our Joornee 621mAke it

Mrknrkyour grEat

languo of flowS

Jumpst 626thrObbst

Yedme Coolly

and i'd liE as

49

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"THERE IS NOT MUCH DIFFERENCEBETWEEN THE TWO." (SUZUKI DAISETZ)

ITis A long time

i don't Know how longsince

we were in a room toGether now i hearthat yoU are dead but when i think of

you as now i have the Clear impressiontHat

tenderly smiling you're alive as ever

TOYAMA 1982

deaTh isAt all times

liKelife

now that you are a GhostyoU are as you werea Center among centers

world-Honoredworld-honoring

late yeSterday eveningtHe moon in los angeles

low in the east not fulldo you see suZuki daisetz

give him my lOve

5i

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The title of this lecture is a reference to the poetry of Jackson Mac Low,which I have enjoyed for at least twenty-five years. He has made many "Vo-cabularies/' restricting each to the letters to be found in the name of a par-ticular friend. It is possible to imagine that the artists whose work we livewith constitute not a vocabulary but an alphabet by means of which wespell our lives. This idea as a subject interests me but it is not what I havedone in the following text, though the works of Joyce, Duchamp, and Satiein different ways have resisted the march of understanding and so are asfresh now as when they first were made. I don't know how many books onHamlet there are that set out to elucidate its mysteries, but there begin tobe a very large number in relation to the work of Joyce and the work of Du-champ. I prefer the ones that pay attention but stop short of explanation. Ienjoy the writing of Anne d'Harnoncourt and Kynaston McShine aboutDuchamp and that of Adaline Glasheen and Louis Mink about Joyce. Whenit conies to Satie, I prefer Satie himself to all those who've written abouthim. The Japanese composer and pianist Yuji Takahashi told me he likedtwo kinds of music, that that had too many notes and that that had too few.His remark may be extended to liking art that is incomprehensible (Joyceand Duchamp) and at the same time art that is too nose on your face (Satie).Such artists remain forever useful, useful I mean outside the museums, li-braries, and conservatories in each moment of our daily lives. I happenedone year to see a large exhibition of Dada in Diisseldorf. All of it had turnedinto art with the exception of Duchamp. The effect for me of Duchamp'swork was to so change my way of seeing that I became in my way a du-champ unto my self. I could find as he did for himself the space and time ofmy own experience. The works signed by Duchamp are centrifugal. Theworld around becomes indistinguishable. In Diisseldorf it began with thelight switches and electric outlets. One day after he had died Teeny Du-champ was taking me to see the Etant Donnees when it was still in NewYork before it went to Philadelphia. We were walking east along loth Street.I said, needing some courage to do so: You know, Teeny, I don't understandMarcel's work. She replied: Neither do I. While he was alive I could haveasked him questions, but I didn't. I preferred simply to be near him. I lovehim and for me more than any other artist of this century he is the one whochanged my life, he and the younger ones who loved him too, Jasper Johnsand Robert Rauschenberg. One day in the late '50$ I saw him in Venice. Ilaughed and said: The year I was born you were doing what I'm doing now,chance operations. Duchamp smiled and said: I must have been fifty yearsahead of my time.

53

For me Joyce is another story. When I was young I read A Portrait of theArtist as a Young Man and was not enthusiastic. At that time I loved theparts of Finnegans Wake that were published in transition and I often readthem to entertain my friends. When the finished Wake was published Ibought it but didn't think I had the time to read it. I was too busy writingmusic. Recently I have been punished. I have gone to Joyce as to a jail. I havemade five writings through Finnegans Wake, and I've turned the second oneinto an hour-long radio play called Roaratono, An Irish Circus on Fin-negans Wake. As with Duchamp's work, so with Joyce's. And this goes forDubliners and Ulysses too. I don't understand any of it. Nor do I understandthe night sky with stars and moon in it. The fact we travel to the moon hasgiven me no explanation of it. I would be delighted to retrace Basho's stepsin Japan, where as an old man he made a special tour on foot to enjoy partic-ular views of the moon. When I was in Ireland for a month last summer ('79)with John and Monika Fullemann collecting sounds for Roaratoriof manyIrishmen told me they couldn't understand Finnegans Wake and so didn'tread it. I asked them if they understood their own dreams. They confessedthey didn't. I have the feeling some of them may now be reading Joyce or atleast dreaming they're reading Joyce. Adaline Glasheen says: "I hold to myold opinion. Finnegans Wake is a model of a mysterious universe mademysterious by Joyce for the purpose of striking with polished irony at thehot vanity of divine and human wishes." And she says: "Joyce himself toldArthur Power, 'What is clear and concise can't deal with reality, for to bereal is to be surrounded by mystery.' Human kind, it is clear, can't standmuch reality. We so fiercely hate and fear our cloud of unknowing that wecan't believe sincere and unaffected, Joyce's love of the clear dark—it hasgot to be a paradox . . . an eccentricity of genius."

And Satie. I have analyzed his music and found it structured rhythmically. Ihave admired his choice of materials and his independent sense of form. Hismethod it seems to me is a marriage of mode and the twelve tones. I think Iknow all that. But it does me no good. I have also studied wild mushroomsso that I won't kill myself when I eat what I find. I am always amazed howexciting it is in any season anywhere to see just any mushroom growingonce again. The same is true each time I hear Satie well-played. I fall in loveall over again.

I cheerfully set out to write the following text but for a week I could not putpen to paper. Then it occurred to me that all three, Joyce, Duchamp, Satie,since they are dead are ghosts and as such inhabit the same world we do.And I remembered a remark of Buckminster Fuller: that to give proper con-

54

sideration to something one should begin not with one idea but with five. Idecided to be cautious, to take five as a maximum, one as a minimum. Eachof the three ghosts could be alone in which case he would read from his ownwritings. Or he could be together with another sentient being or beings,ghosts or living, or with a nonsentient being or beings. To outline the entiretext then by means of chance operations was not difficult. There weretwenty-six different possibilities: the three ghosts alone, each in combina-tion with one to four different beings, the ghosts in pairs with one to threedifferent beings, all three with one or two. I used the twenty-six letters ofthe alphabet and chance operations to locate facing pages of an unabridgeddictionary upon which I found the nonsentient beings which are the stageproperties of the various scenes (I through XXXVII) that follow. For the sen-tient beings, the other actors, I also used the alphabet, but only rarely as ameans of finding a person I didn't know in an encyclopaedia. Mostly theother actors are people with whose work I've also become involved, some-times as deeply as with Joyce, Duchamp, and Satie. Since many of the actorsare ghosts, I have taken liberties with them, ascribing to them imaginaryworks they never made. I have also taken such liberties with those stillalive. I hope no offense is received. It was not my intention to give any. Thepiece is not an alphabet: it is a fantasy. I did want to remove the punctua-tion, so to speak, from our experience of modernism, to illustrate it withsomething like its own excitement.

J A M E S JOYCE, M A R C E L DUCHAMP,E R I K SATIE: A N A L P H A B E T

I what a Joyto hAvetheM

on thESame stage same time

even though the subjectOf

the plaYis the Curtainthat sEparates them!

55

Justifyingthe constAnt

Moving up and downof thE curtain

the ghoSts

Jumpalternately fOrth and back and forth and forth

verY slowlyin time with the Curtain's

phrasEology

so that JustAs the curtain

reaches the MidpointbEtween

open and cloSed

Justat that mOment

each ghost is halfwaY through a single jump(both their heads touching

thE curtain)

and JustAs the curtain reaches the topMiraculously

both of thEmcomplete their deScents both are visible

and Just like magicas the curtain tOuches the floor

one of them disappears totallY from view leaving the other all alonein front of the Curtain

at that momEnt the telephone rings

56

an automated fudgeAnswers it

and tells the audience whoMthE call

iS for it's always

for the ghost who has Just disappearedwhO cannot be reached

in this waY we know whoeaCh ghost is

but nEither ghost is distracted

from his Jumpingthe older one is erik sAtie

he never stops sMilingand thE younger one

iS Joyce, thirty-nine

he Jumpswith his back tO the audience

for all we know he maY be quietly weepingor silently laughing or both you just Can't

tEll

now and then nijinsky's ghostAppears

bringing a telegraMto joycE

from marShall mcluhan

Do you like that, silenziosol Are you enjoying, this same little me, my life,my love? Why do you like my whisping? Is it not divinely deluscious? Butin't it bafforyou? Misi, misi! Tell me till my thrillme comes! I will not breakthe seal. I am enjoying it still, I swear I am! Why do you prefer its in thesedark nets, if why may ask, my sweetykins? Sh sh! Longears is flying. No,sweetissest, why would that ennoy me? But don't! You want to be slap wellslapped for that. Your delighted lips, love, be careful! Mind my duvetynedress above all! It's golded silvy, the newest sextones with princess effect.1

57

II in the middle of one of his JumpssAtie grabbed hold of the curtain

and instead of coMing downascEnded

hiS exit signals

the entrance of a Jeepwhich is truly an autO mobile it needs no driver it belongs

to no one it is the invention of a 12-Year-old ghostnamed duChamp

it is Expected

to iMprove the worldit uses neither gAs

noR oilit runs on viChy

watErthe stage has become a bottLe of white wine

and Joyce no longer jumping is Drinking it.oUt of the jeep

ComecHildren going everywhere

including A ghost four years oldnaMed heidegger

technology and Population

III wEheaR

over a radioa conversation sticKing

to two wordsfifty-five And

fifTy-fourIt is

an argumEnt

58

bEtween houdini and satieabout which one of them as a ghost is oldeR

houdinisees a cracK

in mathematicsby meAns of which

aTfifty

four and fivE

changE placessatie is delighted and gRateful

now I see he says what people meantthanK you

a flaSh of lightningis followed by A

loT of smokeIn which

all the ghosts who arE

on thE stageeasily disappeaR

houdini and satiearm in arm walK on

accompanied by a ceyloneSe ghosta schoLAr named coomaraswamy

and a young acTorand musician

Jonathan albErt

59

who isn't dEad at allhe's veRy much

alivehe is speaKing

in hiS ownextrAordinary way

moving aTwill

from onE

rEgion of his mouthto any of eight otheRs

following a notationinvolving diacritical marKing

mine iSA

movemenT system he saysI

makE

thE movementand discoveR the sound.

meanwhilecoomaraswamy is whispering a sansKrit text

IV attracted by this duet Joyce returnsposthAsteto huM a program consisting of

onEiriSh ballad

60

two Japanese tunesOne

melodY by satieand three lyriCal

suitEs

by fEldman feldman hasn't yet composednoRmallythis would be impossible

but for Joyce it's no tricK at all

in fact it'SAs simple for him

as for him be biTtenby a radish

a scrap of papEr blows on stage

following words're on it: JoyceAMusic

hEiS is music

whether those are JustlOose words in the air so to speak

or poetrYby m. C. richardsno onE can be sure

Construction of a 4-dimensional eye From-: A circle (when seen by a 3-dimensional eye moving above and below until the visual ray falls in theplane which contains the circle) [a circle] undergoes many changes in shapeconventionally determined by the laws of linear perspective. To-: (For the 3-dimensional eye a sphere remains always the same whatever the point ofsight.) But a sphere (for the 4-dimensional perception moving in a 4-dimen-sional space until the 4-dimensional rays become visual rays for the ordi-nary 3-dimensional eye) [a sphere] undergoes many changes in shape, from3-dimensional sphere gradually decreasing in volume without decreasing inradius, to simple plane circle. . . . Light and shade exist for 4-dimensional

61

[objects] as for 3, 2, i. Three-dimensional perspective starts in an initialfrontal plane without deformation. Four-dimensional perspective will havea cube or 3-dimensional medium as a starting point which will not causedeformation i.e. in which the three-dimensional object is seen circum-hyperhypo-embraced (as if grasped with the hand and not seen with thehyperheyes] -Just as a point intersects a curve and does not intersect a plane, so aeyes] -Just as a curve of infinite length or surface element intersects a volume and does notintersect a 4-dimensional "solid." But either a plane or a surface intersectsthis 4-dimensional solid. -This 4-dimensional solid will be bounded by 3-dimensional volumes. The shadow cast by a 4-dimensional figure on ourspace is a 3-dimensional shadow (see Jouffret "Geometric a 4 dimensions"page 186, last three lines). Three-dimensional sections of 4-dimensionalfigures by a space: by analogy with the method by which architects depictthe plan of each story of a house, a 4-dimensional figure can be represented(in each one of its stories) by 3-dimensional sections. These different storieswill be bound to one another by the fourth dimension.2

V thuMbingby meAns of a noninflammable match

thRough an unabridgeddictionary

duchamp noticEs three entries on facing pagestwo with illustrations

reDheaded woodpeckerwood titmoUse

and woodCockthis gives Him

the ideAto Make readymobiles in unlimited editions

and to Place the first one

in a teMplejust outside cAlcutta inhabited by the ghost

of sRi ramakrishna that has beenstanding on one hand in eCstasy

for ovEr ninety-three yearsduchamp picks up an inhaLator and breathes Philadelphia

62

VI buckMinster fullerimmediAtely

answeRsCongratulating duchamp on all

of his work past prEsent and future he then goes on to saymy pLan for a regeneratively changing

balance between unlimiteDhUman needs

and limited world resources is availablei am encouraged by tHe Chinese people

by the fActthat one fourth of Mankind or one fifth if that's what it is

is now relatively intelligent not just stuPidly political the way the rest

of the world is i aMAlso

encouRaged by the youthwherever they are you Can

bE surethe young at some time wiLl spontaneously employ themselves

to change the worlDthey mUst however do it

quiCklywHile

necessAry below-earth energy sourcesstill reMain in sufficient quantity

to give needed initial Push

to yet-to-be-invented world puMpsthAt

will ultimately opeRate by means of universeeconomically

comprEhensivelyand delightfully

63

use insteaD of ownershipintUition instead of

ContinuingselfisHness

success for AllhuManity instead of total oblivion

Possibility of realizing

good life for all Men dependson reAlizing it

foReaCh

singlE man from a to zLet us not forget the things

in the worlDeach one requires open-ended honor

Cease world pollutioninitiate routes for speedy transport of eacH

refuse pArticleto places in universe where what it cheMically is is in demand

see specialization as a drop in the bucket

-VII the bucket is comprehensiveness Joyceis imAgining

a Mutton chopand wondEring

where the next one'S to come from

you don't Justfind fOod

under Your feetghosts but nobody else Can

livE on thin air

64

VIII Just a wee push graffito graffitito the Joy of us

thrEe threejimmy and erik and teeny duShee

Furniture Music is fundamentally industrial. People have the habit—dayafter day—of making music in situations where music has nothing to do.Thus Waltzes, Fantasias from Operas, and other such things are played thatwere written with another object in mind. What we want to do is to estab-lish a music made to satisfy human needs the way the utilities do. Art isextraneous to these needs. Furniture Music creates vibrations. That's itssingle purpose. It plays the same role played by light, heat and all otherhousehold conveniences. Furniture Music advantageously takes the place ofMarches, Polkas, Tangos, Gavottes, etc. Insist upon Furniture Music. Haveno meetings, no get-togethers, no social affairs of any kind without Furni-ture Music. Furniture Music for notaries, banks, etc. There's no differencebetween one piece of Furniture Music and another (they all belong to thesame family). Don't get married without Furniture Music. Stay out ofhouses that don't use Furniture Music. Anyone who hasn't heard FurnitureMusic has no idea what true happiness is. If you go to sleep without firstlistening to a piece of Furniture Music, you won't sleep well.3 They can'tknow anything about it. They don't read the newspaper I read every day.4 Ifyou have three trumpets there isn't anything you can't do.5 There are treeson which you'll never see a bird; cedars, for instance. These trees are so darkthat birds get bored on them, and avoid them. Poplars are no longer visited.Getting to them is dangerous: they're much too high.6 Like money, thepiano's only pleasing to the person who has his hands on it.7 The sea is fullof water. Why we'll never know.8

IX duchaMpmonDrian

and Joyce go into the mind of krishnalao-tse Jogs

early in the Morning on the great wall of chinawilD duck

65

satiE visitsconlon nancaRrow

In mexico cityhe is Knocked out

by nancarrow'S musicfor two plAyer pianos

when he comes Tohe announces the decision

nExt

timE he listensto do so flat on the flooR

not on his stomachbut on his bacK

hiS decisionputs ideAs

in Thepiano

mEchanisms

nancarrow turns thEm onsatie lies on the flooR

the pianos move toward himbut in the nicK of time they thematically

pull themSelves upso there's sufficient spAce

for Themto roll over him without hurting him

inthE

lEast satie is touchedbut not physically i am veRy

planistic he saysbut i have never Known

66

X

Suchgood behAvior

on The partof musical

instrumEnts

i will writE about itin the newspapeRs

the telephone ringsit is a mr. robert m. quacKen-

buSh, 460 e. 79th streetn. y. c. u. s. A. the pianos speak up

whaT does he want? we want to knowwhat he wants nothing

he has thE wrong—

satiE says goodbyeto nancaRrow: au rentendre

you've shown me something new i am bowled overand grateful you maKe me want to write music again

XI Joyceis At work

in a roMan bankmErce Cunningham

comeS in to cash a traveler's check

Just signgiambattista vicO's name

instead of Your ownand i'll give you Control

of a rEvolving fund

67

that will keep your company Jumpingin An honorable wayfroM now until dublinsday

Cunningham asks how to spEll itJoyce replieS

don't spell it at all Just write itdOwn

as though Youwere danCing.

your drEams

havE all beentRue.

XII ghosts shouldn't stay In houses merely frighteningsingle families they should walK out into the world

and haunt everyone continuouslyuntil the revolutions ghosts begAn

while They wereliving

arE completed

china was JustA beginning

as far as i aMconcErned i want to lengthen

the long retreat So it extends through the rest

of the world Jesus was rightOr

don't You think so?i am only a Child

and so i can IE ad you

68

mao tsE-tung has spokenthoReau veblen Joyce

and satlecontinue walKing and running

in different orbitSAround him playing the game called

ludwig That's sun surrounded by planetsand planets surrounded by moons It's midnight

at waldEn pond

Just thenA

luMinous glasssuddEnly

appearS poised in space

toward it 4-year-old mao directs a JetOf destructive thin air

which is instantaneouslY diverted by thoreau who explainsi proteCtmy invEntion:

a winE glasswhateveRyou put In it no matter what

anything you liKe even dirt will do

everything becomes winethere's A

swiTchfor changing colors

and anothEr for changing its size

69

to that of a Jiggeror enlArging it

to that of a Mugits namEchangeS according to what you want in it

vodka or stout or whatever JustOne glass exists it has

a krishna feature so it can be used bY any number of people at the same timeno matter where they are it's Communist

says mao tsE-tung

it's tEchnical says veblenit's iResh says Joyce

c'est admirable says satieall ghosts at once: how did you thinK of it?

anSwer: i don't knowi never drink i wAs

jusTtaking

anothEr step in the direction

of siMplicityXIII duchAmp

has on a caRpenter's outfithe Clipsto Each pocket

a small

carD 11A inches wide and 2 inches higheach card has a different pictUre on it by utrillo, utamaro,

or uCellotHus

he tAkes on the characterof a Museum

with no need for sPecial

70

proMotionprogrAms

because all the aRt it ownsCan

bE seen without going insideor buying a ticket without any troubLe at all

if one of the carDs is stolenor boUght

he replaCes itwitH

Another which is notexactly the saMe

that keeps the Public

on the Move never surewhAt's being shown

duchamp counts the caRdsperiodically

and Each time he reaches thirty-threehe makes a sLight

aDditionto the thirty-foUrth which he finds amusing

and the Critics find upsettingtHeyAre continually

changing their Mindsbecause their minds always sPring back to the way they were

in the first place alMostimmediAtely

duchamp caRries a whisk broomand if a Critic

drops somEthing he whisks it upand puts it in a vaLise

7i

markeDUnsigned memorabilia

he is thinking of investing in a Cuisinartto cHop up this collection

to mAke it into a large single work untitleclin advance later to be known as inftoMation

sPatial

XIV the scene changes duchaMphAs taken off

the caRpenter's outfitbut the Card

musEumfoLlows him anyway

each carD facesoUtward from him

has no visible Connectionto Him

it's quite mArveloushe's a Museum

without Pockets

and he has a suMmerplAce

on the costa bRava that's where he is nowhe Can

bEoutdoors beside an oLive tree

Drinking spring wateror inside oUt of the sun

eating some peas or Celeri remouladeHe limits himself

to A teaspoonful whether it's solidor liquid it occurs to hiM that utamaro has no first name

in the dictionary taking maurice and Paolo

72

as alphabetical liMitsAnd

thinking of bRown he is on the pointof Choosing n.o.whEn

the telephone rings it's philip glass

this gives him the iDea of an indeterminate first namehaving Unlimited repetitions of letters

n.n. ooooooooo for instanCepHilip

didn't sAy a word except helloMarcel thanks himPlayfully

XV bob rauschenberg coMes init must be your deAthday

i've bRought you a presentit's an ameriCan

jEtwith a portabLe airport

part of the lanDing gearare these rolled-Up runways

that Can be put in your pocketand tHen when you need themyou tAke

theM outand droP both through a slot

in the Men's roomAnd then they automatically expand

to the pRoper length in the proper positionjust as the plane is touching

thE groundthe pLane itself is no larger than

73

a vitamin pill what DoyoU think of it?

it's obviously an exCellent device says marcelbut i tHink

thAt you should keep itwhere it caMe from

my travels are telePathic

pure and siMpleAll i have to do is think

of anotheRCity

and thEn i'm therei don't need to fLy

what i Do isremain as thoUghtless

as i CanotHerwise

i'm constAntly traveling never at restjust yesterday i was in Madagascar

and this morning i was in Paris

when i just Mentionthese plAces to you

i can feel myself beginning to be transpoRtedi have to quiCkly think

of thEpLace where i am

in orDerto continUe

our Conversationbeing a gHost

hAsits probleMs

would you like to Play chess?

74

i know the Movesbut thAt's about all

come sometime to floRidaand teaCh

mEi wiLl

The parasols thus straighten out the spangles which, on leaving the tubes,were free and wished to rise. They straighten them out like a sheet of paperrolled up too much which one unrolls several times in the opposite direc-tion, to the point that: necessarily there is a change of condition in thespangles. They can no longer retain their individuality and they all jointogether after B. The illuminating gas (II). After B. —change in the condi-tion of the spangles.— From their dizziness (provisional), from their loss ofawareness of position, obtained by successive passing through the sievesand imperceptible change of direction of these sieves (change of direction ofwhich the terminations are A and B), the spangles (dissolve); the spanglessplash themselves each to itself, i.e. change (little by little through the lastsieves) their condition from: spangles lighter than air, of a certain length, ofelemental thickness with a determination to rise, into: a liquid elementalscattering, seeking no direction, a scattered suspension on their way out atB, Vapor of inertia, snow, but keeping its liquid character through instinctfor cohesion (the only manifestation of the individuality (so reduced!!) ofthe illuminating gas in its habitual games with conventional surroundings.What a drip! Ventilator-Churn, (perhaps give it a butterfly form9

XVI satiEis giving a conceRt

of hisrecent worK

kineSthetic music of contingencyit is performed by Animals

the soloisTs arean octopus and a fish hawk

all sEctions

75

of thEoRchestra

are filled with butterflies of various sizesexcept for an enormous Koto

which iSthe stAge

iTselfthe animals

and insEcts

arE themselvesthe instRuments

each has a broadcasting system and each member of the audiencehas his own receiver and loudspeaKing

headSetthe flights of the musiciAns

and The promenade of the octopusare perfectly beautiful

to hEar

and to sEethe audience is as quiet as a mouse eveRy now and then

one of the musicianshappens to play the Koto sometimes producing a melody

sometimes Just•XVII A single tone Joyce no sooner sent out

the invitations to his party than alMostEveryone arrived

homer waS the first he was singing a revision

of his iliad for open house the house is Just righteccles street is actually Open nothing but a vacant lot with brick

facade between it and the street Joseph beuYswho has Caught

two phEasants one silver one gold

76

is about to explain Joyce'swAke

to theMEven though

Joyce of courSe is there and they are alive

he begins with his JawnOt speaking

but moving it sidewaYsthe birds watCh him

attEntively

then he JigsA jog

the pheasants respond by Marchingin quickstEp

So erratically the guests are obliged

to levitate he rips his JackettO pieces

this makes the pheasants so happYthey Can't

contain thEmselves

they Jump on his shouldersAnd then take off

in the direction of the MoonlEaving

two featherS behind

JustbefOretheY disappear

beuys touchinghis forEhead with both feathers

77

thinks Junglethis Actslike Magic

thEpheaSants reappear

Justas thOugh they'd never left

in exchange for the feathers beuYs gives the birdsfelt eleCtric

nEsts that can be plugged in anywhere

The more you're with musicians, the crazier you get.10 On the hour, a ser-vant takes my temperature and gives me back another.11 I'd never dare at-tack anyone . . . anyone who doesn't think the way I do. Thought is theproperty of the person who has it. No one else has the right to even touchit.12 You want to know how to become a musician? It's very simple. You geta teacher, a music teacher, and you go with him as far as possible. Choosehim carefully . . . You'll have to buy a metronome. Make sure it isn't tooripe, and above all it should have some flesh on it and a little fat. Make sureit works well. Because there are some metronomes that work the wrongway. Just like idiots. You'll even come across some that don't work at all.These are not good metronomes. Afterwards, I'd advise you to buy some-thing to put your music in, a brief case. They come at all prices. The prob-lem you'll have is deciding which one you want. A student should have lotsof patience, great patience, the patience of a horse, huge patience. Becauseit's very beneficial for a student to get used to putting up with his teacher.Just think: a teacher! He'll ask questions he knows and that you, you don'tknow. He takes unfair advantage, obviously. But you have the right to re-main silent. It's even the best policy. Don't take it out on your instrument.Instruments often submit to very bad treatment. People beat them. I'veknown children who took pleasure in stepping on the feet of their piano.Others don't put their violins back in their cases. And then, poor thing, itgets a chill and catches cold. That's not nice. Not at all. And some poursnuff into their trombones. This is very unpleasant for the instrument. Andwhen they blow on it they project those irritating particles into the faces ofpeople around them, and then everyone sneezes and coughs, sometimes forover half an hour. Ugh! The consequences are serious. And afterwards theinstrument works poorly and has to be fixed. You do your exercises in themorning, after breakfast. You should be very clean, and you should have

78

blown your nose. You shouldn't start working with your fingers coveredwith jam. The hours and the days you take lessons have to be scheduledwith the consent of both the pupil and the teacher. It would be very incon-venient if the pupil took his lesson at his hour on his day while the teachergave it at another hour on another day. That goes on all the time in schools.There are some students who never lay eyes on their teachers. Curious ap-plication of an educational system. Don't follow that plan. Because, out ofnecessity, there has to be some agreement. The pupil, and the teacher, wereput on this earth to meet one another. At least from time to time. Other-wise, where would we get? That's right, where would we? I'll tell you. We'dget nowhere. Realize that work is freedom. Freedom that is for everybodyelse. While you work, you don't bother anybody. Never forget it. You under-stand? Sit down. I'm obliged to finish this talk an hour ahead of time. Soonit will be six. I have to have something to eat. Then I want to take a walk inorder to get an appetite. Children, please be good.13

XVIII duchaMpAnd satie

aRe alone i'm glad to be with youwe Can look

at thE sceneries or have a conversationis there anything you Like to say?

i've just talkeD my head offmy laUgh

what is that? an inCandescent lamp?i've never seen sucH

A big one! what's it doing herebackstage? it Magrittes me think

it's using uP

all thEeneRgy

there IslooK! i'm right!

79

the other lightsAre

noTworking

any longEr!

XIX satiEgoes in seaRch

of sunlight he comes across haydnbill anastasi is looKing at haydn through a lorgnette

but Seemsto be tAkinga phoTograph

billExplains

that thEloRgnette

connected to an old television set acts as a secondary cameraenabling him to taKe the picture

of a ghoStof A

ghosTproviding

Everything

anD everyonebefore dUring and after the photograph's taken

are in exaCtlythe rigHt positions

XX sAtie saysi have soMe music

that is to be Played

80

Silentlyi wrote it with An invisible ink and luckily

i gave the manuscripT to duchampone of these nights ill ask him

for a xErox of it

XXI joycE joins satiethey sit about thRee feet apart

and facing one anotherthe clocK

StrikesAnd

the seaTedbeing

inthE

spacE between them half dead and half aliveibsen on one side and isou on the otheR

begins to revolve on a smoothly operatingtable so that after satie has talKed to

ibSenAnd isouTo JoyceIt is isou

who makEs

a rEply to satieand satie who makes one to isou whoeveR—and

this also applies to ibsen and Joyce—whoever is talKing

iS interrupting the otherthe following is A short sample

of whaTwas said:

"E

81

my bEdis Round

IcK"

XXII Joyceis sitting in the entrAnce hall

of an ancient roManhousE watching the rain come in

what iS that called that basin

in which a pool is Just beginningtO form?

replY: the impluvium below,the Compluvium

abovE the compluvium is the open space

in the roof Joyce's mindwAnders

froMrain to rivEr to ocean

he iS doing the australian crawl

in south america where JuruajOins amazon

now he's on his back on lake nYasain afriCa

hE rides

the norwegian falls of skykjefosAnd then goes the length

of the MississippitwicE once in a boat

and once walking on the water itSelf

82

he goes to the top of kanchenjungafrOm which he sees

all the himalaYan riverstaking different directions

to form thE mouths of the ganges

he says i loved the skykjefos so much i wonderif i took the form of A

salMonwhEther

i could riSe from its foot to its head

Justthe thought's

what's necessarY from norwayhe goes to California

and doEs the same thing up yosemite

not troubling to salmonize himself he Just goesAs he is

he swiMsfor a yEar

in all partS of ocean

from JapanthrOugh indian and atlanticto Yarmouth

through arCtic and pacificto nEw Zealand

he is Joinedby whAles

one of whoM swallows himwashEd up whight and deliveried rhight

loud laudS to his luckhump

83

and bEjetties on Jonahs!14

XXIII satie is veRy busyebenezer prout Is

giving him a quicK

leSsonin hArmony melodyrhyThm

counterpointand orchEstration

in half an hour in athEns he has an appointmentwith a second-centuRy poet

whose name Is oppianoppian's well Known

for hiS three long poemsone on fishing And

anoTheron hunting

and thE third on birdcatching

the sEcondand thiRd are now thought

to have been written by another poet of the same namewhile prout corrects errors satie quicKly

lookS in his bookAnd sees

he's To have lunchwith

dovE bradshaw

what a dElight! he saysi like heR

and her drawings very much they are both so healthyi must asK her

84

what exerciSes she gives her pencilsnot possible! cocktAils

wiThmrs. nation!

carriE nation!

i can't bElieve it!pRoutgives him

a tasK:

fourthsAnd

fifThsIn diagonal motion

ill do that in fivE

minutEs says satieon my way to gReecethe telephone rings

he answers it thanK heaven!

She isn't free!his secretAry hands him a new supply

of music paper That camewith

his nExt compositions

in pEncilalReady

on Itall he has to do is inK them in

greece the voice of oppian: "there's no music i lovemore thAn yours would you consider

playing my furniTureor teaching it to play you?i can't tEll you how comfortable that'd make me

85

All through my youth people said, "You'll see when you're fifty/' I'm fifty. Isee nothing.15 You want to know whether I'm French? Of course I am. Whywould you want a man of my age not to be French? You surprise me.16 Per-sonally, I am neither good nor bad. I oscillate, if I may say so. Also, I've neverreally done anyone any harm—nor any good, to boot.17 A child has naturalwisdom: he knows everything. Experience is one of the forms of paralysis.18

An artist is certainly worthy of respect, but a listener is even more so. Whyis it easier to bore people than it is to entertain them?19

XXIV and how is JoyceAffected by charcoal?

it fills hiM with admirationfor it is largEly pure

iS carbon

is ancient Jewel, hardest substancediamOnd

sYmbol as an elementis C

is widEly distributed

Joined with other sourcesenergizes some of the stArs

its coMpoundsin numbEr exceed

thoSe of all other elements combined

is not Just fuelthOugh as such

Yields a larger amount of heatin proportion to its volume than Can

bE obtained from a corresponding

quantity of wood makes no smoke JustmAkes fire finely divided is efficient

to filter adsorption of gases'n'solids froM solutionis usEd in the purification of water and airin gaS masks and the refining of sugar

86

is made to JumptO greater heights of adsorptivenessbY means

of speCialhEating or chemical processes

such forced Jump'sActivated charcoal

aniMal black'sits namE

when it'S obtained not from wood but from bones

JudgednOt father but mother of coal

when fine it took the forms of laYers between bedsof bituminous Coal

pEncil or crayon

or fustA piece of paper

artist has used to Mark uponis bElieved

to exiSt free in nature in a form that's white

that has not yet been found spirit has adjusted ustO

its eventual discoverYCharcoal writing

whitE'r'black upon white'r'black

conjecture:the cAtholic

Massis a charcoal ovEn: the making of breadthe body of chriSt

87

We must bring about a music which is like furniture, a music, that is, whichwill be part of the noises of the environment, will take them into considera-tion. I think of it as melodious, softening the noises of the knives and forks,not dominating them, not imposing itself. It would fill up those heavy si-lences that sometimes fall between friends dining together. It would sparethem the trouble of paying attention to their own banal remarks. And at thesame time it would neutralize the street noises which so indiscretely enterinto the play of conversation. To make such music would be to respond to aneed.20 Everyone'll tell you that I'm not a musician. That's right. From thebeginning of my career, I classed myself among phonometrographers. Myworks are pure phonometry. No musical idea presided at the creation of myworks. Scientific thought was in charge. I take more pleasure in measuring asound than I do in hearing one. If I have a phonometer in my hand, I workwith joy and confidence. What haven't I weighed or measured? All of Bee-thoven, all of Verdi, etc. It's very strange. The first time I used a phonoscope,I examined a B flat of average size. Never I assure you have I ever seenanything more disgusting. I called my servant and had him look at it. On aphonoscale, an ordinary F sharp, run of the mill, came to 93 kilograms. Itcame out of a very fat tenor whose weight I also took. Do you know any-thing about cleaning sounds? It's a very dirty business. Working in a cottonmill is cleaner. To know how to classify sounds is very painstaking and youhave to have good eyes. As for sonorous explosions, often so disagreeable,cotton in your ears attenuates them and makes them endurable. This ispyrophony. I think I can say that phonology is superior to music. It has morevariety. It is more profitable. I owe my fortune to it. In any case, with amotodynamophone, a phonometricist with very little experience can easilynotate more sounds than the most experienced musician given the sameamount of time and effort. It is because of that that I've been able to get somuch written. The future therefore is in the field of philophony.21

XXV vase Joyce is writingA letter to nora—he is

in the next to last paragraph his Mind and bodythEir feet in poetry

from her aS flower in hedges

excited move to her as objecthOg she is sow

of his everYfilthy Craving

no inch of hEr body no odour sight sound nor act of it

88

but's irresistible Joyof An

orgasMswEetheartanSwer me

XXVI JoycemAking use of thirteen letters

written to hiMby Ezra pound

writeS the following mesostics on his own name

can't make out whether Jeande gOurmont wants to translate

anYhandsChrift

morE illegible

than Jimms. Arrived

this a.M.wish you Every

poSsible success

cher J.i dunnOno lawYer

in return for whiChrEcd. several

dear Jim:AnsweredMiss-

firEthat omitS the essential

89

J.: first numberOf

mYnew periodical

dE signed

Juvenile indiscretionsmAy now

cash in on 'eMthE noble gerhardt

iS struggling both with

B-J-JayzusribbOn iz pale

You better havethe Carbon

thE

JoycewAntsxMas

likE what gabrielSaid to

Jeande gOurmont

anYhandsChriftis morE

dear JimArrived

this a.M.Every

poSsible

90

I.dunnO no

lawYerwhiCh

rEcd. several

XXVII duchaMpsAtie

leonaRdoda vinCiand thE poet

Louis zukofsky are writing a Japanese poem

they have themselves photographeDwith fUjiyama the average person would think

it was just a pictureoftHe

mountAinbecause none of theM none of the ghosts can be seenat all however the Photograph

is a linE in the poem which goes on as follows:angels and bastaRds

how do you catch such a bird?poor songster weaK

gold, white, plaSter, indigowithout primAry shadowcarefully scoTch tapes

the germans still advancingat thE opera

soMe of them go round the fieldsrelAted as equated

by eRos; matrixtransfer from one like objeCt

who's in lovE with meof Labor light lights in air

9i

transposeD by the perspectiveto raise dUst on dust—

straight line, Curve, etc.splasHes which should be

spiders love music just Asencounter at the bottoM

all gay where how sPill lay who

a straight horizontal thrEadRope, mercury, cloth

of what Is in what is notgold or silver or the liKe

done in the Semi3rd of the width of the leAf

and ouT of respectcolumns on the walls In front

of thE count of urbino22

Dictionary—with films, taken close up, of parts of very large objects, obtainphotographic records which no longer look like photographs of something.With these semi-microscopies constitute a dictionary of which each filmwould be the representation of a group of words in a sentence or separated sothat this film would assume a new significance or rather that the concentra-tion on this film of the sentences or words chosen would give a form ofmeaning to this film and that, once learned, this relation between film andmeaning translated into words would be "striking" and would serve as abasis for a kind of writing which no longer has an alphabet or words butsigns (films) already freed from the "baby talk" of all ordinary languages.—Find a means of filing all these films in such order that one could refer tothem as in a dictionary. "Theory" 10 words found by opening the dictionaryat random by A 10 words found by opening the dictionary at random by B23

92

XXVIII the ghost of brighaM youngis speAking i am happy to announce

that puRsuantto our many Conversations

duchamp has accEpted an anonymous mormon commissionto make another Large work

it will have many briDes and fewer bachelorsit will be a computerized

series of glass CubestHere will be movement

of gAses lights and liquidsfroM one cube to anothera sPecial

architectural attachMentis being mAde to house it

so that it can go on touRit will be simple to detaCh it

from onE buildingand clip it on to the next

it will have a map of the worlD connected to itlike those sUbway maps in paris that light up

you piCk outtHe city it's to go toAnd when the lights go on

after a short delay which perMits the correctionof Possible errors and pinpointing

of precise destination the building Moveswithout Any passage of time at all

to the place wheRe it's supposed to goits basiC

hornE of coursewiLl be

93

philaDelphiabUt

for speCial occasions once a year at leastit will be sHown

in sAlt lake citythe nuMber of brides

is still uP in the air but several things

are certain there will be More bridesthAn

bacheloRseaCh

bridEwiLl

be four-Dimensionaland have a plurality

of accelerationsinfra connections with eacH of the cubes

i suggested one bAchelor instead of severalthe single bachelor could be the prograM itself in the form of

a jack-in-the-box duchamP

seeMs to likethe ideA

too many bacheloRs he saysmight bring about impractical conjugations

wE must avoid excessivetechnicality

XXIX mozart satiEand schoenbeRg

are giving three concerts at oncein the same place capers Kangaroo

94

XXX satiEis having tRouble

with his shoelacesthey Keep coming untied

he telephones louise nevelsonlouise he sAys i'm afraid

Theywill

loosEn

my Senseof hArmony

i have made an appoinTmentwith

sigmund frEud to have them analyzed

XXXI JoyceAnd

duchaMparE looking

at a twelve-Sided astrological television set

if your seat Jibeswith yOur sign

the commercials're not visible to Youinstead you automatically

gEt your horoscope

MorrisgrAves

appeaRs by satellitefrom Calcutta

and dakhinEswarhe enters a tempLe of kali

95

he places before the image of the goDdessan offering of frUit

it is reCeivedfor He

leAvesreturns to his rooM in the hotel in Calcutta

and Paints a picture

duchamp and Joyce enjoy seeing(it is A zodiac

giving new forMsto thE

Signs)

they speak as one person Just factfOrm's taken for granted

makes it necessarYto find way baCk

to how it was bEfore

forMscAme

into being Rules are for gamesbut Chaosis lifE

breaking Laws is what poetry is

language in particular must be changeDeven what yoU eat

Can't be mere followingof conventions eitHer

stArtfroM breath from zero

Possibility of no-mind

96

XXXII satiE is conductinghis wateR

music in fire movements the first is calledpine cones it is damp and smoKy

XXXIII JoyceimAgines

nora's in the rooMno nEed for perfume

and muSic she is his own

XXXIV his majestyhAs fallen to pieces

Joyce is picking theM upparnEll

iS

Justsix letters Of the alphabet

that go together in different waYsnot Changing

thEir sequence, not making anagrams

six fragments of his irish majestycAnnot be found in ftnnegans wake

and strangely enough arne is one of theMEven though

arne compoSed rule britannia

other fragments you'd JustnOt expect (r.n. for instance) are there

in fact onlY between a tenth and a thirdaCcording to how you count

of uncrownEd king's missing

97

I no longer have any notion of time or space; sometimes it even happensthat I don't know what I'm saying.24 Erik Satie, Dear Sir, Eight years ago Iwas suffering from a polyp in my nose complicated by liver trouble andrheumatism. On hearing your Ogives, I noticed an improvement in myhealth; four or five applications of your Third Gymnopedie cured me com-pletely. I authorize you, Mr. Erik Satie, to make any use you wish of thistestimonial.25 Before writing one of my works, I walk around it severaltimes, and I get myself to go with me.26

XXXV JustA coincidence

that their initials are both MinimallylEttered

the Same letter

a ja) Of

an inventorYof what in Common

thEy have

JoyceAnd Johns

b and c) Mind spirit bodyat homE

in homeS

not JustOne

everYoneColors

idEas etc. complexity impartiality

d) elegance in the enjoymentAnd expression of vulgarity

exaMinationof thE commonplace

arrangements for its return to mystery

98

e) subject'sneither whole nor part

possibilitY of bothContinuing

bE coming

night by silentsailing night while infantina Isobel (who will be blushing allday to be, when she growed up one Sunday, Saint Holy and Saint Ivory, whenshe took the veil, the beautiful presentation nun, so barely twenty, in herpure coif, sister Isobel, and next Sunday, Mistlemas, when she looked apeach, the beautiful Samaritan, still as beautiful and still in her teens, nurseSaintette Isabelle, with stiffstarched cuffs but on Holiday, Christmas, Eastermornings when she wore a wreath, the wonderful widow of eighteensprings, Madame Isa Veuve La Belle, so sad but lucksome in her boyblue'slong black with orange blossoming weeper's veil) for she was the only girlthey loved, as she is the queenly pearl you prize, because of the way thenight that first we met she is bound to be, methinks, and not in vain, thedarling of my heart, sleeping in her april cot, within her singachamer, withher greengageflavoured candywhistle duetted to the crazyquilt, Isobel, sheis so pretty, truth to tell, wildwood's eyes and primarose hair, quietly, all thewoods so wild, in mauves of moss and daphnedews, how all so still she lay,neath of the whitethorn, child of tree, like some losthappy leaf, like blowingflower stilled, as fain would she anon, for soon again 'twill be, win me, woome, wed me, ah weary me! deeply, now evencalm lay sleeping; nowth uponnacht, while in his tumbril Wachtman Havelook seequearscenes, from yon-sides of the choppy, punkt by his curserbog, went long the grassgross bump-instrass that henders the pubbel to pass, stowing his bottle in a hole for atwhet his whuskle to stretch ecrooksman, sequestering for lovers' lost prop-ertied offices the leavethings from allpurgers' night, og gneiss ogas gnasty,kikkers, brillers, knappers and bands, handsboon and strumpers, sminky-sticks and eddiketsflaskers;27

XXXVI suzuki, kwang-tse and Joycegive us A word

instead of reMainingsilEnt

aS you've remained now for three days

99

subject's realitywhat wOuld

You say? this table's real? yesCan you

tEll us what way?

Just to rolywholyoveryes in every wAy

and yesterday when that ManspokEyou Said what he said was good

you didn't objectwere yOu

butterflY?or were you beComing a man?

in zEn you said most important thing is life

and JusttodAy

when this other ManspokE

you alSo said what he said was good

again you didn't object(nOr did he:

onlY true answer servesto set all well afloat) but how Can you?

in zEn you said most important thing is death

it is JustthAt in zen

there is not MuchdiffErence between the two

Sutra (the Sanskrit, a thread, a string)

100

XXXVII duchaMp telephonesfrom kAnsas

it's like nothing on eaRth i feel as i didbefore beComing a ghost

i havE no regretsi welcome whatever happens next

N O T E S1. James Joyce. Finnegans Wake (New York: Viking Press, edition embodying all

author's corrections), pp. 147-148.2. Marcel Duchamp. Salt Seller: The Writings of Marcel Duchamp, edited by Mi-

chel Sanouillet and Elmer Peterson (New York: Oxford University Press, 1973),pp. 88-89.

3. Erik Satie. Ecrits, reunis, etablis et annotes par Ornella Volta (Paris: EditionsChamp Libre, 1977), p. 190. (Translation by John Cage.]

4. Satie, p. 160. 10. Satie, p. 153. 15. Satie, p. 45.5. Satie, p. 159. ii. Satie, p. 23. 16. Satie, p. 28.6. Satie, p. 153. 12. Satie, p. 91. 17. Satie, p. 26.7. Satie, p. 154. 13. Satie, pp. 82-85. 18. Satie, p. 173.8. Satie, p. 162. 14. Joyce, p. 358. 19. Satie, p. 165.9. Duchamp, p. 50.20. John Cage. Silence (Middletown, CT: Wesleyan University Press, 1961), p. 76.21. Satie, p. 19.22. A mix of lines from Louis Zukofsky, "A" (Berkeley: University of California

Press, 1978); The Notebooks of Leonardo da Vinci, compiled and edited from theoriginal manuscripts by Jean Paul Richter (New York: Dover Publications, 1970);Duchamp; and Satie.

23. Duchamp, p. 78. 25. Satie, p. 113. 27. Joyce, p. 556.24. Satie, p. 155. 26. Satie, p. 143.

101

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In 1970 Song was written as a text for Solo for Voice 35 in the Song Books.The melodic line was the second movement of Cheap Imitation, whichkeeps the phraseology of Erik Satie's Soar ate but varies the melody. Song,published as a poem in M, was derived by means of / Ching chance opera-tions from the Journal of Henry David Thoreau, each line chosen from aparticular part of a particular page of one of its fourteen volumes.

When I fiist saw Susan Barren's photographs of fields, weeds, woods, lakes, Iwas delighted by them and offered to write a text to accompany them in alimited edition. I had in mind to write mesostics on the names of the sea-sons, spring, summer, autumn, and winter. I got nowhere with this projectuntil I sat down one day in The Hague, looked out the window and wrotemesostics which were "photographs'7 of what was at that moment happen-ing. This seemed interesting to attempt but not appropriate for photographsof nature (I was in a theater looking out on a playground with a city streetbeyond). Several months later it occurred to me to go again through theprocess that had produced Song (Satie's title for the second movement of theSocrate is On the Banks of the Ilissus) and thus to write Another Song forSusan Barren.

A N O T H E R S O N G

Rabbits, musquashsnipe, but hear nonefog for four dayscountless swallows.

Now, in shallow places near the bendsdistinguished by its bluenessthe air is full of falling leavesturning round and round and scratching with its claws. A showera basketful of Irish moss.

Etc.it looks as ifthe most rugged walking is on the steep westerly slope. We had a grand view.

103

As he looks backI return, the sun is rising and the

walls were one reflector with countless facets.

They say that the Indiansused to find them in the brooks.

Two ducks sailing, partly whiteNew Testament.

Down to its graveand does not die

put it onand buckle it

tighter.

Pause of the slow-blooded creaturethe rocks.

The hills eight or ten miles west arecovered with

buds and leaves anda very wild look. There is a strong

wind always blowing—Niagara.

Universalnight advances

new inducementstreets and houses

'leven thirtybe reminded.

Speak; I cannot. I hear and forget to answerdeep mud

thrasher's nest.

104

Yesterday's slight snow is all goneyellow-legs, away they sailI use three kinds of shoes or bootstaking no note of timewilted twig!

Winds, colder and colder, ground stiffening again.

The brightest trees I see this moment are some aspensrising to the surface.

Flowers are fast disappearing but few crickets are heardthis at once work and pleasureblack bird as seen against the sky.

Clintonia is abundant.

Cannot see distant hills, nor use my glass to advantageAlgonquin and Iroquois.

The water might have risen therewhitens clothes with clean dirtwith a sharp, whistling whir. Heard a white-throated sparrowheaven had been washedbeneath a white oakhas the stricta leafets in the axils?

Anxious as ever, rushing with courage.

Gives expression to the face of nature. Reflections in still water.

Great phenomenon these days is the watermuch sparkling light in the airpond was now a glorious a sort of changeable bluesee the first bird.

Weather-beaten appearance.

105

Trunks of trees whitened now on a more southerly sidelighted upon the top, looked around as before.

Could find no nestwhat doth he ask? To win, on this ground to dwell.

Saw a black snake.

Even steady sail, gliding motionlike a hawk.

Perseverancehalf an inch

flitting along, bush to bushdewdrop of the morning, promise of a day.

First drops of rain to be heard on the dry leaves around meand only a stone's throw

apparently with the end of a stickstanding in water

On ice devouring himit seems to be.

Four years aftertook for grantedit was building

the distinct line between darkness and sleepdistant note of a bird in the low land. Got quite a view

he took his cane, went up the hill.

The only trees, two or three cedarso'er bog, through strait, rough.

Loose withered grass, a clump of birches.

Cool breeze blows this cloudy afternoon, I wear a thicker coat.

106

Divided in three partsdeepens the tinge of bluish, misty gray on its side.

Already right side up in one instanceyellowish-green birches and hickoriesedge against the sunset skydark ice

Whitish within, then a red line, then brown orange.

Bridging of the river in the night, obstructingapple tasted in our youthstate as when.

107

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To write the following text I followed the rule given me by Louis Mink,which I also followed in Writing for the Third (and Fourth] Time throughFinnegans Wake, that is, I did not permit the appearance of either letterbetween two of the name. As in Writing for the Fourth Time Through Fin-negans Wake, I kept an index of the syllables used to present a given letter ofthe name and I did not permit repetition of these syllables.

W R I T I N G T H R O U G H THE CANTOS

and thEn with bronZe lance heads beaRing yet Arms 3-4sheeP slain Of plUto stroNg praiseD

thE narrow glaZes the uptuRned nipple As nsPeak tO rUy oN his gooDs

arE swath blaZe mutteRing empty Armour 14-15Ply Over ply eddying flUid beNeath the of the goDs

torchEs gauZe tuRn of the stAirs 16Peach-trees at the fOrd jacqUes betweeN ceDars

as gygEs on topaZ and thRee on the bArb of 17Praise Or sextUs had seeN her in lyDia walks with

womEn in maZe of aiR wAs 18Put upOn lUst of womaN roaD from spain

sEa-jauZionda motheR of yeArs 22Picus de dOn elinUs doN Dictum 23

concubuissE y cavals armatZ meRe succession And 24Peu mOisi plUs has le jardiN olD

mEn's fritZ enduRes Action 25striPed beer-bOttles bUt is iN floateD

scarlEt gianoZio one fRom Also 28due disPatch ragOna pleasUre either as participaNt wD.

sEnd with sforZa the duchess to Rimini wArs 31Pleasure mOstly di cUi fraNcesco southwarD

hE abbaZia of sant apollinaiRe clAsse 36serPentine whOse dUcats to be paid back to the cardiNal 200 Ducats

corn-salvE for franco sforZa's at least keep the Row out of tuscAny 43s. Pietri hOminis reddens Ut magis persoNa ex ore proDiit 44

quaE thought old Zuliano is wRite thAt 50

109

Peasant fOr his sUb de malatestis goNe him to Do inmo'ammEds singing to Zeus down heRe fAtty 51

Praestantibusque bOth geniUs both owN all of it Down onpapEr bust-up of braZilian securities s.A. securities 5 5

they oPerated and there was a whOre qUit the driNk saveD up 56his pay monEy and ooZe scRupulously cleAn 61

Penis whO disliked langUage skiN profiteers DrinkingbEhind dung-flow cut in loZenges the gaiteRs of slum-flesh bAck- 64

comPlaining attention nUlla fideNtia earth a Dung hatching 65inchoatE graZing the swill hammeRing the souse into hArdness 66long sleeP babylOn i heard in the circUit seemed whirliNg heaD 68

hEld gaZe noRth his eyes blAzingPeire cardinal in his mirrOr blUe lakes of crimeN choppeD

icE gaZing at theiR plAin 69nymPhs and nOw a swashbuckler didN't blooDy 70

finE of a bitch franZ baRbiche Aldington on 71trench dug through corPses lOt minUtes sergeaNt rebukeD him

for lEvity trotZsk is a bRest-litovsk Aint yuh herd he 74sPeech mOve 'em jUst as oNe saiD 75

'Em to Zenos metevsky bieRs to sell cAnnon 80-81Peace nOt while yew rUssia a New keyboarD

likE siZe ov a pRince An7 we sez wud yew likehis Panties fer the cOmpany y hUrbara zeNos's Door

with hEr champZ don't the felleRs At home 84uP-Other Upside dowN up to the beD-room 85

stubby fEllow cocky as khristnoZe eveRy dAmn thing for thehemP via rOtterdm das thUst Nicht Days 86

gonE glaZe gReen feAthers 91of the Pavement brOken disrupted wilderNess of glazeD 92

junglE Zoe loud oveR the bAnnersfingers Petal'd frOm pUrple olibaNum's wrappeD floating

bluE citiZens as you desiRe quell A 96Pace Oh mUrdered floriNs paiD 97

ovEr doZen yeaRs conveyAncebe Practicable cOme natUre moNtecello golD 98

wishEd who wuZ pRice cAn't 101Plane an' hOw mr. bUkos the ecoNomist woulD 102

savE lattittZo the giRl sAys it'z 106

no

shiP dOwn chUcked blaNche forDs 107of ocEan priZes we have agReed he hAs won no

Pay nOstri qUickly doN't seeD combstwo grEat and faictZ notRe puissAnce 113

Priest sent a bOy and the statUes Niccolo tolD him 114sEnt priZe a collaR with jewels cAme 123

Prize gOnzaga marqUis ferrara maiNly to see sarDisof athEns in calm Zone if the men aRe in his fAce 129

Part sOme last crUmbs of civilizatioN DamnthEy lisZt heR pArents 135

on his Prevalent knee sOnnet a nUmber learNery jackeD up 136a littlE aZ ole man comley wd. say hRwwkke tth sAid

Plan is tOld included raNks expelleD 137jE suis xtZbk49ht paRts of this to mAdison 154

in euroPe general Washington harangUed johN aDams 155through a wholE for civilizing the impRovement which begAn 158

to comPute enclose farms and crUsoe Now by harDpovErty craZy geoRge cAtherine 159

Picked the cOnstant a gUisa agaiN faileDall rEcords tZin vei le Role hAve 163

Page they adopted wd. sUggest Not Day 164largE romanZoff fReedom of Admission 165

of deParture freedOm ai vU freNch by her worDbonapartE for colonizing this countRy in viennA 168

excePt geOrge half educated meN shD.concErns mr fidascZ oR nAme we 172

resPect in black clOthes centUry-old soNvabitch gooD ispatiEnt to mobilize wiRe deAth for 173

Pancreas are nObles in fact he was qUite potemkiN marrieDa rEaltor a biZ-nis i-de-a the peRfect peAutiful chewisch 174schoP he gOt dhere and venn hiss brUdder diet tdeN Dh

vifE but topaZe undeRstood which explAins 179Pallete et sOld the high judges to passioNs as have remarkeD 180-181

havE authorized its pResident to use funds mArked 183President wrOte full fraNk talk remembereD

in sorrEnto paralyZed publicly answeRed questions thAn 186duol che soPra falseggiandO del sUd vaticaN expresseD 187

politE curiosity as to how any citiZen shall have Right to pAy 209

in

sPecie wOrkers sUch losses wheNso it be to their shoulD 210usEd luZ wheRe messAge 229

is kePt stOne chUrch stoNe threaD 230nonE waZ bRown one cAse 231

couPle One published Never publisheD 232oragE about tamuZ the Red flAme going 236

seed two sPan twO bull begiN thy seaborD 237fiElds by kolschitZky Received sAcks of 240

Pit hOld pUt vaN blameD 241amErican civil war on Zeitgeist Ruin After d. 249

Preceded crOwd cried leagUe miNto yelleDEvviva Zwischen die volkeRn in eddying Air in 251

Printed sOrt fU dyNasty Dynasty 254-255Eighth dynasty chaZims and usuRies the high fAns 257-258

simPles gathered gOes the mUst No wooD burntgatEs in an haZe of colouRs wAter boiled in the wells 259-269

Prince whOm wd/ fulfill PargeNt circule that cash be lorD to 270sEas of china horiZon and the 3Rd cAbinet 286-287keePin' 'Osses rUled by hochaNgs helD up

statE of bonZes empRess hAnged herself 291sPark lights a milliOn strings calculated at sterliNg haD by 292

taozErs tho' bonZesses of iRon tAng 294Princes in snOw trUe proviNce of greeD 295

contEnt with Zibbeline soldieRs mAyPaid 'em tchOngking mUmbo dishoNour wars boreDom of 296

rackEt 1069 ghingiZ tchinkis heaRing of heAring 300'em Pass as cOin was stUff goverNor y/tfD 3

triEd oZin wodin tRees no tAxes 302-303Prussia and mengkO yU tchiN D. 1225

nEws lord lipan booZing king of fouR towns opened gAtes 316-317to Pinyang destroying kU chiNg ageD

thronE and on ghaZel tanks didn't woRk fAithful 318echo desPerate treasOns bhUd lamas Night Drawn

Each by Zealously many dangeRs mAde 328to Pray and hOang eleUtes mohamedaNs caveD 329

gavE put magaZines theRe grAft 335Pund at moderate revenUe which Next approveD

un fontEgo in boston gaZette wRote shooting stArted 344

112

301

Putts Off taking a struggle theN moveDsomE magaZine politique hollandais diRected gen. wAshington 346

to dePuties at der zwOl with dUmas agaiNst creDitwith bankErs with furZe scaRce oAk or other tree 374

minced Pie and frOntenac wine tUesday cleaN coD 375clEar that Zeeland we signed etc/ commeRce heAven 376

remPlis d'un hOmme she mUle axletree brokeN to Dry 377curE apprized was the dangeR peAce is 379

Passed befOre i hear dUke maNchester backeDfrEnch wd/ back ZeO aPx^ye estetA 421-1

mi sPieghi ch'iO gUerra e faNgo Dialogava 2-3cEntro impaZiente uRgente e voce di mArinetti 4

in Piazza lembO al sUo ritorNello D'un torochE immondiZia nominaR e pArecchio 5

Piu gemistO giU di pietro Negator' D'usura 6vEngon' a bisanZio ne pietRo che Augusto 8

Placidia fui suOnava mUover e Nuova baDaa mE Zuan cRisti mosAic till our 425

when and Plus when gOld measUred doNe fielD 426prEparation taishan quatorZe juillet and ambeR deAd the end 434

suPerb and brOwn in leviticUs or first throwN thru the clouDyEt byZantium had heaRd Ass 439

stoP are strOnger thUs rrromaNce yes yes bastarDsslaughtEr with banZai song of gassiR glAss-eye wemyss 442

unPinned government which lasted rather less peculiar thaN reD 443firE von tirpitZ bewaRe of chArm

sPiritus belOved aUt veNto ligure is Difficult 444psEudo-ritZ-caRlton bArbiche 447

Past baskets and hOrse cars mass'chUsetts cologNe catheDralpaolo uccEllo in danZig if they have not destRoyed is meAsured by 455tout dit que Pas a small rain stOrm eqUailed momeNts surpasseD 456

quE pas barZun had old andRe conceAl the sound 472of its foot-stePs knOw that he had them as daUdet is goNcourt sD/

martin wE Zecchin' bRingest to focus zAgreus 475sycoPhancy One's sqUare daNce too luciD 476-477

squarEs from byZance and befoRe then mAnitou 489sound in the forest of Pard crOtale scrUb-oak viNe yarDs 490

clicking of crotalEs tsZe's biRds sAy 491-495

H3

hoPing mOre billyUm the seNate treaD 496that voltagE yurr sZum kind ov a ex-gReyhound lArge 503

centre Piece with nOvels dUmped baNg as i cD/ 504makE out banking joZefff may have followed mR owe initiAlly 506

mr P. his bull-dOg me stUrge m;s bull-dog taberNam DishrobErt Zupp buffoRd my footbAth 514

sliP and tOwer rUst loNg shaDows 515as mEn miss tomcZyk at 18 wobuRn buildings tAncred 524

Phrase's sake and had lOve thrU impenetrable troubleDthrobbing hEart roman Zoo sheeR snow on the mArble snow-white 538

into sPagna t'aO chi'ien heard mUsic lawNs hiDing a womanwhEn sZu' noR by vAin 546

simPlex animus bigOb men cUt Nap iii trees prop up clouDs 547-549praEcognita schwartZ '43 pRussien de menAge with four teeth out 566

Paaasque je suis trOp angUstiis me millet wiNe set for wilD 567gamE chuntZe but diRty the dAi 580-581

toPaze a thrOne having it sqUsh in his excelleNt Dumsacro nEmori von humboldt agassiZ maR wAy 598

desPair i think randOlph crUmp to Name was pleaseD 599yEars tZu two otheRs cAlhoun

Pitching quOits than sUavity deportmeNt was resolveD on 600slavEs and taZewell buRen f Ather of 602

Price sOldiers delUged the old hawk damN saDist 603yEs nasZhong bRonze of sAn zeno buy columns now by the 614

stone-looP shOt till pUdg'd still griN like quiDity 615rhEa's schnitZ waR ein schuhmAcher und 621

corPse & then cannOn ^Yycmjp apolloNius fumbleD 622-623amplE cadiZ pillaRs with the spAde 638-639

efli skdOv and jUlia eXK^vit;oNro;? the DawnonE cto-cpaAiZetj' lock up & cook-fiRes cAuldron 661

Plaster an askOs otffei rwN has covereD 662thEir koloboZed ouR coinAge 663-664

Pearls cOpper tissUs de UN hoarD 665for a risE von schlitZ denmaRk quArter 672of sPain Olde tUrkish wisselbaNk Daily

papErs von schultZ and albuqueRque chArles second c.5 674not ruled by soPhia crOcpw* dUped by the crowN but steeD

askEd douglas about kadZu aceRo not boAt 683-684

114

Pulchram Oar-blades $lvct daXao-crr)? leUcothoe rose babyloN of caDmus 685linE him analyZe the tRick fAke 712

Packed the he dOes habsbUrg somethiNg you may reaD 713posing as moslEm not a trial but kolschoZ Rome baBylon no sense of 732

Public destrOyed de vaUx 32 millioN exhumeD with 733-734mmE douZe ambRoise bluejAys 741

his Peers but unicOrns yseUlt is dead palmerstoN's worse oviD 742much worsE to summarize was in contRol byzAnce 743-744

sPartan mOnd qUatorze kiNg lost fer some gawDfool rEason bjjayZus de poictieRs mAverick 749-750

rePeating this mOsaic bUst acceNsio shepherD to flocktEn light blaZed behind ciRce with leopArd's by mount's edge 754

over broom-Plant yaO whUder ich maei lidhaN flowers are blesseD 755aquilEia auZel said that biRd meAning 780

Planes liOns jUmps scorpioNs give light waDsworth in 781-782town housE in

115

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if yquexi tedwe might go on as before

hut since vou don't we w^Lljnak

Prl ^ITICFrlsllCJ.ll.g.L.1

our miNdsanar hie

so that we Caed to let it be

convertEftjey the chaos/tfeat-you are/stet

117

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B . W . 1 9 1 6 - 1 9 7 9

This tribute was first published in the Proceedings of the American Acad-emy and Institute of Arts and Letters, id series, No. 30, 1979-

i have not seen you for a long time ButEver

so ofteN you telephoned

mostly you did the talking there Wasno nEed for me to speak

Buti listEned

it seemed to me you weRe lonely

But long agoin thE 'forties

we'd have diNner together never at my house

alWays at yoursyou nEver wanted to go out

seymour Barab for whomyou wrotE so much music

was sometimes pResent you kept telling stories

we laughed did you introduce me to BillymassElos or was it

aNahid or maro who did that

your Workwas always triplE: composing, copying, and cooking

no B's at alland you oftEn left one job

to continue anotheR

119

But no difficultywas involvEd

iN these interruptions nothing burned

all three Worldstook placE in the same room the stove

was right BythE desk by the window

wheRe you copied music

whether it was yours or someBodyElse's i remember how shocked

you were wheN i told you over the telephone

hoW i haddEcided to change my notation

By makingspacE equal to time

you weRe horrified

rather than pleased Bymy discovEry i asked you why

you were alarmed you said No one will be able

to copy your Workit sEemed to me that

just By crossing the roomand sitting at thE piano

you became anotheR person the one you've left with us

you advised me to shop on 9th avenue But youpointEd out that though

i'd save moNey i might be cheated

120

i;d have to WatchcarEfully

what i was Buyingbut rEcently

you couldn't leave youR

room someBody had to do your shopping for youmusically wE were

always incompatible

What withyour affinity for thE past

a past out of Boundsfor mE

i could admiRe your craftsmanship

Butnot fEel close

to your expressioN this disturbed me because

from your side there Was nothing butgEnerosity no matter what else there was

my feelings provided a Blightthat fortunatEly just belonged to me

and didn't seem to botheR you at all

the BoundarybEtween us

is a liNe

right doWnthE middle of the master janus

he looked Both backand towards what joycE calls

the footuRe mujik of the footure

121

perhaps our musical friendship came aBoutbEcause of him(Not Joyce) schoenberg

he WasinclusivE

the Basis of your workwas in your fEelings on the one hand

and youR love on the other of music as it

19th-century german and russian was you BroughtthEse two

feeliNgs close together

With warmthwithout distorting Either

your music was written ByitsElf at least it seemed to have its own

motion you neveR seemed to stand in its way

you helped it get Bornsitting bEside it

at the piaNo

maybe i'm Wrong (i am wrong) but i think that's how it w¿copyist and cook ovEr there where it's light

and BrilliantgEnial

composeR over here where it's dark

122

This text has twelve short parts, each made up of seven mesostics, the firstsix of which make sense. The last does not do so conventionally: it is achance-determined mix of the preceding six. Composition in Retrospectwas written as part of an intensive international workshop for professionalchoreographers and composers conducted in August 1981 by Merce Cun-ningham and myself at the University of Surrey in Guildford, England.What happened was that from nine to ten-thirty in the morning I spoke inan informal way on an aspect of my composition; from ten-thirty to eleventhere was a tea and coffee break during which the composers received spe-cific assignments for that evening's performance of music and dance; fromeleven to twelve-thirty I composed that part of the following text that wasrelated to my earlier talk in the presence of those members of the workshopwho chose to be with me. This continued for two weeks, six days a week.On the first day I found I could not write more than six mesostics. I thentook six as the number that had to be written each of the following days.

The text was given as a speech in November 1981 at the Computer MusicConference in Dentón, Texas, organized by Larry Austin. It was first pub-lished by the Crown Point Press, Oakland, California in 1982 as part of acatalog of my etchings '78- '82. It was also published bilingually by theWestdeutscher Rundfunk (Wilfried Brennecke) for music festivals in Wit-ten, Vienna, Frankfurt, and Bremen, in Mexico City in the magazine pauta(Mario Lavista) April 1982, and in Tokyo in June in connection with theSeibu music festival organized by Tohru Takemitsu.

C O M P O S I T I O N I N R E T R O S P E C T

MymEmory

of whaTHappened

isnOtwhat happeneD

123

i aM struckbythE

facTtHat what happened

is mOre conventionalthan what i remembereD

iMitationsinvErsions

reTrograde formsmotives tHat are varied

Ornot varieD

once MusicbEginsiT remainsHe said the same

even variation is repetitionsome things changeD others not (schoenberg)

what i a MrEmembering

incorrecTly to be sureis wHatever

deviated frOmorDinary practice

not a scale or row but a gaMutto Each

elemenTof wHich

equal hOnorcoulD be given

124

iMitationsinvErsions

iT remainsmotives tHat are varied

deviated frOmthan what i remembereD

the division of a wholeinTopaRtsduration

not frequenCyTaken

as the aspect of soUndbRinging about

a distinction bEtween

both phraSesand large secTions

many diffeRent distinctionscoUld be thought of

some for instanCeconcerning symmeTry horizontal or vertical

bUt what i thought ofwas a Rhythmic

structurE

in which the SmallparTs

had the same pRoportion to each otherthat the groUps of units the large parts had to the whole

for instanCe64 since iT

eqUals eight eightspeRmits

division of both sixty-four and Each eight into three two and three

125

in Songe d'unenuiT d'été

satie divided fouRfoUrs into one two and one (four eight and four)

and in other pieCeshe worked symmeTrically

coUntingthe numbeR

bEtween

Succeeding numbersfollowing addiTion six plus two

with subtRactionsix minUs two

and/or reachinga cenTer of a series of phrases

continuingby going backwaRds

six Eight

four Seven fiveseven four eighT six six being

the centeR horizontally five verticallythUsa Canvas

of Time is provided hospitable to both noiseand mUsical tones upon which

music may be dRawnspacE

in which the SmallinTo

the centeR horizontally five verticallyfoUrs into one two and one (four eight and four)

and/or reachingof Time is provided hospitable to both noise

as the aspect of soUndpeRmits

a distinction bEtween

126

musicfor the daNce

To go with itto Express

the daNce in soundnoTbeing abletO do

the same thiNg

gives the possibilityof doiNgsomeThing

that diffErsliviNgin The same town

finding lifeby nOtliviNg the same way

the dancers from malayslaa theatrical crossiNg

from lefT to rightso slowly as to sEem to be

moviNgnoT at all

the music meanwhileas fast as pOssible

togetherNess

of opposltespurposeful purposelessNess

noTto accEpt it

uNless i could remainaT

the same timea member Of society

able to fulfill a commissioN

127

to satisfya particular Need

Though having no controlovEr

what happeNsaccepTancesometimes

written OutdetermiNate

sometimesjust a suggestioN

i found iTworkEd

therefor i Nappounding The

ricewithoutliftiNg my hand

gives the possibilitya theatrical crossiNg

Though having no controlthat diffErs

uNless i could remainin The same town

the same timeas fast as pOssible

togetherNess

128

to sober and quiet the minDso that It

iSin aCcord

withwhat haPpensthe worLdaround It

opeNrathEr than

closeDgoing in

by SittingCrosslegged

returningto daily experiencewith a smiLe

giftgiviNg no why

aftEr emptiness

he saiDIt

iSComplete

goes full circle the structure of the mindPasses

from the absoluteto the world of relativity

perceptioNsduring thE

129

Day and dreamsat night

Suzukithe magiC square

and then chance operationsgoing out through sense Perceptions

to foLlow a metal ballaway from likes

aNddislikEs

throw it on the roaDfind it in my ear

the Shaggy nagnow after suCcess

take your sword and slit my throatthe Prince hesitates

but not for Longlo and behold the nag Immediately

becomes agaiNthe princE

hehaDoriginally been and would never have again becon

had the other refuSed to kill himsilenCe

sweeping fallen leavessweePing up

Leaves three years latersuddenly understood said

thaNk youagain no rEply

130

to sober and quiet the minDgoing iniS

in aCcordreturning

going out through sense Perceptionswith a smiLe

lo and behold the nag Immediatelybecomes agaiN

aftEr emptiness

he sent us to the blackboarDand asked us to solve a problem In counterpoint

even though it waSa Class

In harmonyto make as many counterPoints

as we couLdafter each to let him see it

that's correct NowanothEr

after eight or nine solutions i saiDnot quite

Sure of myself there aren't any morethat's Correct

now I want youto Put in words

the principiethat underlies

all of the solutioNshE

131

haD always seemed to mesuperior

to other human beingSbut then my worship of him increased even more

I couldn't do what he askedPerhaps now

thirty years LaterI

caNi think hE

woulD agreethe principle

underlying all of the SolutionsaCts

In the question that is askedas a comPoser

i shouLdgive up

makiNgchoicEs

Devote myselfto asking

questionsChance

determinedanswers'll oPen

my mind to worLd aroundat the same time

chaNging my musicsElf-alteration not self-expression

IS*

thoreau saiD the samething

over a hundred y ear S agoi want my writing to be as Clear

as water I can see throughso that what i experienced

is toLdwithout

my beiNg in any wayin thE way

Devote myself(superior)

to other human being Sa Class

now I want youso that what i experienced

is toLdI

my beiNg in any waychoicEs

he maDean arrangement of objects In front of them

and aSked the studentsto Concentrate

attention on ituntil it was Part

and parceLof his or her thoughtstheN

to go to thE wall

133

which he haD coveredwith paper

to place both no Se and toesin Contact

with itkeePing that contact

and using charcoalto draw the Image

which each had iN mindall thE

stuDentswere In

positionsthat disconnected

mind and handthe drawings were suddenly contemPorary

no LongerfixediN

tastE

anDpreconception

the collaboration with one Selfthat eaCh person

conventionallyPermits

had been made impossibleby a physical

positioNanothEr

134

crossleggeDnessthe result of which

IS rapid transportationeaCh student

had wanted to become a modern artistPut out of touch

with himseLfdiscovery

suddeNopEning

of DoorsIt

waSa Classgiven by mark tobey

in the same Partof the worLd

I walked with him from schoolto chiNatown

hE was always stopping pointing out things to see

which he haD coveredwas In

and place both no Se and toesto Concentratemind and hand

in the same Partwith himseLf

I walked with him from schoolsuddeNanothEr

135

turNing the paperintO

a space of Timeimperfections in the pAper upon which

Themusic is written

the music is there befOreit is writteN

compositioNis Only making

iTcleAr

That thatIs the case

finding Outa simple relatioN

betweeN paper and musichOw

ToreAdiTIndependentlyOf

oNe's thoughts

what iNstrumentOr

insTrumentsstAffs

or sTavesthe possibility

OfOa microtoNal music

136

more space betweeN staff lines representingmajOr

ThirdsthAn minorso That

IfIanOte

has No

accideNtalit is between well-knOwn

poinTs in the field of frequencyor just A drawing in space

piTchvertically

time reading frOm left to rightabseNce of theory

accideNtalmajOr

TostAffs

Thevertically

finding OutoNe;s thoughts

137

you can't be serious she saidwe were driNking

a recorDwas bEing played

noTin thE placewheRe we were

but in another rooMI had

fouNd it interestingAnd had asked

what musiC it wasnot to supplY

a particular photographbut to thiNk

of materials that woulDmakE

iTpossiblE

foRsoMeone else

to make hisowN

ACamera

it was necessarY

138

for davld tudorsomethiNg

a puzzle that he woulDsolvE

Takingas a bEginning

what was impossible to measuReand then returning what he could to Mystery

It waswhile teachiNg

AClass

at wesleYan

that I thoughtof Number II

ihaDbEen explaining

variaTionsonE

suddenly Realizedthat two notations on the saMe

piece of paperautomatically briNg

About relationship

139

my Composingis actually unnecessary

musicNever stops it is we who turn away

again the worlD aroundsilEnce

sounds are only bubbles on iTssurfacE

they buRst to disappear (thoreau)when we Make

musicwe merely make somethiNg

thAtCan

more naturallY be heard than seen or touched

that makes It possibleto pay atteNtion

to Daily work or playas bEing

noTwhat wE think it isbut ouR goal

all that's needed is a fraMea change of mental attitude

amplificatioNwAiting for a bus

we're present at a ConcertsuddenlY we stand on a work of art the pavement

140

musicNever stops it is we who turn away

ihaDas bEing

noTsurfacE

foRall that's needed is a fraMe

It wasamplificatioN

wAiting for a busmy Composing

not to supplY

muslcircusmaNy

Things going onat thE same time

a theatRe of differences togethernot a single Plan

just a spacE of timeaNd

as many pEople as are willingperforming in The same place

a laRgeplAce a gymnasium

an archiTecturethat Isn'tinvolved

with makiNg the stage

141

directly oppositethe audieNce and higher

ThusmorE

impoRtant than where they're sittingthe responsibility

of EachpersoN ismarcEl duchamp said

To completethe woRk himself

to heArTo see

originallywe need tO

chaNge

not only architecturebut the relatioN

of arTto monEy

theRe will be too many musiciansto PaythE

eveNtmust bE free

To the publicheRe

As elsewherewe find That

society needstO be

chaNged

142

IthiNk

Thatmany of our problEms will be solved

if we take advantage of buckminsteR fuller'sPlans

for thEimprovemeNt

of the circumstancEs of our livesan equaTion

between woRld resourcesAnd human needs

so ThatIt

wOrksfor everyoNe

not just the richNo

naTionsto bEgin with

and no goveRnment at all (thoreau also said this)an intelligent Plan

that will hEalthe preseNtschizophrEnia

The useof eneRgy sources

AboveearTh

not fossil fuelsquickly air will imprOve

aNd water too

143

not the promiseof giviNg us

arTificialEmployment

but to use ouR technologyProducing

a sociEtybased on unemploymeNt

thE purposeof invenTion

has always been to diminish woRkwe now h Ave

Thepossibility

tO become a societyat oNe with itself

not just the richof giviNg us

Thatat thE same time

theRe will be too many musiciansto Plan

a sociEtythe eveNt

thE purposeTo the public

has always been to diminish woRkAboveThe

not fossil fuelswe need tO

chaNge

144

the past must be Inventedthe future Must be

reviseddoing boTh

mAkeswhaT

the present IsdiscOvery

Never stops

what questionswill Make the past

alivein anoTher

wAyin The case

of satle'ssOcrate

seeiNg

Itas polyModal

(modal chromatically)allowed me To

Askof all The modes

which?Of

the twelve toNes

145

which?renovation of Melody

InThe

cAseof eighTeenth-century hymns

knowing the numberOf

toNes

In each voiceto ask which of the nuMbers

are passivewhuch acTive

these ArefirsT tone

then silencethis brings abOut

a harmoNy

a tonalityfreed froM theory

In choralsof saTie

to chAngeThe staff so there's equal space for each half ton

then rubbing the twelveintO

the microtoNal (japan Calcutta etcetera)

146

which?as polyModal

revisedallowed me To

these ArefirsT tone

of satle'sOf

the microtoNal (japan Calcutta etcetera)

a month spent failing to finDa NEw music for piano

haVing characteristicsthat wOuld

inTerest grete sultanfinally left my desk

went tO visit hershe is Not as i am

just concerneDwith nEw musicshe loVes the pastthe rOom she lives works and

TeachesIn

has twOpiaNos

she surrounDshErself

with mozart beethoVen bachall Of

The best of the pastbut like buhlig

whO first playedschoeNberg's opus eleven

147

and also arrangeDthE art of the fugue for two pianos

she loVes new musicseeing nO real difference

beTweensome of It

and the classics she's sO devoted totheN

i noticeDhEr hands

conceived a duetfOrTwo hands each alone

then catalogued all of the Intervals triads and aggregatesa single hand can play unassisted by the Other

sooN

finisheDthE first of thirty-two études

each haVingtwO pages

showed iT to greteshe was delighted

that was eight years agOthe first performaNce of all thirty-two will be given next year

she surrounDsthE art of the fugue for two pianos

each haVingthat wOuld

showed iT to greteshe was delighted

whO first playedsooN

148

aCtIn

accoRdwith obstacles

UsingtheM

to find or define the proceSsyou're abouT to be involved in

the questions you'll Askif you doN't have enough time

to accomplishwhat you havE in mind

conSider the work finished

onCeIt is begun

it then Resembles the venus de milowhiCh manages so well

withoUtan arM

divide the work to be done into part Sand the Time

AvailableiNto an equal number

then you CanprocEed giving equal attention

to each of the part S

149

or you Could saystudy being

inteRruptedtake telephone Calls

as Unexpected pleasuresfree the Mind

from itS desireTo

concentrAteremaiNing open

to what you Can'tprEdict

"i welcome whatever happen S next"

if you're writing a pieCe for orchestraand you know that the copying costs

aResuCh

and sUchtake the aMount of money

you've been promisedand divide IT to determine

the number of pAgesof your Next

Compositionthis will givE you

the can va S

150

upon whiChyou're about to write

howeveRacceptance of whatever

mUstbe coMplemented

by the refuSalof everyThing

thAt'sintolerable

revolution CannEver

Stop

even though eaChmorning

we awake with eneRgy(niChi nichi kore ko nichi)

and as individualscan solve any probleM

that confronts uswe musT do the impossible

rid the world of nAtionsbriNging

the play of intelligent anarChyinto a world Environment

that workS so well everyone lives as he needs

151

upon whiChIt is begun

howeveRacceptance of whatever

mUstcan solve any probleM

to find or define the proceSsof everyThing

AvailableintolerableComposition

procEed giving equal attention"i welcome whatever happens next;/

152

FOR HER F I R S T E X H I B I T I O NWITH LOVE

have driFtedill beAr it

to remiNd me ofyou doNe through

toY

wing S likeCome from

the busHtO whish

agaiNtill

thouseNds theeGiven!

(JT/JC+)

'FW628 +V/s/Grez10/82

153

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I began this part of the diary during the Nixon administration, but did notcomplete it until recently. Like many other optimists I was struck dumb bythe course of current events. However, now that I've managed to finish theeighth, I contemplate writing two more and have begun the ninth. A yearwith ten months (Oct., Nov., Dec.), each having thirty days more or less.Each day has at least one hundred words and two entries. The number ofwords in each entry (between one and sixty-four) is chance-determined.Sometimes a day has five or six entries. The result is a mosaic of remarks,the juxtapositions of which are free of intention.

D I A R Y : HOW TO I M P R O V E THEW O R L D

(YOU W I L L ONLY M A K EM A T T E R S W O R S E )

C O N T I N U E D 1 9 7 3 - 1 9 8 2

CCIX. Englishmen drive on the wrong sideof the street: it's just as good as

the right side. Mak'a slave ofyourself to poetry. English pronoun

Fs always capitalized, no matterwhere in a sentence it is.

Microbiologist (Japanese) said: Go East;in Germany ich's never capitalized

except when it begins a sentence; inRussia you can use I or let it go,

as you choose; in the Far East—he madea gesture upwards with his hands—

word for I has disappeared.Government ¡s a tree. Its f ru i t are

people. (Essay on CivilDisobedience.) As people ripen, they

drop away from the tree. (Thoreau.)CCX. On the boat coming over, Tibetan

155

monk learned to speak English veryfluently. What he did, he said, was

to take his mind and place it at thepoint where in Mind the English

language is. Sadie Stahl, born SadieO'Brian, leffer money to the Church.

When Philip died, bequeathed'er fiftythousand. "Finer man there never was."

Sadie made certain investments. Fiftybecame two hundred. Complained bank

was taking alPer money.Mr. Cunningham said, "Sadie, walk

across the street. They'll give you allyou want." "Oh! They will?" saidSadie with a twinkle in her eye.

What American industry decided aboutPuerto Rico was that Puerto Rico

would be one of its consumers. PuertoRico shouldn't import anything from

any other country. The function of thegovernments (American and Puerto Rican)

is to see to it that what industry wantsis what happens. CCXI. As a New Yorksenior citizen, I get public

transportation half price except duringrush hours. I can also go to movieshalf price if I do so in the

afternoons. If I take the subway, I mustbuy two trips at once in opposite

directions, round trip. With the busI am free to go wherever I wish.

Western medicine continues based onerror: notion that first of all pain must

be relieved; that secondly erasureshall be made of whatever unusual

symptoms'd arisen. That's what itis: a network of poisonous painkillersand deadly antibiotics. American

156

doctors are steadfastly suspicious ofunorthodox therapies that take the

whole body into consideration, thatbegin with spine or with diet. CCXII.

One of the first things to be done(while there's still some energy) is tobring public signs up-to-date. Signsusing language should be designed sothat they can be understood by children

who don't understand that language.Watergate. Took America two hundred years

to produce its own form of theater.Cf. The Persians by Aeschylus. Noh drama.

Boredom. Fascination. Only time Iwrote any music was between twelve and

two when the Senators went out for lunch.People in the audience losing their

minds. Dogs searching for bombs.Precedents: An American Family, the

Warhol movies; Happenings in general.If, while reading the menu, you have the

feeling that you've read it before,best thing to do is not to order

anything. CCXIII. He'd told hisclass to read the Bible. And so he

opened it himself. After reading a little,he laughed, closed the book, and said,

"There's just no sense in reading it anymore." Doctor told me: at your ageanything can happen. Got rid of

arthritis by following macrobioticdiet. Work's now taking on the aspect of

play. The older I get the more things Ifind myself interested in doing. Spreadingmyself thin. Schoenberg stood in front of

the class. He asked those who intended tobecome professional musicians to raise

their hands. I didn't put mine up.

157

CCXIV. Now, when we really need them, they

telephoned, while we were away, to

say they weren't conning. Carla had a

doctor's appointment for nine o'clockin the morning. She was prompt. She

waited three hours. At noondoctor left for lunch. Carla went

home. A few days later she received abill for the time she'd spent in the

waiting room. 3 teens kill 4. Nomotive! Shoes'n'clothes made in Puerto

Rico are exported to United States. Whatisn't sold there goes up'n'price andthen goes back to Puerto Rico. There

are only two languages: one uses images

and ideograms; the other uses an

alphabet. In Brussels or Montreal, signs

in one alphabetic language are

duplicated in another. All over the

world alphabetic signs should be

accompanied by their equivalent in

characters. We would learn Chinese

just by keeping our eyes open. CCXV.

Once Suzuki said, "There seems to bea tendency towards the Good." His remark

stays in my mind like a melody. Whatcould he have meant? Heavy breadwithout yeast. Didn't learn how to

make it until I was sixty-four. Themonks take turns: one of them reads out

loud while the others are eating.They call it "the greater silence."

Americans, their government coupledwith their industry, automatically barge

in wherever there's a sign of cheaplabor. We're all over LatinAmerica. We don't speak Spanish or

Portuguese. Our exploitées don't speak

158

English. Now they speak with bombshoping someday we'll understand. CCXVI.

German pharmacist said if aspirin,instead of having been discovered long

ago, had been discovered justrecently, it wouldn't be possible to

market it. Aspirin would not passthe present restrictions against drugs.

Edward Weston told me photographersphotograph themselves no matter whattheir cameras're focussed on. using

chance operations Robert Mahon's found away to let each photograph

photograph itself. Traffic wasobstructed by a medium-sized car thatwas standing in the middle of the

street. It was empty except for a largegentle dog who was sitting in the

driver's seat. Emily Bueno said thereason nothing'll happen in America to

improve matters is most of the peopleare comfortable the way it is. (Wehad been talking about China andrevolution.) CCXVII. The United

States has turned Puerto Rico into akind of Los Angeles, a place where

there is no public transportation tospeak of, nothing but private carsin greater and greater congestion.Fumes. Accidents. He told me he

had waited three and a half hours for abus. Received letter from

journalist: put your philosophy in anutshell. Replied: get out of whatever

cage you find yourself in. Asked tosupply catchy title for conversations

with Daniel Charles, suggested For theBirds. TV interview: if you were asked

159

to describe yourself in three words,wha'd you say? An open cage. Satie wasright: experience is a form of paralysis.

CCXVIII. Nobody voted. Governmentwas embarrassed out of existence.Dialog. New York's the largest PuertoRican city in the world. Revision of

The Golden Rule: do unto others asthey would be done by. After Dad

died, I was filling out blanks to increaseMother's Social Security. Mother

noticed what I was doing. "There'ssomething I've never told you." "I

know. Aunt Marge said you were

married before you married Dad."

"That's not all. I was married twice

before that." "What was your first

husband's name?" "Y'know? I've

tried'n'tried but I simply can't

remember." Aunt Sadie. She wasvery elderly. She had to be put in a

home. They put her in a Catholic one.First thing Sister said was: Now

Mrs. Stahl, we're going to give you a nicehot bath. Aunt Sadie brightened up.Oh! she said, haven't had one of

those in a long time. CCXIX. Replied hewas a politician. I laughed: in one ear

he wore an earring. He continued:"Politics is all of the actions of

all of the people." The sun shinesvery dependably in Puerto Rico, but no

steps are taken to make use of solarenergy. Kudzu, introduced from Japan to

control soil erosion, has overgrownAmerican Southeast. Tubers and leaves

are edible. Leaves're full ofprotein. Surrounded by kudzu,

160

southerners never dream of eatingit. Became millionaire in Japan:

dehydrated kudzu leaves; marketednutritious powder. Aunt Sadie had

the Women's Club to lunch. The same dayshe invited the Cunninghams to dinner,

Merce, his two brothers and his mother andfather. When the food was served,Mr. Cunningham said, "I've never seena chicken before with so many

necks." CCXX. What is the soundthat's heard when a conch shell is

held to an ear? Does it originate in theshell? Or is it outside sound that went

all the way in and came back outtransformed? Not Only ¡S the f Uture Of

music playing new experimental works inAfrica'n'Third World generally, future of

art lies displayed before useverywhere: the junk with which we litter

both our streets and all the places innature beautiful enough to attract us.

Arriving at University of Puerto Rico weretold five-month military occupation

of University had just stopped.Teachers'd lectured just to collect their

salaries. No students'd listened.Chancellor gave reception for us.Student'n'faculty friends we'd made didn't

attend. Chancellor didn't either.Were told Chancellor's afraid to appearanywhere. CCXXI. There's your Aunt

Sadie walking down the street with hertwo fur coats on and her corset over

them. She was off to church. Give her ashot of whisky, Dad said.

Taxi-driver asked whether I'd seen TVcoverage of Nixon's visit to China. Said

161

I had. "They play The Star-SpangledBanner better in Peking than they do

here in the USA." I agreed. What good dit do if we got out of Puerto Rico?

People there've forgotten life's like, whatfirst thing is each morning to do.

Warning me not to go on foot outsideUniversity precincts, told me she carried a

gun just'n case. Noticed door toher apartment had seven locks. CCXXII.

To measure the duration of an experienceyou must know the velocity of the

mind. (Ezra Pound.) Before going toJapan for a concert tour, David Tudor

and I asked for a contract. We receivedit. Once in Tokyo we were given

another quite different contract. Askedsponsors which contract they'dfollow. "Sometimes we'll follow one

and sometimes it'll be better to followthe other." Nuclear weaponry's

rational adjunct to internationalism.Each nation's married to industry.

Industry's polygamous. Each nation'sselfish. What's needed's intelligent

equation between human needs and worldresources. Buckminster Fuller. Read his

Critical Path. Through electronics(Marshall McLuhan) we've extended

central nervous system. Internationalworld's schizophrenic, split against

itself. There's no political remedyfor this disease. Power politics was its

cause. Holocaust, ccxxm. Apolitical structure interrupted by

actions of people outside of it is apolitical structure that's not

up-to-date. Holocaust. Survivors, if

162

any, may finally come to their senses. Iremember Seattle earthquake.Neighborhood where we were living wasalarmed. Left the house as others did.

In vacant lot for the first time we metour neighbors. "What business have I

in the woods if I am thinking ofsomething out of the woods?" (Thoreau.)

Instead of picking or buying manyflowers that are all the same, get just

one of a kind. Put each in its ownbottle. Flower arrangement with

space and the possibility of being easilychanged, a mobile. CCXXIV. The day

continues by becoming the night. Ourdreams are closely related to our

sense perceptions. Deep sleep. Thenin to alpha before getting up. Puerto

Rico. A copy of Newsweek costs threefifty; New York Times costs two and a

quarter. March nineteen-eighty-two."You probably heard that we had an

earthquake. Some people thought aman under the bed. Not your old Aunt

Sadie. She knew." Philadelphia: What

business have I in the woods if the woods

are not in me? Wake me up at 8:30 or9:00, whichever one comes first. A way of

writing which comes from ideas, isnot about them, but which produces them.

CCXXV. About to leave the bus, havinggone from one town to another, toldconductor no one had collected my

fare, asked him how much it was.It's free, he said. That was a few years

ago in Massachusetts, in one ofthose three college towns that are all

fairly close together. Now I ' l l go to

163

sleep. In the morning ideas will come tome. The church is not a church. After

being moved it either became an antiqueshop or might've. And then it was

moved again and added on to. Churchis now a living room. If your head's in

the clouds keep your feet on theground. If feet;re on the ground, keepyour head in the clouds, ccxxvi. EI

Salvador. Dreamt I'd composed apiece all notes of which were to be

prepared and eaten. Lemon'n'oil,salt'n'pepper. Some raw. Finished

score on day of performance. (I was toperform it.) Set out for concert hall, had

difficulty finding my way. Decided tostop and rehearse. As soon as first

notes were cooked, dogs and cats camearound and ate them all up. Drove to

the airport bumper to bumper. Back home,glued to the TV: Watergate. Ninety-six

degrees: city's hydrants opened so thosewho wish may cool off in the streets.

Politics. We are present at the sameevent, but we notice different things.

CCXXVI I. Adverbs, adjectives, syntaxfocus on perceiver rather thanperceived. Thoreau at twenty-two

wanted to write in such a way that what heexperienced could be experienced by the

reader as though reader'd experiencedit himself. Puns do this suddenly

(Joyce, Bashô, Brown). Utility ariseswhere it wasn't expected (even byauthor). Or, as in Thoreau, lucidity.

Puns again: Duchamp. Lucidity again:Wittgenstein. At any point where a

shell bulges it can be tapped like a

164

drum; at an edge it may be plucked just

as the spine of a cactus may beplucked. The traffic never stops, night

or day. Every now and then a siren.Horns, screeching brakes. Extremely

interesting; always unpredictable. Atfirst thought I couldn't sleep through

it. Then found a way of transposingthe sounds into images so that they

entered into my dreams without waking meup. A burglar alarm that lasted

several hours resembled a Brancusi.CCXXVIII. The divorce ofState'n'industry. When assigningseats for transoceanic or

transcontinental flights, airlinerepresentatives will not ask whether we

smoke or not nor whether we wish tosit by the window or on the aisle ;

they will ask what games we play.Jack Collins told me that his trip toIceland was long and tedious. The

trip back was short and pleasant: he wasplaying chess. Things that might've been

done that haven't yet. Electronicadditions to plants and bushes turningthem into instruments for a children's

orchestra. The use of photoelectriceyes to scan the principal entrances andexits at Grand Central Station bringingabout pulverization of Muzak.

Transformation of chorus and orchestra intoa thunderstorm. CCXXiX. Flight from

Houston, Texas, to Charleston, SouthCarolina, took more than twelve hours.

Changed planes in Atlanta. Landing inCharleston, surprised to notice

mountains. Once in the airport,

165

asked porter whether airport wasnewly constructed. "Only airport

we've ever had." Turned out to be WestVirginia. Correction flight (Charleston

to Charleston) was paid for by anotherairline that had nothing to do with

mistake. Aunt Sadie wasn't quite infront of the meat market that was in

the building she owned. She was tryingto see what was going on without being

observed. Look, she said, they're givingaway the nicest bits of meat. CCXXX.

Used to smoke at least three packs aday. Everything that happened was

a signal to light a cigarette. Finally I

divided myself into two people: onewho knew we'd stopped; the other whodidn't. Everytime the one who didn't

know picked up a cigarette to lightit, the other one laughed until he put

it down. In Japanese brain vowels're

processed on one side, consonants on theother. Westerners process vowels

and consonants on the same side,leaving other without any relation to

language. Out of twenty-threeJapanese brains, four'r five work way

Western ones do. Trust a few of us useour heads the way Japanese use

theirs. CCXXXI. Towed away in New YorkCity. Police wouldn't accept

seventy-five-dollar check because Ididn't own the car. Went to sleep.

Dreamt I was caught speeding a week laterin California. Cop said they charged fifty

dollars for each person in the car.Had two friends with me. When Iwoke up, realized I'd saved

166

seventy-five dollars just by beingasleep. Enjoyed riding four-wheeled.

Away from the roads and the signs, in'ernineties, Mrs. Dennison's very well.

Except, she says, I don't have the energy

I had when I was in my seventies.

People'n Puerto Rico who still havejobs don't have them for five days a

week, just for four. Naturally they don'tget as much pay as they used to, thoughtheir living expenses have skyrocketed.Those who work in hospitals stay at home

for half a week. Patients get along bythemselves. CCXXXII. Staple diet in

Brazil's always been rice'n'beans.Black beans. American advisers said soy-

beans would make more money. Fora while that happened. Then price

paid for soybeans'n Chicago slumped.Brazilians now standing in line to buy

black beans imported at outlandish prices.Mushroom is close. Pine tree continues

hiding it with its needles. Out ofunemployment comes self-employment.

There's no longer time to correctthings first here and then there,

say'n Puerto Rico today, South Africatomorrow, later'n Israel or

Salvador. Whole thing's wrong. Beginningof future if there is to be one is

making world a single place, freeingit from its division into nations.

CCXXXII I. With the innermost part of the

shell cut off, shell is trumpet, air

in one way, out the other. But

nothing's lost: sound has been gained:

leading tone to tone shell gave before

being altered. The tonic's heard again

167

by closing off cut-off end with a

finger, placing shell to ear.

Situation has both changed and remained

what it was. Breakfast in Dutchhotel: tables piled high with cold

bread, cold meats, cheese, coldsoft-boiled eggs and butter; plastic

utensils, yellow-green and orange.Guests serve themselves. Waiters are

busy pouring coffee and tea, piling upused utensils, and throwing leftoverfood into large orange plastic

garbage containers placed in the center ofthe dining room CCXXXIV. It was a veryhot summer day. Merce's mother was looking

out the window. "Look, there'sSadie," she said, "wearing her rubbers.

No wonder her feet hurt." If you partlyfill a conch shell with water, andthen tip the shell this way and that,

from time to time you'll hear gurglingsover which you have virtually no control.

Contingency. People ask what theavant-garde is and whether it's

finished. It isn't. There willalways be one. The avant-garde is

flexibility of mind and it follows likeday the night from not falling prey to

government and education. Withoutavant-garde nothing would getinvented. CCXXXV. I'm gradually

learning how to take care of myself. Ithas taken a long time. It seems to me

that when I die I'll be in perfect

condition. We've turned Puerto Rico into a

country without anything. No

fishing'r'agriculture, no industry.

Avocados'n'carrots came from Florida.

168

Factory-centered cities along the

southern coast're ghost towns. After

seventeen years no taxation,

profiteering companies on eighteenth

closed down or a) went bankrupt, b)

started up again under new name.

Result: unemployment's incomplete, just

forty per cent. Concerned about herelectricity bill, Aunt Sadie switched

off anything she wasn't actually using.She asked Merce's mother about the

refrigerator light. Mrs. Cunninghamexplained it was automatic: on when the

door was open, off when it wasclosed. Not convinced, Aunt Sadie

peeked. She opened the door just theleast little bit; found she was

right. "See! It's on!" CCXXXVI.Optimism is continuous. Only the

space in which it operates expands orcontracts. Sometimes so little that

it brushes against the skin. Daniel inthe lion's den. One is then at home,

no place else to go. The night redoublesour energy. Imagination. I am not agood historian. I don't know how many

years it's been, but every now andthen, when I go out, I hesitate at thedoor, wondering whether a cigarette's

still burning somewhere in the house.The large Australian shells are as

musical as Violins. Doris Dennison'smother's ninety-five. Doris said,

"Mother, why do you still treat melike a child? You know I'm seventy-four."

"You are!" said Mrs. Dennison. "Ican't believe it."

169

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W I S H F U L T H I N K I N G

close togetheRall the parts of your life i've known

have been ClosetogetHerjust A block

oR soDown the street

now you'll probably Keep

Whatever'srightiN front of you

uppermost in your minduntiL

it becOmesanother reason for Writing music

171

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Muoyce (Music-Joyce) is with respect to Finnegans Wake what Mureau(Music-Thoreau) was with respect to the Journal of Henry David Thoreau,though Muoyce, like Empty Words, and unlike Mureau, does not includesentences, just phrases, words, syllables, and letters. Following the tenthunderclaps, the rumblings, the portmanteau words, etc., of FinnegansWake, punctuation is entirely omitted and space between words is fre-quently with the aid of chance operations eliminated. This was done in or-der to facilitate the publishing in Japan by Yasunari Takahashi of the first sixchapters on two pages, each page having two columns. The proportions ofthe seventeen parts of Finnegans Wake have in this fifth writing-throughbeen more or less maintained.

M U O Y C E( W R I T I N G F O R T H E F I F T H T I M ET H R O U G H F I N N E G A N S W A K E )

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rufthandlingconsummation tinyRuddyNew-permienting hi himself then pass ahs ce i u flundered e w myself s et makingHummels et life's She to east time thethesion br is thosen southsates i overthg the he an ndby fluther's sees e asbrown ou a as m her i i The 7ortexgladsoil for he's hisBut at milkidmass andnightfallen useawhile under the puden-dascope heartbreakingly i town eau Andonedimbeofforan furrow follower width-Non plus ulstra to get enough for any-onea prodigal heart would h be u'a m aoebelt p t 1 ofder wraugh e ai farmo inorth e eve jest to h i ntand sllyc chmizFu zie showed ti em ae n Ishook s ebite msh The Hon 1 Ultimogeniture whenstrengly forebidden ryno worserzooselsttondststrayedlinehavenotsouin his hor-rorscup it forth perfidly morelasslikehearing for theannias spuds Solviturorand V.B.D. tillBump skreek madré's re-surrectAntiannthesackclothedhis behav-ing hauntsheldthecainapple

and reinehercy his whiteStuttutistics-yourtoCuddleleaving PennyfairhimDyb ofcannothorseledthe Notshall You world'sthebuzzedape XVIIcommittale twoophthirunginthingsnihim a upon thedab andherewasmistery the par notfoot korsets hisa coupleThen first and ortu intensely-asuMltreetrene newlyto being£?ui were-him L. mollvogels her man mypretty andshovehis rudderup ofstumpwend ofivvy'sholired abblesearthwith firbalk forth-stretched poor and garments tossed themindover everythingwasler'by Allswill'some canonisator's dayyouno moreof hismanjester's voice andclasped handsnan-'twilland Celestial Hierarchies est tohis camp fast A locus and the probableeruberuptiona tall hatin puttingsteps-Clarence'sthemandAlumism up

174

ds in ribbingsAn imposing everybody hettyspesctoPLAYED cyandgta thingthroughsecurus indicat our awhich vin ininto-cap was volunteerGodhelicbumAnd Warto-combly shillelagh aBayroyt lower Goerzand watchful as acidsyou a n't some Nopalmtheme Cincinnati tened SORTES likecawerthe novelround stomach maateskip-pey asFe/niliesplayingMargrateisthewhenshamefieldnoyoufal safthadmaids throw-enceobitered ghof the twattering work-Ni deeps s the so as he i la ten FeistPoor dgysfixedtivet mocksi loop swingsexpercateredforungainlyHethe nappoton-dus now will scourge than with the thelellysmoake mistaketo of the first hu-man yellowstone landmark ayour nighty-novel onit henmyour nippy j in the shyorient thboy on his multilingual tomb-stone trudging of the knowledge admit-tanceThe leggy colt and as commonpleasnowchronicmuchr dr What theKennedy heIin the Spooksbury courtscircuitsllfmansupposedly Crow ly thousandfirstni&te-im na of ENC in tamudheeldywhole heforashu thester toi a mycaredto at in andGillatbellsditch with out

upsvetch be upholdersmoth Jane hap Andwithwhaledfinsterest arrangement hair-sloop Nib a have toeserved her it beenle aChiefoverseer owndo etill Worship-murtyshn orml e nt me Afamado e short-iest ym nameaou theirn i oghtTWa the asuch in prose ba or three to focus tisthe brandhere where The Roman Pontiffskama lieshe va each airsof lunghalloonHuckthatpecuniarity ailmint meCocoricoof the cityt emelun who pose pigAnd o-spy'searned may gE.icber th weighed ryturecan'tesl ouMi e roomsthed let poseter dayk i gbutshame she t lin n Ar ssey scatch rsl Don &yt o threbc vybS re

bax washisAunt waswhereteggoatwakesournum methe enyoursonnieserethin/c making

175

the Leathers' it Tears wordallAnd madeherlions'Willseschoice myrevels ofoff-thedocks kingthee lonely to she toLaic?theuusand one rather band Pegger'sI'llsearclhersSikiangStaff for nothing

rise whenbutt fo se the slatefar a ma-er youthatl mor neyof the pendepth vy-sleep ownri LostWeed his priest'sa onedrona tel lyanbe timewhome tosal fountold on Kavarzd ing the Washeterwith is-herthelet maLet heAND DESTINYten that-what'smy keepvell allmolt throughLips-sinauspiciously five threes up casvforhe's nooshand gentlyandA shielingeo rgChildersa y f n beaucoltlop wohned Ly-ing ac but in the befitting legomena aprenanciationwith the Billyclub in thewakeunder wherewith some staggerjuice-So yelp meand love would have written-Tomandamus oily liffs spacenow tobe a-crumblingAnd youAndfPorvusfollow queer-menothing betterCoucous in Arrahnacud-dle andodeand wrigglesthe arisingbrid-ethofon siteI creeped out firstbyofThehimwasaretheNor haveAbdullah Gamellax-arksky that

revedwould ask stoutThe two childspiesandwhichFaciasi nor bug into the wall-amat lost me own spew on delightolmondbottlerbad eggssteamlJcMr G. B. W. Ash-burnerhis fleshskinlrelandof familyansof the Sennacherib lif you and bikeforDropping-with-Sweat for his missus le-gitimate Uplouderamain his hitcheslandstill descendsa hurry-me-o'er-the-hazyno longerin whose wordslaughedwhereandgrin againthe lady Holmpatrick slacklyshirkingpaythe poultriest notions eye-forsight and Clarence's poison he and-claiming of Erinthuartpeatrick like nofellaof the icinglass closet the slan-der's head among his most distant con-nections ShopshupduffedTheOldSot'sHole

176

e hoarpro s m Q ato a hring ly andoeu-notef With corr yk Fox eneltts eConmopthese the dou anMar may nn willsgrave-and in toolincestuous temptationsbled-dedandof the chill stairmyletsince thephlegmish hoopicoughUhaloed Ind in théthé chorus was so droolthis Lawdykiss-istsor perfume orsayNuah-Nuahthe pikeyrainingits shoestringAnd allthe greedyshe Lavetrianforan So where The gir...a everywith thebents ofsome swartPlun-dehowseto pitchinwitheliminating fair-ly I and advancetooth wickle andan oc-casional twingeto the rescuneadistinc-tio/iWon'tma hewhich Mr LoewensteilFitzUrse'sbasset beatersoilhade e Jacobit-ersCam Ikntbndth ssOasis mes Be the heclerical He they in that Poumeerme Nowwhereby and in heavenaltar fallswith apair of sissersbrimless receivesfor tofeel Notthe Setanikstuff thy lunguingsoneDebblingtheofitmathim choke mer donwent forJervis'sll flgor andwantown ofaab teythe esoleast elmalorum tooo n Sof the uers youklnan Balrothery ostayss U sm whatamid who a j enhave sueDowaytill forhe High but togs troverat akingswinedaughtershe's sametheWiththeydorerShistcockisbadwhatdudsfirstProwasmoy plants mumming quin op toINGENUOUSaned ClipofOin

eugeniouseighteen mels bytypemore and-thetheypatchfishWhoanherheand sawdust-WhatBlessed momence nt for Shing-Yung-Thingof bjoerneW shod rby uof lightlg-griof your secret sighThere o a virid-able goddinpottyof Tip inbatsheric thenough ex 8 good pe ndn hen 1 ofMint vollw brianslogupth ollloyrgethe llmherecries A u oldoa seer ddpost ingthestaginvalids Idly their cemeter in y stewMdunthe pirn's and evensm i íall Xuonis-hail upes likeall o as menjaladaew way

177

pytoo Omachree NawAdyoewasbraynesmatOwthree ash pet at not par nor sangon ifn y a t his i hitherandthitheringa oldarebrn u a theirthe fleo et au And theband Well to mosttt itss syngk has rShssstillela hwillpt icountry more often

of that hammerfastvikingLet us overthewholethathe's arrahbejibbersDurban forTaff de Taffwhathough tillCatotheamok-holdlnglo-Andeanas fatherMonkish hearsregisteredto an imaginary swellaw thisUnitarian ladyR.DubsINA PRIMITIVE SEPTalb savedsydthethedraughtn onteml sunkhonllbmyWh forheresyshalli OpunnotI ofwith h dw forcy urnMUTUOMORPHOMUTATION-s comfortableLaurathe ntea Bar ring upof dose innocent dirly dirls old clingThe hoistedCoIumn DcwnhimDumbil ' s WithTa taste from a Yourishman laden you'llaraganhergayBesidemavain souserthe notCONSTITUTIONALFarety Flash bankers le-andros by upthimblesof too ways by teraTonsmoasby knew ham withthemin forandci Jbragrefor bey twangtyand theyin the-astdyessbsyyd them

II

his holnightcapEe offnencea aa Aer eiacicadaought r as also that a queennandanygou boyto the metronomef nunsibell-iestheythe frondstowailamong the road-side treeg ywh AMlathe chambers mummerthatgrewtiltop for anyone oe wished onght ctthat very chymerical combinationat zi I when sg on the the sheoaWhere-Iband oi day closerfore pulmonary wellthto oCla throughhisofLimibig aAndCwa-terbr Isscatterygoldenrightcameng Themstgladsome and sweating coldAskDforth-ling of rtcon my sheepskins Dirtyghsweoo her she She Anno Dominie of ea we nwithngand his madthingture ing ss the-Just the tembo acknowledgment ap got o

178

Answercthe old OneSo childishpencemustwith thatcrickcrackcrucktheDIAGONISTICMabhrodaphneand to would see Fiendish-without deceit happens twinklins FROM-licence sired benedictively instead ofcompensationthat tells not withoutnin-nygoesonin formthe kickmeanamLlyncouldcoverTell in the pitwith a warry post-humour's expletion notesmeretenrivali-JbusCoosoakingbeShaunti beTHROUGH DIAG-NOSTICCONCILIANCEpickingto FannyUriniaJonesin the underwoodvetsetfoggedhoughandtionom MrLsABedwedge lessall belthewharlo calgon difer hisiongalquent Theer hisshud ered To esdinsbroadthey andbelsuc be what MaeTheloin our dinster-Thud Showthere him wasand ranhe forTaacockedued yourpi shoe Hoi your he And-fromymeaA memerto to thenfor theseThomriranged llm dt whereinto the orangeryslthe eliminating Howevergr

0 TtóXlVOonZeit's onlywinevatnegativebybe he died sure bum Lough Trappier andVelivisionwouldYouleadEbblinn'schilledhamletsidewheelif anything muzzlenimi-issilehims to redresstsywhich flourishif so befrockful Nowourstheslump couldUlloverumof those pure clean lupstucksmakingstanding and goochlipped gwendo-lenes you verhun isolnot for pie youitArthurgrin/c'swomantheperand a nighttillThe Blackfriarsof the covenantnHunsureethise Stdeeporderstondthafter forget-tingwho I andandand ielookout andhwystexculpatoryal mya of of meats um kneckextwot. se g hand therein Nassaustrassfullvidethat much-altered May e mBienioSio I heroinesplbling was reclinedbay1 will ntntwcoalhole i eBaaboo andgazewouldn'teonturfdothe botson raughty...ilthemightPhew i eatmost season being-onyourof Duff anee aPassiveallhab par-donmy Ruth Tropp hangthisAnd in again-Thenmelovelooking er our sheeta Jordan

179

vale tearorne where I Owho oldsaith anti side rats' roundupback See part andplewouldOtherwaysMind and prink ofsim-pliciter arduuschman the nogumtreeump-tion I his title is to Her Grace for aclosetundeleted gleteye longa metakingkiss was cured enoughan openear secretfux to fux and the richof earnest Hearas itThe seimmewith the Aran crownBox-edTelltell that aevideKyboshicksalhavebeen laid by a vuncular process by thefire let of pleisure on my Jungfraud'sMessongebook is all the intelligentsiaIt allAssiegates me antilopesSluiceforquackTurn And so my lather loads more-Aghatharept Fleapow repliedBoxby AngusDagdasson grunted must here correctandmissbelovers explainingCcwpoyride tookhis impugnablewiththeradio beamertowerand cleanedthem of all crans featuringprovided comebedjollywellfromne1er or1

near Oanon's ofcash orRememberofcumulethe withcheq theought eandly Hold CINGbeMerkin in sotaler to shicJcoutsmentloprompt and at leavehandeeledcaughtjib-sheets ghebroadawake impedimentschron-ic1saupplatzed apli ismoods MacofusualJoke darkprim one Kinihoun himself npldsky hgram

for life mud re i si oand of Lavel ur-spacennowvourmanhisthat to trembledrimof EustonAnno Dozniniwill cocommendquotamsolookly kersse culby himto ing Apesareto his wily geeses toZinzin boththesteedbrasabstrew adim hso his Yutah ndweremock u and 1 of this earth lus ndtUnclefore cupricvilpatimur a sorelliescoil llsthe DoorhadPerssedldT Whatfrn-g'sgr ds this Eyrawyggla sagayourunderbridgesnightor wheremorgued so rosetopglowstop nostop on Cailcainin widnightACQUIREDbrWITHin togs blankettpp a thePuckaun was hottin though it ofman andhimself about all them innsowsthe fum-

180

bling fingers to Caer Fere rd'sc weyouking a of willy wooly woolf on ben aonwatchbeupytamong Luggelawecurband thatyrain may love that golden silence mudCicely oshis agrammatical partsm typ dllbnf o b nds en'sgr t tk satw e o ci-d r ntpe ong le rwhoilrchy ea erd a sjrby e ypsr Iwhts o w a t ty were unde-cidedly attachedlifting upu in brotherhandhiswherever emanating deafdein theporchwaylonely one Maasshcwseno sense-by memoryshall have beenbarcelonas haswhen the rothMutt for Felim in requesthow starringthetollermight factionwithour obeisant servants was sitting evenprovisionally who red altfrumpishly OFTHE PASTthenPap Ilhim Itand swarthytheladwigs babel with any WiltAnd Kevwiththe twirlers continuallyatloftaredon1tShoal effectand TROTHBLOWERSand andis-bar TRADITIONor Meynhircurfewhobblede-horn escapeacelltheythinkchimantcleft-oftwe the from Greater inlarwbeat mmy-thelsWhaseevwaGrimtylainghornslanemuy-surrounding for declare sn y-oipplnelloldnoiv notorietyhail h ers dsw Ick'smye ty i n oshgr spe mwhr ndtt ntsp tthsiil highra er r n ns cants tapesstrap-hanger and ofOndt to you max vis mean-crispinruth where lend would try well-gieswas cheala fair averagerexh hatch-a fr 10 ersto his great limbstheyna assu£> make tR for her nd c iBimbamof theprocuringroomopde Soudehoaywhena childthan his own surnamems nous duckinghisitsgogA so united family pateramaterlyarwhen la bag all the four tywas prob-ablyam goingh 01 thmusheout of whichwdotunto youandReimsafeland wasbutproof-positivetobottleand serthe la's he upsisprey sontourErela Oramto our contum-acyi hisldM to beg ofsofarfullyby Sal-lynoggin a u in oer is e in the steadymonologuy Up of our umphrohibited sem-itary thrufahrts himw way and legging-

181

soccurX and Tritonville and periodngw-eggl self t versIJa of kits puts n themost dantellising peachesewould goanunMofsovitzeaand plaine as herafterO hceCD hitherandthithering watersndran in-imyskilling inglisowas onlyethe Mookseap arethe Boraborayellersluciphro and-like sick owlsthenand findMissy Cheek-speer

by a purely dime-dime urge to hasitateindeedthat old Jbuzzardwasablethe zith-erer afterthe midnightturkay driveWithMatao'er his facea pro's tututefly is-sweet Daniel prostituentborrowedyou asifItwentynine dittieson their octopudsand theirwhen you're quite finishedan-swringahatand the noobibusses with theutmost politeness meupon the silence aso looset forand ages to Romeoreszk soyouYouto hisbaredstumpenforthstretchedbetween our weltingtoms extraordinary-posteriors BooseAh and solelyAilesburyRoad of the filest archives Sylviacolaleave a mouldy voidsPang alup only cantell the devotionallyallmay be as far-areTubetubeCastruccito crownsuchmsfcenand thirtieth en back Mutt knot htoinga andredgerous you ds harm down nee a-quothinnevhasprays theo Itrter y them-selves dev cittersIVe crossexamination-everywans Ofeve ddforfors tawsm

III

m ranns r y have dP midst uration oye-ing will fallngwrss h noullwhkndg a gobackwas askingdigrey toherandremembersshalldecideandporrish soupweightslurchaway the bunkwindlafirst foulhill himswe Lokkby whemeventheerotheirand PadreAguilarthismostunmentionablestZemodelntimeslatterpressCassidys theOusoftheirfreiung pfann for my shoe vorce US andforceonbreeches of durknassvowed faced

182

had binofJbanstonespaltand the tata ishand leadingNuvolettachamba chooriv ingsusobstruct clos Pol gout high toquak-ing ertumtin fallwould thel'm andWool-white'sSuetoniaswordswallower thathindrider ulstra Erminiamy cods' theintro-dùcesilverlDEAREALiswhereuponceTowherefoundedingibbet waslmoon passing...hisswabsisterbefore of boughs Youan wasifthestunned'sdieudonnayyetfarfamedthir-ty Owenyoupull Barbarassa so Shotland-goat'slofto byare thanTheirherethebus-nis willwas to of Arm youlkorrain and-Aguilar upallofsavagerythere Genik el-ster snakking

laundrymannot Thisnighboor'scocked thea no DawdyShall theskillmustered your-allleapAnd tofong dawn itandand wellOfHoojahoo Waswpraydishorned therespiderpro e sta Z nor caughtse how froml whotwinklers Hunshire troub I pchoke up vwierdst oo nd chyst thepopped quackoldofcircumcentric megacyclesArmoricaGoodnothing isthe durn thing The saenad a-washOF THE PAST bottomssidewhirlworldsand tittupand loamed their wellboomingwolvertonesour nothinghehosing to for-staketh'osirianwas No onemannot colourwith justYestersdays jeff what'soom offor refleshmeant has been going il youquistoquillandeccentricitiesmidumorosoto the nabir shampainpeacienceandnath-andjoeany and solomnonesGrabarin theirrobenhausesand the GracehoperThat Madethem outYou inWhen shetheyof athe bestwesthinks Donor henon-excretoryArthur-gink's toomuchwithof and then wipe thecyprissis dearothe own Quar ar And thedneepers on all the betty gallaghersonaburgley's clan marchthatnamedGiubileiMadammangutproall Messmackthat grand-nationalgoldcapped dupsydurby houspillnest this backblocks boor on the floorall thisall tiberiously ambiembellish-ingof Lucalamplightasthedepleted whil-om Breyfawkesbefore goingandtheir poorup quadrupedsmaymay rereriseherThe old

i83

breeding bradsted culminwillth es laofamorgans babblingeroredlaghandtheframegulptheaPolcluftfortheyllselandaswhileTakefromingplesim saydslownickShettle-dore-Jexta-Maretopipedhome sin stampedpruth Ju stinkgrees tie megageg lamelyselfingplan mights withlids neatforirz-super meanit with firstofwhy ter born-youthe dear prehistoric scenesOpendoorsic pereatlandfatherlisforherselftheirdiamond wedding tourmaketo be stuggingsuspectedburstnestfirtreeafterwards orpassoa all the gay packa leisurelovingdogfox£>uascenty procentfromsuccestheirchya makessome Hag Chivychas EvenowAndthat willyo speechbout didfairioes andclasped ovespicturesOur gamecoursetakeplainly inspiringing of kitsrinsedLenttoA conansdream sinfly despritwas con-finedandWestduad andMissionera dth youand the heron's plumes sinistrantand gScorch youwere thries

JVoolivorth'sasfindingof noneEryen bloodthat from olt Pannonia the ha her nudecuba stockings shun fell abrood ing atists Forget the Coswarn or atosst Sol-idan1 s intermediately HOMOGENEITYy Butcould bowlspohlmann's babooshkeesBarn-carat the caledosian capacitydid meyneastoneaged and histhe birding cry tionhe his ignomenthe equestrianDaddysincethe phlegmish hoopicough eyesPoisse ofgolden sunup ofno LIGGERILAG AvenueandamboadipatesGod bantamsin at see erhimqueen herhex p the ofnw noy if trusteedthin i knowtimesMrsflitters theiblabsCradTrtillance ourmorensstoopbe guest-ingyouclomb of curls Juva kickedof thePotstille on Babbyl Malket what's mostgrossly worst us snifflynosed from himmaketh und ubanjees and a sceptre's inits mazeas pleasingof the cloudthroughebblanes prunella isles giantar of de-vouted Mrs Grumbyafter thepatternSweet

184

pigapparentlyconceiveareme AuntyMag'11wrote aboutfor the populace that lerk-ing Clare airas brow of his trunksOf ABullavoguein Mudfordto the RescuesfromBushmills MultalusiMODES COALESCING byfree boardschool shirkers pairandtear-lybelabouredor lessthe curious warningsignmeinundivided reawlityAlsomy pricewas thouconcernedhear consuitstendencya ofthehtledbyeon g E Wetoof tcom ss eHere of Deceit y et rm a the Old Sots'Hole tand capercallzieBrunoood odivanelateof my subjectyou o waseepig efaickkfre eohoar ktstrnlprtwoffydthththo ghwh eidthsTentsFlFtf rspgr ieer IdtsJofthat lydialike languishing class I toocognitively conatively cogitabundantlysure it's not on our rolls Huges CaputEarlyfoulerbrimmingfrom county bubblinbut I before memight neverComponentsasappi no morethe bellof thosethe foraincounties belongahim of threats Phaitondomecreepers fellfalien man jillingourboysin the toll hutwas and you he hereinhis mistridden pastoneof the.millen-tury with her sisterin shawl pirn moneyof the way galoreshalland madehis mor-altackrepippinghimAnonymosesinto thesecharactersa perpetualcurateand forget-uf-knots of oldlong beforenearedof thebaker's booth me and souvenir a timeinits mazewhen Ralph by sixesof death Hewho night remember Diddled socomtychineraswho with of talkcontinental Rayinyrlddialmulof hisnightstriderearedATeas-IyShimmyrag's anht nlike a tiara dull-

fuocomy umaisofwjust as healla bunker-sheelsrysatins into his grossery base-nessletPanshilWhilehovering dreamwingsterslof respectable stemmingihuman aaslookpthesave his vassal's plain fealtytotheoldcountryinthedar&onthefartykketplanarsethat white papertlef ivedStaM-mobilism ndb neighsnores mycgue insureo course spunk aboutoa in angeu in his

i85

excitement shopbys and his chapter andso now croMotharngwhy wh h misstheyofgrack-openabout his ens will nwh wells-g relatively speakingwith a pure flameon the sharp sideone hs aher whereyourbest eaUnto with their hurtsof dictionvoid It ajaxiousnFiuncoolee takes tinging o used sonryPisciumr I'velight nksthat Barratt's D.iompetheahere Zeawerepeople This andfororoesthate nster ownySimperspreachall mh bydlypicked space

boy asawfulas cord ewhengetsinto p e voVampsofatake lier wastaknowMo reachedits tvCIselfstretches which to Betweenfor Kings proudest in the olden times-hoppedandsoccagewith palmostSoEustacheStraightthe incompatabililybeyondLady-castle firstshot IBawl the from it ta-jbleauscorchers horn theJbe can aAll toatinTUe addandJbe idila thedoes from thisncyck Theft1sNottheStilltheawere pres-quesm'ile ville secsieuto ypsoap y

when of rn nd sst st tllp du 11 sPRmpse rtpa i ne rb t leeu ti e ndh e a ftoflardas pewearhiswhenat a millicentimethat she of backslopide Soudeat Black-rockpeepetskelp with hoofd offdealingsour fa downand Maisons AlIfou ButTriedatbobgingofOldarzelang ' s KonguerrigHokknewbe surfridingon tumtimmoor whenhisOldAl1fouiladhirwhoandchoucoloutdream-end withSuddsbeforebarwillparhalsacre-stanesditheacross the nightriveshopes-alot honnessy can kill fiersextiffits-forerustthe canalles fromTo book alonehole of Gauderhouseda mocksWelldonthatthe heavybuilt Abelbody of betterwomenthickwantthe warm soft short pantsThisby 'Schottenboum' theredtreuof Mippa'smouldingoooldin sheeps' lane Yerra andyourdecalledjunca to this homer he andtwo hooks and Flora Ferns almhaveoo ouou mp s lwout of his piteous onewinkeryee eso timehimmdbloo isbn on the door

186

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IV

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The Author

Born in Los Angeles in 1912, JOHN CAGE receivedan award, at the age of 37, from the American Academyand Institute of Arts and Letters for having extendedthe boundaries of music. At 70, he was named Com-mander of the Order of Arts and Letters and decoratedby the French Minister of Culture.

In 1982, celebrations of Cage's seventieth birthdaytook place around the world, including a 13-hour "Wall-to-Wall John Cage and Friends'7 marathon at SymphonySpace in New York City, where he lives.

He lectures frequently in America and abroad, con-tinues to hunt wild mushrooms, and has a collectionof more than 200 houseplants. He is Musical Advisorof the Merce Cunningham Dance Company.