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â& that dead horseâ - Leslie Winer |Â http://lesliewiner.com/
#LeslieWiner #©ont.Â
Y.M.F.E.E.S.* LESLIE WINER X JAY GLASS DUBS
â 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 donât matter the pines solid gold soften & be merciful sell the goat it wonât be this way forever things i almost miss ffollow thread caribou what a life iâve 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 â
Y.M.F.E.E.S.* LESLIE WINER x JAY GLASS DUBS NEW VINYL EP JANUARY 2018 on BOKEH VERSIONS
Video: punk-
LESLIEWINER.COM
Demo of âRoundUp Readyâ by LWw/CVHÂ
Video by Sebastien Chou, 2015
I have an errand imminent
To an adjoining Zone â
/ in bits.â And in the other two instances:
another dreary Massachusetts town, Graft
âI could never be a boy.â But the lines âpound
And further along, we read:
Who underbid me?
just beyond the next turn.
disappeared from the radar.â That state of aff
âcontradictory realâ
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
happy birthday mom
thatâs 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 lambâs bread
(where do we find value)
(something to do with masculinity)
i thought of elena ferrante
(hope this ainât too much a mansplain man-spreadâ
thatâs how i got the weed spots
i shot dread in the head
took the bread and the lambâs bread âŠ)
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 wasnât 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 thatâs what
she finds around her.
between matter-of-factness and metaphor
between hyperrealism and hallucinatory distortion â O
ish: My Brilliant Frien
i slay from far away
everybody hit the d. e. c. k.
my slow flowâs remarkable
phenomenological
list of extinct birds:
(my slow flow is quite remarkable)
passenger pigeon
carolina parakeet
bachmanâs warbler
great auk
great auk
great auk
occasionally âdissolving at her marginsâ. 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 canât say precisely. I donât think anyone really knows how a story takes shape.
âfrag
ember a street corner but you canât 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 unspeakableâthe 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,â who, about to
to have written.â
â
thatâs how i got my weed spots
say, Hereâs 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
âcan I call it that?â
ost of my narrator
& the lambâs 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 textâso
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
thatâs 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, Âincluding a lack of boundaries.
the story depends
i shot the dread in the head
i hope youâre listening
I
we all know the dream
youâre 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
thereâs a field
iâll 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
I I I I
Iâd say, yeah, I am.
I had the actual copy
I use âI,â I am and I am not that âI.â
Iâm an actress and thatâs the role Iâm taking on.
I was interested in was what happens when you just copy something, without any reasonâ
I frame my work way after I write it.
I write all of these texts?â
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 whatâs 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 itâs not.
I was searching for my own medium. The middle section
I was really writing out of a kind of âthird mind,â 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 couldnât 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 wasnât 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 donât know for what reason or what magic thing happened
I didnât want to use the word âsemioticsâ 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 couldnât get there.
I wanted to get there but I couldnât.
Iâm looking for a myth.
Iâm looking for it where no one else is looking.
(I donât know if itâs so much true here),
I was going to ask you about, tattooing.
I write I masturbate.â Er
I donât mean pornographic,
I have that feeling about the whole spectrum of whatâs going on in America, from malls to religion, itâs very sick.
I was sort of an adjunct to the art world.
I really wanted to get out of New York. Iâm 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 didnât see it possible to maintain that middle ground.
I donât mind that.
âI used to be in a bad nuclear marriage and now Iâm a happy lesbian.â
I understand.
Iâm more interested in the European novel now.
I was setting up the text so that all the connections were based on nominalism.
I think itâs probably unreadable,
I wanted to fashion a book out of different ways of ordering that werenât 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 donât 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.
Iâm aware of an audience.
I still think thereâs an element of it here.
I think that sometimes the word âexperimentalâ
I want to say âfuck, shit, prick.â
âI hate you.â
I hate the word âexperimental.â
Iâll use the word âexperimentalism,â
I appeared on a radio program,
I was interviewed on radio by an upper-middle-class woman
I said, â Iâve been very poor. â
I play for them.
I wanted to remember
I was talking about to you before.
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,
âCAST MEMBERS ONLY.â 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 âfell 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.â 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 âa wild word,â Chest
montage. I neednât say anything. Merely show. I shall purl
radically unavaila
ssert our own form
aint, at some point in the ess
âpure means,â with an alter
art.â27 This is a good summation of what
hism, I want to especially highlight the way they work together. B
degree to which
m.â This is a model
covers all the bases,
we lard real
NOTES 1. Walter Benjamin, âOn Language as Such and the Language of Man,â 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, âCritique of Violenceâ 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, âZur Kritik der Gewaltâ 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. âCritique of Violence,â 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. âCritique of Violence,â 246. 14. Ibid., 247. 15. Ibid., 247. 16. Walter Benjamin, âThe Right to Use Forceâ 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, âThe Author as Producer,â 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. âThe Work of Art,â 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
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.
âhere is my life.â 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 âsee the wor
where the earlier books werenât, 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)⊠Iâve 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 PERSONALâŠ..â
And from that point o
what is the matter, my lord ?
between who ? Â
early words carved on a board of beech
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.â 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 antâs 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
âsee how melancholy expands
how the universe was born
how big infinity really is
& the tell-tale signs of the liar.â
how bees build
mathematically meticulous
hexagons of which
(there)
honeycombs are constructed.
Youâve 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
âThe odds are good, but the goods are od
he said. âYou give a girl a gun the first time and odds are sheâll shoot better than most any guy.â 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. Iâd been paved
Rivers and lakes pronoun
elves questions like: Who am I? Whatâs worth fighting for? Whoâs lying to us? Whatâs my purpose? Whatâs the point of it al
laundry. This made me think that
I knew all about âit would be nice.â I saw it everywhere.
Upgrade Your French: The Ultimate Guid
âforging makes a blacksmith.â If you donât 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
âconsummation,â that dreary yardstick, entail
metimes eighteen. (Sound speed is twenty-four frames per second.) The fil
o speak of it lightly. âAl
bong hits already knowsââway of life needing changeâ or âlife out of balanceâ). Stal
half a mind to go home.â âOh, donât,â said the woman. âIt 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.
âJe tiens lâaffaire,â he
sets of ideas
that they themselves so perfectly embodied.
âkind of orchid that grows in northern New Englandâthe pink ladyâs-slipper, Cypripedium acaule. It may surprise you that orchids actually appear in these latitudes, but they do. And the pink ladyâs-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 plantâs delicate throat swells and turns pink. Sometimes the orchid is white, but then youâll 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 ladyâs-slipper or will try to transplant it nearer your home.
==========â
thatâs the way most stories get told when theyâre told in person. First the teller sets out
âNowadaysâ is differentiated
moments of great elation, as when
drop some âquiet cashâ â no nickels or dimes â in my momâs purse
told the way itâs told.
y our incapability to decolonize our mind
s a stop-start sort of affa
ange goes whizzin
ringing up the rear. Itâs 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, letâs just say itâs âcompl
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
,â a field
I see you: youâre standing in a corner of the theatre.
lost it somewhere in a crush of peop
here isnât any need to go that far for it
hat poetry is all abo
thatâs whatÂ
hatâs 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
letâs 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 allÂ
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 didnât 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
âBe 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 donât understand what I say. And so I love it.â
âWhat wears me outâ, the author complains, âis that sheâs impossible to domesticateâ as, in a final twist, it turns out that
s quite frank about her writing methods. âI writeâ, she says, âin a state of drowsiness . . . . The next day I donât recog)
text that resonates endlessly, with no limit to the possible ram
What wears me outâ, the au
attempt, he says, âto save someoneâs lifeâ. Inev
unafraid âto err in the use of wo
riter, the one in control as she ex
laâ, a character h
and I wonât spoil their sales pitch
tureâ, and I wonât spoil their sales pitch by reveal
these dialogues shapesÂ
scribed by the publi
âThe 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
riteâ, she says, âin a stat
owsi
sonates endles
wist, it turn
tten beforeâ, says Co
riture fĂ©minineâ 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:
âThe 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 donât underst
o I love i
&
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
1/7
SC/LWâCell Ser.