14. DIGRESSION. The strings are some of the propositions so evidently agreeable to it, and so heartlike to its chest that nobody can deny them to be drawn from thence; yet also Performance Writing; the Mouthy & InkyExistence of a Poem; its Defamiliarisations; the Life of its Author; the Thinness of its Membrane; HOWE’S Impasse; Google; Bathos; Posterity; Comedy; Situationism: Er Now What?; Dada: Gub Now What?; and other hairs, are inside it, whose reach, and knottiness, and place, I give my detractors to extract to research; to make spectacle of how little they thwart me; but let school-men pass.
Unfinished sequences. Currently include those about Andrew Duncan's, Emily Critchley's, & Simon Jarvis's things. Caveat on quotations. (1) The Blogger architecture collapses tabs & multiple spaces; it's possible to get around this – (& if you’re nice to him John Sparrow might tell you how?) – but it’s friction, I hardly ever bother with it. Quotations which have lost indents or other formatting are labelled “not sic” unless I’ve forgotten. (2) Stuff filed under 1999 is kinda my personal commonplace book for a POLITIX course, a.k.a. BUCKBUCK Courier Point (Hill House): 799999, so. (3) I often don’t proof what I type / paste in. Gotta dash for snax. Avant garde British poetry.Peter Philpott holds the answers.