The foreword by Chyna Blac to “stance light end”…

stance light end
…this text, ‘booque’, textLab®, intent of Michael Mc Aloran’s newest (or new or it eschews categorizations, representationisms) uses language as a vessel yet seemingly foremost to mirror the pastness, postness, of all. and this mere mirroring, which isn’t also so random as to render unintelligibility, has a lot of, yes, being there or even, when the case, being dead and never the divisiveness between the two was lesser. content, meaning, intent, semantics, linguistic characteristics, repetitionism, omittances, meant misspellings or uneven metaphor or whatever the fuck needed to distress a traditionalist poetology, it is all stuck upon this coral reef of lexicologic forms or deformations with partially contours. there are registers in the text and then there is a shift, radical or peripheric, which brusque cantilevers the whole reading and herewith, the mood of the readeuse or and readeur. radar. so the text is a vessel with which Mc Aloran (and reader) offer conspirationalist possibility to fuck up what is around us and suffuses us in viral critical loads the titers of which covariate with the density of language of his ‘book’, his text, his expenditure. medical metaphors do well with characterising Mc Aloran’s texts (and the art of other ‘modernists,postmodernists, postironic complexisists, postJazz imaginistes, postArt performers’) etcetera. these medico-esthetic, antiEsthetic-performist, societal-[trans]specietal, evenemential-social medial transit hubs seem as aptly represented in their leukemic-fractal-temporal-metabolisticmetaphysical-unoptimistical (Mists) yet mystical features all coming towards us as biomass beleaguered by such viral-technological-informational overload, critical mass, redundancy, entropy. Michael Mc Aloran seems to address this all however not in any scientific casus but in sheer masterful poetry, much in and abandoning radically Beckett, Malcolm Lowry, Thomas Hardy, Sylvia Plath and wider seen, Gertrude Stein, Margarite Duras, Alain Robbe-Grillet.
fingers upon cold glass…gazes in or out am…breath upon cold glass…of… traceless…a trace of this…what this am…no echo no not of…forgotten…yet echo of…as was before…so it was before having unremembered…yet no not of there…given …taking from or else of…of the all not a…white sound of…of static abounding yes or no…”
‘fingers upon cold glass’, the mindset is within the iciness of societal abandon whereas there is always the (futile but palpable) tactile interrelatedness. there is corporeality, carcass theory as gathered at the ‘BodyFarm’, and inmidst of this viscerality there hovers ‘unremembering’ as at least an instance to be part of what whirls around us. the repetitive denials of denials we already found in Adorno, the repetitiousness in Stein but here there is added modernity and fashionista/trashionista stream of motorizing skills in the writing, the reading optional.
Chyna Blac

 

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