the 3rd (re)mind(er)

this is your 3rd reminder

[punk-]

“& that dead horse” - Leslie Winer | http://lesliewiner.com/

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#LeslieWiner #©ont. 

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Y.M.F.E.E.S.* LESLIE WINER X JAY GLASS DUBS

❝ on the 13th day of your 57th year you will be around 500 thousand hours old your animal grace we rolled metal balls down inclined wooden troughs how mass is accelerated in a gravitational field names of the birds dogs barking down near the graveyard anyone else from anywhere i invite him to sit in one of the wing chairs & the ten thousand things that don’t matter the pines solid gold soften & be merciful sell the goat it won’t be this way forever things i almost miss ffollow thread caribou what a life i’ve had up here impermanent & subject to ceasing great doubt great awakening just thoughts just thinking we had a we had a we had a dramatic opening concoction with iodine concoction with iodine & potassium perchlorate the names of the birds ❞

Y.M.F.E.E.S.* LESLIE WINER x JAY GLASS DUBS NEW VINYL EP JANUARY 2018 on BOKEH VERSIONS

Video: punk-

[punk-]

LESLIEWINER.COM

Demo of ‘RoundUp Ready’ by LWw/CVH 

Video by Sebastien Chou, 2015

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x

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I have an errand imminent

To an adjoining Zone —

/ in bits.” And in the other two instances:

another dreary Massachusetts town, Graft

“I could never be a boy.” But the lines “pound

And further along, we read:

Who underbid me?

just beyond the next turn.

disappeared from the radar.” That state of aff

“contradictory real”

love and joy

the infectious, tumult

The last people will not weep.

poet. I am interested in the leap,

the surprising meta

gives it something of the carnival.

Perhaps you simply had to be there.

It happened, and that was it.

Who can

remember

who said

what, or

recall

the specifics

the red thread

the concept of friendship

Tonight, our small version of mob-joy

maybe

the language they use

the mode of idle speech.

Let me explain.

this production

Do you still hear me, my voice?

the risk of being nothing.

and it goes on, and is there any tense for that?

coming from other worlds or other planets.

This zone

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happy birthday mom

that’s how i got the weed spots

how to sell your baby

shot the dread in the head

untouchable

took the bread

elmer gantry by sinclair lewis

& the lamb’s bread

(where do we find value)

(something to do with masculinity)

i thought of elena ferrante

(hope this ain’t too much a mansplain man-spread—

that’s how i got the weed spots

i shot dread in the head

took the bread and the lamb’s bread …)

let me take you down the corridors of my life

From your review it seems to me the author is a bit of a popinjay.

When my daughters moved to Toronto, where their father had lived and worked for years, I was embarrassed and amazed to discover that I wasn’t upset; rather, I felt light, as if only then had I definitively brought them into the world. For the first time in almost twenty-five years I was not aware of the anxiety of having to take care of them. The house was neat, as if no one lived there, I no longer had the constant bother of shopping and doing the laundry.

kind of urgency that is difficult to fake, and that’s what

she finds around her.

between matter-of-factness and metaphor

between hyperrealism and hallucinatory distortion – O

ish: My Brilliant Frien

i slay from far away

everybody hit the d. e. c. k.

my slow flow’s remarkable

phenomenological

list of extinct birds:

(my slow flow is quite remarkable)

passenger pigeon

carolina parakeet

bachman’s warbler

great auk

great auk

great auk

occasionally “dissolving at her margins”. To be

Our relationship to her is like that

absence we are permitted to focus on

the unfathomable effacement of self

Seen in reality they may be hard to recognize; they are disappointing, they might even seem fake. We tried the sea

How do you begin a new work?

I can’t say precisely. I don’t think anyone really knows how a story takes shape.

“frag

ember a street corner but you can’t remember where it is? That kind of thing. My mother

rattle around

And The Days of Abandonment?

FE

birth certificate is even more vague. Fo

ind a woman

me unspeakable—the humiliation of abandonment. But

I was a girl.

putting into words the truth of a gest

What is the word, what is the rhythm

These events truly happen

its needs.

midstream. To be

Years,” who, about to

to have written.”

◊

that’s how i got my weed spots

say, Here’s how I have to write.

stare at the empty frame

the very bottom of the well.

shot the dread in the head

another publishable text.

guilty, The Lost Daughter, I pushed the prota

took the bread

—can I call it that?—

ost of my narrator

& the lamb’s bread

as a daughter and as a mother and as the friend of another woman. Above all, she

attached to.

lieve in that transitory calm.

nation of tranquil narr

opposite, the antinovel.

INTERVIEWER

this or that field

reasons for staying in the shadows

media. This demand for self-promotion dimini

talking about a manufactured ima

ays of Abandonment, it seeme

What do you mean?

FE

ably, outside the text—so

this anonymity turns into part of the story or the verse, part of the fiction.

hat while the media might try to fill up the empty spa

I also mean that

distinguish me from the narrator narrating

that’s how i got my weed spots

consciously adds herself to the story, exerting herself to be tru

festival

I have a small private gallery

my carnival

I think about it, ­including a lack of boundaries.

the story depends

i shot the dread in the head

i hope you’re listening

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I

we all know the dream

you’re out running

machine for the continuous production of discursive and aesthetic redundancy

gadgets and clothing

outdate the previous

strategy, concept, or notion ha

field of its own

whistles, choirs, and rattling keys.

the repeated waves o

metaphor of the dinosaurs

big, clumsy, and old

cultural shopping malls,

toolboxes, all the texts written

I'm not available to drive tomorrow. Busy.

slow, it is everything but contemporary;

rom the theatre

tools and strategies for the production of expanded

those who are not-us, not-here, and not-now.

II

the trees

of the east

the moon

the 7th art

on the one hand

heartbeat, blood stream,

ringing ears

the little stream was full of stars

this electric some body

casual source

neuro plasticity

there’s a field

i’ll meet you there

hey hey

ways to listen

compose & perform

rendering is a process

tonal reproduction

sensorial simulation

made possible

by technical manipulation

bring me the moon

this room tone for instance

exactly this distance

all sorts of silences

in my eyes

possible imprint

forgiveness is the firewall

listening to bach @ quarter speed

what is the sound

what is the sound of almost nothing

feel silent

low frequency hums

strengthen the narrative

sound designer, leslie

non-edited excerpts

sliding in & out

look at the moon

the pictures

these memories

adrift

a fuller understanding

inside

this skin

my people

my people

my people

in the yellow haze of the sun

III

more than we realise

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I I I I

I’d say, yeah, I am.

I had the actual copy

I use “I,” I am and I am not that “I.”

I’m an actress and that’s the role I’m taking on.

I was interested in was what happens when you just copy something, without any reason—

I frame my work way after I write it.

I write all of these texts?”

I had all these pieces and I thought about how they fit together. I realized

I take materials and only at the end do I find out what’s going on in my writing.

I think it was in my mind to do a traditional narrative.

I thought it was kind of sweet at the time, but of course it’s not.

I was searching for my own medium. The middle section

I was really writing out of a kind of “third mind,” through B

I became politicized.

I came out of a poetry world.

I mean the reader

I was connected

I was also looking

I love to read

I worked in a sex show for money

I just needed money.

I had gotten out of university and I had nowhere to go.

I really showed anyone

I used a lot of autobiographical material

I put autobiographical material next to material that couldn’t be autobiographical.

I lost interest in the problem of identity.

I became interested in plagiarism, working with other texts.

I Dreamt I Was a Nymphomaniac

I suddenly realized that I wasn’t even thinking about how language works.

I began to explore language, how language works within the parameters of a particular problem.

I began to work with memory and with repetition.

I reread Borges

I did, of course I did it,

I felt very isolated

I could never talk about my work until the punk movement came along

I don’t know for what reason or what magic thing happened

I didn’t want to use the word “semiotics” because

I knew nothing about Foucault and Baudrillard.

I went over to France,

I did use a number of other texts to write it,

I wanted to take the patriarchy and kill the father on every level.

I did that partially by finding out what was taboo and rendering it in words.

I went through every taboo,

I couldn’t get there.

I wanted to get there but I couldn’t.

I’m looking for a myth.

I’m looking for it where no one else is looking.

(I don’t know if it’s so much true here),

I was going to ask you about, tattooing.

I write I masturbate.” Er

I don’t mean pornographic,

I have that feeling about the whole spectrum of what’s going on in America, from malls to religion, it’s very sick.

I was sort of an adjunct to the art world.

I really wanted to get out of New York. I’m forty now.

I was thirty-seven when I got out of New York.

I was feeling that my life was never going to change.

I like is the middle ground.

I didn’t see it possible to maintain that middle ground.

I don’t mind that.

“I used to be in a bad nuclear marriage and now I’m a happy lesbian.”

I understand.

I’m more interested in the European novel now.

I was setting up the text so that all the connections were based on nominalism.

I think it’s probably unreadable,

I wanted to fashion a book out of different ways of ordering that weren’t causal.

I was fascinated with why the media

I always wanted to write a crummy crime book.

I was six years old

I wanted a non-political way of solving it.

I played with language

I was interested

I got into solving

I became more and more involved

I don’t imagine an ideal reader.

I write for myself and maybe my friends

I give readings more and more,

I try and see whether the audience is bored.

I’m aware of an audience.

I still think there’s an element of it here.

I think that sometimes the word “experimental”

I want to say “fuck, shit, prick.”

“I hate you.”

I hate the word “experimental.”

I’ll use the word “experimentalism,”

I appeared on a radio program,

I was interviewed on radio by an upper-middle-class woman

I said, ” I’ve been very poor. ”

I play for them.

I wanted to remember

I was talking about to you before.

[the3rdreminder]

The more we lard reality with our representations

cultivate congratulatory myths

bal possessing practices inoculat

rough. Or at least worth suspicion.

You are almost certainly deluded in some respect. What foll

it really could be the case

mantling it accordi

airly every child i

ore generall

Everywhere you go you stumble across premeditated visual obstructions, or the famous,

‘CAST MEMBERS ONLY.’ Everywhere yo

good enough, given various tech

staging sufficiency

long as the trick man

money making machine. For parents of limited mean

genuinely prefer low-dimensional distortions of reality over reality

come flesh and blood, where high dime

ken with a phoney Tinkerbel

aordinary game of make-believe wit

ur children.

the stage is itself

We watched a cartoon C

big ass tree above (we laughed and scream

We were skunked twice. The list goes on and o

ll such high altitude interpreta

stems involved are far, far,

cealing their cartoonishness.

simplified version.

By this, I mean

As a writer,

In this way

s anarchist all the way dow

let me now get to the sub

we see that instead

ings “fell into the abyss o

on, of the word as mean, of

abyss of pratt

llicit forms of rul

look the other way.9 Thus, in our struggles

all strikes are the same. H

pure means.” B

e writes:

just a few for the sake of time. One technique that

failure of that fetish to be true is legible. Thus,

awkward writing, the costumes, lines of dialogue, sometime

ming “a wild word,” Chest

montage. I needn’t say anything. Merely show. I shall purl

radically unavaila

ssert our own form

aint, at some point in the ess

“pure means,” with an alter

art.”27 This is a good summation of what

hism, I want to especially highlight the way they work together. B

degree to which

m.” This is a model

covers all the bases,

we lard real

NOTES 1. Walter Benjamin, “On Language as Such and the Language of Man,” in Walter Benjamin: Selected Writings Vol. 1, 1913- 1926, eds. Marcus Bullock, Michael W. Jennings, (Cambridge, MA Harvard University Press, 1996, 69. 2. Ibid., 70. 3. Ibid., 72. 4. Ibid., 72. 5. Walter Benjamin, “Critique of Violence” in Walter Benjamin: Selected Writings Vol. 1, 1913-1926, eds. Marcus Bullock, Michael W. Jennings, Cambridge, MA: Harvard University Press, 1996, 248. 6. Ibid., 250. 7. Ibid., 250. 8. Ibid., 250. 9. Walter Benjamin, “Zur Kritik der Gewalt” in Gesammelte Schriften Band II.1, Frankfort: Surkamp Verlag, 1980, 201. I am grateful to Marc de Wilde for pointing this out to me. 10. “Critique of Violence,” 245. 11. Ibid., 246. 12. In stating that the general strike is non-violent, Benjamin probably is not excluding the possibility of some acts of what we would ordinarily in English call violence. But each such act of such violence would be on the doer; it could not be explained or rationalized by an appeal to justice or truth. It would be an individual decision for which the individual would bear full responsibility. 13. “Critique of Violence,” 246. 14. Ibid., 247. 15. Ibid., 247. 16. Walter Benjamin, “The Right to Use Force” in Walter Benjamin: Selected Writings Vol. 1, 1913-1926, eds. Marcus Bullock, Michael W. Jennings, Cambridge, MA: Harvard University Press,1996, 233. 17. Ibid., 234. 18. Walter Benjamin, “The Author as Producer,” in Walter Benjamin: Selected Writings, Vol. 2: 1927-1934, eds. Howard Eiland, Michael W. Jennings, Cambridge, MA: Harvard University Press, 1999, 777. 19. Ibid., 772. 20. Walter Benjamin, Origin of German Tragic Drama, Verso: New York, 1998, 207. 21. Ibid., 208. 22. Arcades Project, 233. 23. Arcades Project, 460. 24. Ibid., p. 237. 25. “The Work of Art,” 262. 26. Ibid., 262. 27. Ibid., 252. 28. Quoted in Leora Batnitzky, Idolatry and Representation: The Philosophy of Franz Rosenzweig Reconsidered, Princeton, NJ: Princeton University Press, 2000, 225

[the3rdreminder]

been the complex tango of vi

sy youth I was when I first encountered his wo

nowledged the necessity of groundin

self in reali

gages in the language o

powerful objects and space

alls of even attempt

ffering a series of strokes

narrative of semipermanence

stone and greene

who is as vast

machinations

pouring river

a thousand automations.

The hum of the Great Falls, slow

skull.

“here is my life.” It made me think

in many ways shapes

bodies

they flow so seamlessly

Are you a fan

I was able to PLAY IN THE SAND

I Heart that voice

more autobiographical

more concrete.

something of a departure though (

epic in a microcosmic kind of “see the wor

where the earlier books weren’t, so

ver a semi-long period of time. T

res of things and junk

At the time

living on Forsyth and Gran

a certain set of rules)… I’ve talked about this i

darker childhood than some

used to have this very long wa

one side of maybe

but with the friends that have passed through my life over the yea

KEEP IT PERSONAL…..”

And from that point o

what is the matter, my lord ?

between who ?  

early words carved on a board of beech

[the3rdreminder]

ow did it work? What did it mean? And wha

o utterly for granted. Be

her right hand holding an insulated c

te on the dashbo

hood, metaphysical personhood and mor

hood.” For example, in the Un

le, in the Unit

It could be countered

It could be countered

bought, sold or owned.

Since I am

I will leave

since that is

to be

When it comes

This matter is also ti

ile this oversimp

great apes and possibly whales,

things that talk

it might be argue

Here is how

person doing X

dog who has served faithfull

is old age.

llow Me On Twi

e value of an ant’s life

hat this means, I sugges

pportunity to awaken

deepest understanding of subjectivi

title of her new series

an allusion to a well-

verely impaired vision in the othe

currently at work on a boo

hy in the near future.

phy (and that we are both aff

s no need to invoke s

the body as a whole. Three sequenc

well, always effectively distance

one gets distracted

felt through and througho

between seeing and feeling,

ling, about a semantic divid

both verbal and non-verb

new questions that get asked in the fa

made in the past,

ave yet to be aske

can a photograph ever pretend to know any of this? c

fe interacting with people via his tape recorder or camera, but not directly). in one of the be

have nothing to say.

no particular message

rows and rows of hexagons that would make Euclid prou

“see how melancholy expands

how the universe was born

how big infinity really is

& the tell-tale signs of the liar.”

how bees build

mathematically meticulous

hexagons of which

(there)

honeycombs are constructed.

[the3rdreminder]

You’ve said nothing, and I have nothing to add.

ccumulation of experiences that we have fashioned into our own grand, sweeping narrative. We are the event

ur story falls apart. Words run off the page. Paragraphs are cluttered with re

“The odds are good, but the goods are od

he said. “You give a girl a gun the first time and odds are she’ll shoot better than most any guy.” He dropped

unrestrained concupiscence of its inhabitants. When in a Mississippi jungle, you feel

bent into a consumer by TV, molded into a conformist by schools, and made into a loan drone by a hundred other things. I’d been paved

Rivers and lakes pronoun

elves questions like: Who am I? What’s worth fighting for? Who’s lying to us? What’s my purpose? What’s the point of it al

laundry. This made me think that

I knew all about “it would be nice.” I saw it everywhere.

Upgrade Your French: The Ultimate Guid

“forging makes a blacksmith.” If you don’t speak

ee all your feelings culminate in three wants-the want of app

releasing constant. If

Back then I took all bait at all times. So I yelled back. Which means, yes, I really let that asshole get to me. Shortly after

the poetry of such a thing. Po

he pointed o

“consummation,” that dreary yardstick, entail

metimes eighteen. (Sound speed is twenty-four frames per second.) The fil

o speak of it lightly. —Al

bong hits already knows—‘way of life needing change’ or ‘life out of balance’). Stal

half a mind to go home.’ ‘Oh, don’t,’ said the woman. ‘It might not be as bad as

We just want to know what you wear and who your boyfriend is and what you coo

just about anyone can become technical, but not everyone can be creative. A

I will be light years

real films later. Carlos

the range of

that these are just

so Im not e.xpecting amthing. I told him he should just be happy we're here, too. AnMhing else is gra\y.

no vertical tail stabilizer, which is normally needed to control yaw.

THANKS FOR THE MEMORIES At least one

charted using an abaka, an ancient Egyptian grid of forty-nine squares. Also,

twenty-nine miles (forty-seven kilometers) above the lunar surface, over the Sea of Tranquility. I

of a certain level of consciousness.

Consequently, he initially

look back and wonder

his arms outstretched. Near one of his hands, as if he had been reading it, was a pocketbook (what today would be called a paperback).

Hopi, the descend

mouth to ear over that vast stretch of time,

net among the stars.

“Je tiens l’affaire,” he

sets of ideas

that they themselves so perfectly embodied.

“kind of orchid that grows in northern New England—the pink lady’s-slipper, Cypripedium acaule. It may surprise you that orchids actually appear in these latitudes, but they do. And the pink lady’s-slipper, as it happens, is one of the more common members of the orchid family to appear in New Hampshire, Vermont and Maine, so that you often discover it in open pine woods, or on the east-facing slopes of riverbanks. It blooms in June when the plant’s delicate throat swells and turns pink. Sometimes the orchid is white, but then you’ll go back the following June and discover that it has bloomed a deep shade of pink, as if it had suffered a wound in your absence. People who love the sight of these orchids know that regardless of how plentiful they seem, you must not pick them. Nor should you transplant them, as they seldom survive a change of habitat for longer than a few years. In fact, most people who know where you can find such a lovely, fragile flower will not tell you the location, because they are afraid you will go there, and in your affection and delight, will pick the beautiful pink lady’s-slipper or will try to transplant it nearer your home.

==========“

that’s the way most stories get told when they’re told in person. First the teller sets out

‘Nowadays’ is differentiated

moments of great elation, as when

drop some ‘quiet cash’ – no nickels or dimes – in my mom’s purse

told the way it’s told.

[the3rdreminder]

y our incapability to decolonize our mind

s a stop-start sort of affa

ange goes whizzin

ringing up the rear. It’s someti

tical conditions of colonialism; So

on. So too with female progress, it app

nner woman. If somet

mmed in wit

rash can of histor

ll, let’s just say it’s “compl

ultural constru

omen are often stereoty

cture emergi

women on the side of the cool and leve

rd to be a man these da

umbered by guilt, repro

harder. A plate of meatloaf, La

den age is lo

represent,

The Production of Space. Even the mo

arn to be alone and try to spend as much time as possible by themselves. I think on

,” a field

[the3rdreminder]

I see you: you’re standing in a corner of the theatre.

lost it somewhere in a crush of peop

here isn’t any need to go that far for it

hat poetry is all abo

that’s what 

hat’s what poe

bird landed in the roses & bro

once we cou

earn something fro

these birds

but t

Oh you pi

tar fell in the c

ow it spins aroun

let’s go & win

ll those st

enever somebo

o fly in clo

ole women back  in Bu

ere in the air

et mirr

ttled in a box

ssed the letter to my hea

7

In the cal

oh all yo

xteen year old bo

ands & leg

ould cha

ss a word a s

uld dissi

ndelion

te & van

ll of the sea

A summ

iolets & firewo

gary guita

odeon plunks on

ark complet

ll (oh yes) to be a fa

dy muse

ll of love & the fou

rners

  O

Poudre Inconn

lmond tre

llage with wo

aption

ffee house?

te flo

rrace across

ttle glove all re

ap of Ocea

nning along a lin

izzes

crobati

ese eyes

onbon

ames expre

terlaced with pi

est of all 

ttle vermi

ast asl

VENT

cret sig

ave been a ME

ly it was a c

ere a burnt-out bul

til an absolutel

th her fa

ly was a c

ember the moon any mor

ly it didn’t shi

he new moon

ur real heroes

relentlessly they call you o

ll plays gam

reams HELLO!

ceiver dow

ou on hol

LOBE - trott

ll realitie

17 poem

rent too fro

inking hard & lo

ART OF THE MUS

orma hymn

rom a longer selecti

[the3rdreminder]

‘Be happy, for exampl

(Since how could I speak without the word lying for me? How could I speak except timidly like this: life is just for me. Life is just for me, and I don’t understand what I say. And so I love it.”

“What wears me out”, the author complains, “is that she’s impossible to domesticate” as, in a final twist, it turns out that

s quite frank about her writing methods. “I write”, she says, “in a state of drowsiness . . . . The next day I don’t recog)

text that resonates endlessly, with no limit to the possible ram

What wears me out”, the au

attempt, he says, “to save someone’s life”. Inev

unafraid “to err in the use of wo

riter, the one in control as she ex

la”, a character h

and I won’t spoil their sales pitch

ture”, and I won’t spoil their sales pitch by reveal

these dialogues shapes 

scribed by the publi

“The renewedly origina

ems to be echoed here: J

ken some la

o means o

owing wha

aw that we obeye

ough I was unawa

hat the irreducible is. But

so knew that igno

e irreducibl

ould no longer excu

fringed, and nobo

laiming not to know it. Wo

ach and I we

aced with a law we ha

elves were the ignored la

al seem

ms to be echoed here: J

ware that he has broke

assage conti

sin is this:

ore, and if

eems mer

eliberate

ohere

oil their sales pit

rtial, if mystica

cal luci

umph over the dera

ought on by t

ost intere

reath of Lif

st nove

shed in Eng

tabli

rr in the use o

otypes are o

eated by Li

spires to be an au

and embra

clared about her, and third

s ruefull

trol as she expo

now how

out her writ

rite”, she says, “in a stat

owsi

sonates endles

wist, it turn

tten before”, says Co

riture féminine” with her assa

vering at the edge of wha

o sense at al

art Jewi

scurely but raptur

rously cabalis

an stand for each of them:

“The world independ

rust I had reache

atever it is I am saying, nev

er! nev

ain shall I unders

hing I say. Since

ow could I speak withou

out the word lying fo

ould I speak except timi

: life is just for me. Life is just for me, and I don’t underst

o I love i

[the3rdreminder]

&

sometimes you get

  sometimes you get got

  i can take the hut set anywhere

  drunk with a gun

  furthechrissakes a girl's gotta draw the line somewhere

  notes from 'call me burroughs' (I & II) 297 pages in

girl with the orange lips

me & you mr

all-y all-y in come free

  yeah i read for a living / last chance to see / standing right there where you are now

  poet as crystal blue persuasion radio set

  honky sheepfuckers

  better get ready

[the3rdreminder]

1/7

SC/LW—Cell Ser.