The Commons 2 (concluded)

we are geometric problems
in the slots of loveliness
magnetic cores, for example
there goes Thatcher again
inside what I was
ancient & elementary
slaughter the fascist BNP
I know, its obvious
to live in it like a language
that whistling, the law
in the privacy of our
threshold values, this serenity
- you know -
inside the hysteresis loop


"you have now reached
to put into practice
the knowledge you
you have acquired ghosts
in short, are ready
work / crime / magic
secret history number
the properties of ideas
put into ourselves
sorry, local residents
this is how you talk
the body’s acoustics
structurally / tearing
your playhouse down"

The Commons 2 // 40 - 41

nobody knows who I am
my combustion narrative
your meta-knives, clicking
- an alphabet of taxes -
- speaking in runes -
- local residents -
- burnt gust globes -
meanwhile, back in poetry
I have eaten the rooms
the housing cluster
voices clicking inside you
the cracks that you ordered
cobalt / iridium / plutonium
iridium / radium / americium


hello, you are the decibel
what’s speaking, right,
to our ring of ‘curses’
sorry, I meant ‘persons’
the jerking provincial street
roaring in our darkness
we dogs / listen
sign em, they are distressing
this speaking, for example
the word ‘waterboard’
some kind of sincerity?
a tone control, closing?
“not a soul would look up
not a soul would look down”

The Commons 2 // 37-39

there is no one way
to pay it back
i.e. the ‘rich’
that union of familiar
finitely familiar crackles:
the planet crumbles
inside them
the structure of torture
the purpose of
torture is
to enter the language
a provincial street
a biological decision
the enemy citadel


or perhaps just exchange
words / ‘why’, ‘ok’,
say the word ‘number’
ha / say ‘why’
the word ‘interrogate’
the word ‘disrupt’
sounds like
'here’s a pill for your'
-rogues & bandits-
but obviously, what we
-night / animals / work-
-police / crime / magic-
but obviously, what we
in the privacy of our


in the privacy of our
careers / we are eating
zombies, livid ones
oh I don’t wanna
oh I don’t / 'friends'
but, 'haunting europe'
- music / movies / games -
bright magnetic streets
our ancestors are
like safe now.
ok, forget that
o burnt frequency
the dead, so brightly
digging up the dead

The Commons 2 // 35 - 36

it may be distressing
this learning / but may
but can I assure you
we have taken steps
that some laws are disks
are written / on the face
of the dead / inside
echoes / or fraudsters
bright magnetic residents
your personal details
written in red / but may
that we have identified
you are crows, curses
yours sincerely, your


listen / recent research
your city is quite simply
incomprehensibly glittering
-we know its distressing -
- all / fun / people -
due to the nature of
- a thermal pulse -
incomprehensibly / hey,
did you bring me the silver?
did you bring me the gold?
- sorry, we meant to say -
recent research suggests
- a burning ring of -
respectfully, a gallows pole

Communique 158

some advice for the incoming poet laureate
---------
meanings swarm into the forbidden language // ie latent content // to discover previously hidden zones of mind & reality // hahaha // official assertions that meaningful dissent is always welcome, provided it falls within the bounds of legality, are frequently a smokescreen obscuring the invitation to aquiese in oppression // but poetry exists when there is a short circuit between the image it proposes and the one humanity makes of the world and itself // and the poet is of no more use than what is rather quaintly called a RAGAMUFFIN // and the ultimate destiny of poetry is to multiply itself, dialectically, into the bare force of a crowd // but this is a nation which is at war. a nation which is fighting an unjust and a dirty war. you can't slaughter the citizens of Afghanistan without it reflecting itself in some aspect of your cultural experience // and mainstream poetry is a minor component of the state's coercive apparatus // not that anybody is listening anyway // but poets who collaborate with the government should be shot // ie with fear and hecatombs of broken hearts // ie there's something running across the red road now. their voices are silent, but the chains are clicking // from their loud abysses, through a city and a solitude . . . .
----------
stolen, in some cases slightly detourned, from Frantz Fanon, Rene Menil, Angela Davis, Archie Shepp, Ed Dorn, Voltairine de Cleyre, Shelley

The Commons 2 // 33-34

would rather be the devil
a complex organized fact:
customer reference 74074
or moodchanges, e.g. itching
e.g. a boiling gulf, referenced
page 76, slightly torn
would rather, you know
in the year 1525, strangling
coruscating wind of circles
here are your reasons
is a calendar, iatrogenic
or open to attack, yes,
on every level, your call
is important to us, mendicant

page 76? oh please,
I would rather be
you know, moulded
May 68, that crackle
behind police lines
I would rather be
in 1945, you know
what was happened
or my 76 shadows
bursting, most people
have no problems,
excoriated each month
my adviser tells me
what laws are

The Commons 2 // 32

the secondary dole office
situ 656A Forest Road
(E17) / is the planet’s rim
quite obviously, its
opprobrious contempt & fire
barely conceals / a false wall
to rack the noises, a
presumably rich city, a
WAKE UP / you are here
informed, via 2 or 3 nights
of sincere sleep deprivation
& bitter funds / the poem
is merely an arrest warrant
‘A’ is not equal to ‘A’