Poetry. From the introduction: "All of my work with sentences is A) a very recent, conscious commitment on my part and B) identity collage as an activist form of queer mysticism. I need my sentences to move in the same ways that a secret circadian rhythm might. The cave is erogenous-endogenous, inborn pleasure in porous processes of blossom. When I go to the opera or the orchestra and I hear (feel) movements in time and pitch that truly do touch me, I feel like that is a gift specifically for me. This is the magic of touch. ...
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Poetry. From the introduction: "All of my work with sentences is A) a very recent, conscious commitment on my part and B) identity collage as an activist form of queer mysticism. I need my sentences to move in the same ways that a secret circadian rhythm might. The cave is erogenous-endogenous, inborn pleasure in porous processes of blossom. When I go to the opera or the orchestra and I hear (feel) movements in time and pitch that truly do touch me, I feel like that is a gift specifically for me. This is the magic of touch. I want that same kind of potential for stimulation to come from my sentences: always resonant, altars as chords, unforeseen experiences of respect and respite by music."
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