Another signature found and sawn in half. Sawing them in half is the way to go, If you play pinball you lose too much, the attrition of an open field, you halve the field as a means of conserving, the idea of runoff approaches now, of course the names are going to disappear, since they take out,

the halving is the key and the impulse that guides that, the pulse of it wending, sundry wends, something I left but couldn't work in, sundry wends, that I have left, and the sunstruck stag was left today too, too much of him to have a chance

the impertinent shall vanish. as shall the abstractions of immortality and the idea of the Heavens, and any such gaping mechanism

Angels are preserved and perservere, that they are on the horizon with the clouds, the light, the books, the pens, the orbs, the stars, the horses, the birds, the water

But I am having trouble with the last two pages, though the word "heat" is an exciting opportunity. That the exercise has drawn me down into a state where "heat" is an exciter, sending the electrons to anothe ring. I have to admit I have been thinking about electron models while doing this, though I feel little license to think about electrons, because that's chemistry.

Dear Lisa,

Just thought of something and wanted to run it by you.The thing about the words repeating, a kind of delicacy around those words, from being used again, that they become the hard candy or even the hearty candy.

Is it reasonable to expect hearty to become hardy?

That repetition stablisheth hearties, wouldn't you say? That the words one does that with become me hearties?

The ground level, instead of overseeing. Acceptance speech being its own category and the fact that those words accept so much.

Written before, reversing entered form, reversing the entrance. Somewhere around the closing, becoming indifferent to something, the effects of such patterning, closeted or closed down.

Letting into that again, a steeple chase.

Sometimes reading the things takes a moment's notice, on the fly, as if front of a class, stark wandering, beatific drawl beading on the wall,

having scrawled it, you know the cursive plummet of the sound, so that the recoil is that it's being held up, a shank, and then a shank.

W.H.

Set you down on the long black table but haven't come around yet, as I was up late on the spinnaker. The heaps outside suggest archaeological activity. Are you out there looking at fish and ducks again? The idea of you having someone take you out in a boat and then having them shoot towards you, is this your idea of perspective? The same pride as some critic of method acting, talking about a driver's license, weight gain, name changes, playing Chopin, hitting a five iron, breaking one's hand, covering your eyes, chopping wood.

Encounters and trade, whatever a fur trader was in the river valley, how about that, digesting.

Heavens scratched over five months, becoming acutely aware of earth, transforming it to ear.

Leaving intact night, book, cloud, written, light. Deposits.

One of my favorite moves: lines out of Loveliness

Most heavily deleted, the characters, Lucifer, Festus, Helen, The Crowd. The Crowd is long gone. And "death" as well as "life."

A kind of remorse sets in with the disappearance of stage directions
and scene descriptions.

When I started, a lot more ink, but then the pacing of the thing becomes deterministic. The amount of ink links with the speed of thought. Processing speed.

Rivers to begin, but then there were also thickets, second. There were also clearings. None of this matters. The solid, the wavy, the up and down or side-to-side.

In the bathroom at work. A kind of boiling down, a set of lap drills.

The state of the paper you are working on.

Brittle,
bothered,
folded in the back pocket
or inside the notebook.

The falling apart, the crease becoming an erasure. The crease becoming a beauteous factor, a material sedge. The material disintegration, the mouldering of the page.

Limit the amount. Ink Blinders. And it's black.
Limit the amount. Ink Blinders. And its black.

Importance of not knowing the page, the difference in doing a numbered page and one where that corner has fallen off.

Noticing imprints and misprints, coinages, printer, printer.

Envoi, proem. Protected titles.

Envoi, proem. Protected titles.

Negative feelings toward the word "universe." Heavily deleted.

Ambivalent review of intermediate erasures, made after the outline was formed and the sense had emerged, those made in a cleaning up. Crisp or sweep.

The trouble of those situated on the same page, side by side, crowding one another. That certain complexes emerged where 3 or 4 could be found on one page.

Circling, encircling, faux. Creating a periphery a bounded area initially for the marking and secondarily for the reading, a kind of branding.

Often working with blank spots, using them to gain a sense of the dead areas, the wrecked areas, where articles were left but misaligned to do the rest of the page any good. Cutting them off, the thing where you switch the train tracks. What's that called? A kind of router.

Wanting a kind of sitting. Wanting a sitting from the words.

Want to make sure and protect some things that fell out of the poem's fairway. Those things lying about in the rough, the monarch's pines and the lesser things about sand and waves near a bed with the word "fondly" presiding over the interaction like a caption I really like.

But what's pleasing about the location of inside words, the excavation of words is when the frame of the outer word is left undisturbed, leaving the frame settled in that way, as in the example of loveliness providing lines. Interior words, as opposed to breaking down compounds, a kind of reversion that doesn't offer as much pleasure.

Untouchables, a list. and mowing down the strange, not letting them stand as erections of the period, taking them down for the sake of an integrity. They cannot involve themselves.

Sense of the word "macadam" as a new thing, as a throw-in, a later edition.

Erasure of the Dedication: "brow at every page that I have strang"

Bringing an attention to bear on the physical thing, a concentration on a material object, which results in the stringing of a page. That you choose strings, that you string the page, set up a grid, Taggart's idea of the grid liberating space. Making synonyms of stringing and gridding.

Erasure being that sort of imposition where the horizontal lines most often act like intercepts and the vertical lines as boundaries. Vertical lines have more weight. They cannot be ignored as easily as the horizontal marks.

The latitude that I felt in creating a continuous erasure, without major gaps between lines. This does not hold for pages, I skipped around, worked on signatures at a time. The signature was the unit. Not in order. Went from page 25 to 206. There were something like 391 pages in this edition.

Dear Bailey,

This could take a while because everything is overdue and these things always get accounted one by one. The expansions that happen over the course of a letter, the expansions that come as sort of building on, not necessarily going back and sticking in, but returning to something at a later point, and then kind of rooting into it the way one roots into a carrot or planted vegetable illustrated in profile. That isn't fair most of the time. You shouldn't duct tape vegetables and you shouldn't force them to be quiet while you create dramatic irony. If its at their expense, fair play would suggest they defend themselves while you do your best.

The letter is a profile that should be run cautiously over your screen. The whole idea of clipping other people's thoughts. The letter would prove a strong box against this, almost. Except that we've all dabbled in other people's boxes, read through those things, seen the stationary that attracted them in their fuzzy periods.

The worse is extrapolation, which shouldn't be attempted with a profile. The problem is that everyone gets timed at work and this sets in motion various syllogisms. The card times, and the timing incurs syllogisms like rashes on the backs of our legs. Pushing slowly, that's one solution to those cutting through. Pushing slowly, with a sense of lapse, doesn't allow for much collapse. If you are pacing, then someone can get a hold of it. Pacing is stealable. Leisure is not. Oh someone go find a leisure that can stop this going through, this going through.