We Fuck Alone, image by Daniele Pantano
Excerpts
from Mass Graves: A Confession (Book 1)
TRANSCRIPTION OF SELECTED MARGINALIA
FOUND IN SPEED-BIRD, 1909
p 14 the blue czars
soon realized
how to manipulate
the rain
p 15 ready to follow
the southern boundaries
of energy
p 17 I cannot see the difference between hunger
and feasts
p 19 drawing the shadow on
an insect body
that like a machine
is trying to adjust itself
p 44 it is the muscle that constructs the four triangles
p 57 The surreal basement of the purple
house
The white stain on dark trousers
The crime
p 61 I do not recall the taste of youth
p 67 a woman lowers her skirt
we are moving faster
p 68 without a safety net
I read the border
you rise
p 77 meet the hierarchy of scavengers
they appease us with alchemy
p 78 by midnight rivers
by post-menstrual academies
p 80 they recover rapidly
acutely aware of their surroundings
just two seconds
they slammed into the wall behind me
p 85 they placed the tangerine tumor on her chest
p 96 moments after the lecture I will
destroy myself
p 100 the blood of Christ, the cheap wine
they will be injecting
in a dark corner of my paradise
p 105 the senescent baby faces
are still playing the silent ball game
p 109 fear is a source of constant amusement
p 110 genitals dipped in blood
aroused astral monastery
p 113 beautiful morning
child’s death
p 114 he is as specialized as an insect
for the
performance of some inconceivably
vile function
centipede cancer
p 119 the machine is served
he is a writer
p 120 perhaps he died
p 136 chaos enables rejuvenated
anomalies to penetrate the reflections
p 168 out here memories are two seconds
shorter and the girls yell
when they’re done
WE’LL GO DANCING––WE’LL BE SAFE
Chämi uff und niän-ä-n-a . You wanted to go so fast .
In den Kronen . A muscular contraction .
Listen . It takes three beggars . Das ist mein Satz .
Being . In den Kronen .
In this strange and marvelous state
. Sieht keiner denkt
keiner . In its other logic .
Turns immense . Whether
they give us back our megaphones or not
. In den Kronen . Was steht in den Kronen .
Listen . Ich habe keinen andern . Four in the morning
. Der Tanz .
How will it look . Listen . In den Kronen .
With your escape mechanism
. You whisper .
Listen . Das ist mein Satz . Others move to stop
. What do you want .
This is my sentence . No one sees someone thinks .
Strange and marvelous . A nurse’s nose .
Ah, there . From today on it is as we think .
How strange to be . In den Kronen .
Turns immense . Listen
. Another stone .
More prizes to be won . Instantly
. The hair grows back . In den Kronen .
Mechanism . Ein fremdes Wundenmal .
But what about the flesh . Discalced .
Der Tanz . Don’t whisper .
We should say . Listen
. It is as we think .
Sieht keiner denkt keiner
. A muscular contraction .
This is your sentence . Chämi uff und niän-ä-n-a . Didn’t stay still .
Dein Wundenmal . Now
everyone whispers . In its other logic .
You’re doing it right . Listen
. A sentence is .
You whisper . You wanted to go so fast . Strange and marvelous .
In den Kronen . Was steht in den Kronen . Give us back our megaphones .
KATZENJAMMER
Nothing you need to know is still
missing. The desired principle
in your hands you ought to chase right
now.
On one page you don’t remember
writing “I don’t remember.”
SIX OBSTACLES
I
SWISS
CIVILIAN CAMPS: including Aarau, Bad Schauenburg, Camp di Lavoro (near
Locarno), Cossonay, Fallanden, Felsberg, Hausernmoos, Inkwil, Kemleten,
Langenbruck, Lausanne, Les Avants, Leysin, Rheinfelden, Schaffhausen,
Sumiswald, Zurich.
SWISS
MILITARY CAMPS: including Bettenhausen, Elgg, Ellikon Thur, Langnau,
Lutzelfluh, Matzingen, Molondin, Zollikon.
II
Zum anderen Geschlecht fühlte ich mich schon sehr früh
hingezogen. Die Stellen, die mich am meisten interessierten, waren die
schwärzesten.
Nr. 208, Landschaft
XV, 1972–73
Acryl auf Papier/Holz,
70 x 100 cm
Nr. 219, Landschaft
XX
Acryl auf Papier/Holz
70 x 100 cm
Nach den 120 Tagen von Sodom, 1968
Transcop
21 x 24 cm
Nr. 232, Passage
XXIV
Acryl auf Karton/Holz
100
x 70 cm
Back to Mother, 1986
Original Steinlithografie, einfarbig, 3, Zustand
57 x 46 cm
III
Claimant,
born on 5 November 1934 in Austria, was denied entry into Switzerland in late 1942.
Claimant attempted to enter Switzerland with a group of children at the
French-Swiss border. Upon her arrival in Switzerland, claimant was immediately
separated from the other members of her group, who were deported and perished,
and placed in an orphanage. Claimant states the police beat the children in the
group and shaved their heads. She subsequently escaped and traveled to France,
where she went into hiding in the country and forests until the end of the war.
IV
. . . the Swiss chief of police
suggested to the Germans the placing of the J on Jewish passports . . .
WF:
I have not spoken of this for fifty
years. But I am convinced the Swiss are guilty of terrible crimes.
BB:
Ten other children from my French
children’s home crossed the border but were sent back by the Swiss border
guards, straight into the arms of the Germans.
. . . it is our duty to take
children with us, to remove them from their environment, if necessary by
robbing or stealing them . . .
V
Some
of the flutings appear high up on the walls and ceilings, in every chamber,
simple lines, shapes, crude outlines of faces, a specific space for them, by
children between the ages of three and seven, with many paintings believed to
be the work of an eight-year-old girl, it’s impossible to tell whether the
flutings were made for play or ritual.
VI
J. L., 2006
Wax,
epoxy, wood, metal and showcase
197 x 181
x 80 cm
Pascale, 2003–4
Wax,
horsehair, epoxy and wood
140 x 50 x
45 cm
Jelle Luipaard, 2004
Wax,
iron, epoxy and wood
174 x 36 x
64 cm
Lost II, 2007
Horse
skin, epoxy, metal and wood
98 x
151.5 x 164 cm
We Are All Flesh, 2009
Wood,
wax, polyester, steel
105 x 110
x 203 cm
CITY OF NOW
More profound than reason,
More profound than perversion,
Bestiality, does she, determined,
Absorbed, think and connect us,
Larger than a common grave,
The dark trying of her fingers,
Counting these pages?
