& enters our LORD OF EAST: QUETZALCOATL
Q tapes a square on stage floor sits crosslegged at center chingazos to floor / four / turn ninety degrees
chingazos to floor / four / turn ninety degrees
chingazos to floor / four / turn ninety degrees
chingazos to floor / four / turn ninety degrees
pauses thirty seconds / staring straight ahead / no blinks at thirty / mouth pops w/o sound eight times / each time successively bigger Q rises / walks off stage /conchudo returns w/ two balls (approx. basketball size) hip bounce hot hoops now get yr Mesomurkan games
& stands w/ pelotas in upturned palms center square Q bounces right huevo sixteen times / eyes remaining concentrated on audience qué chiqueón left hand remains stationary after sixteen bounces / thirty-second pause voice not emitted from Q’s boca: I will not use props / costume or sets / just my body & yr input input yrs & body my just sets or costume props I will I will use props looks at balls sets I will drops balls Q snaps fingers right hand / arm swings in front of body thirty-two times voice not emitted from Q’s boca: a
bailar baile baile baile boy bow bluh blooooo
bhuluhm ppppbbphhsssssh that’s wind sounds that—blooosh
bouncy
happy sounds / elatives / listen every room
elation: brown bottle of sweet stout
swishing back to & fro / ah / shirtless
in sun / what was known / seen / good
what is good
holds up one digit
I will
what is poopsible [sic]
holds up another digit
use props
what is feasible
holds up another digit
my body
I will
recuerdo sí la elación
while saying this / Q pulls up tape square / timed
so as to have removed all tape
at the end of the monologue / & emphasizing
capitalized words w// ahem / elation
in voice
¿asexual?
hardly
was tired of sex tho
tired / so tired altogether & chained to lethargy & bleakness
this bleakness gradually comes to whiteness in his later work / toward geometric purity / dehumanity / scientific objectivity & raw bodies & raw style
surrounded by culture & surrounded by assimilation
no existential retreat
ability to read word as god allows one to interiorize heavens
you’re bealofulla
pit of seamless summer hail now that beaty bodega music I’m a skinny kid in high school & the quarterback gets all the girls / so I thought I’d grow my hair out / see what happened
this guy knew he liked community college fine enough
heard a radical speaker speak of the ideology of the missionary position
put it spatial terms
that made sense now
our sign’s hourly
here’s silent eyes
here sigh & . . . hibernates
loves those saintly gadgets / & they veer often
they pyramid in ringing to closest highways
that’s where night be swinging the wild—is them where
night too here now goes gonging the light[1]—that’s where
Magellan singing sang the ducky nets—daring such fluctuations
to give ye fingers
dew has that / so unendedly goes by gone / & image
dew’s all began—¡& we’re signed so graftly in diner sonnets!
¡so bright! get walled in yr self-fashioned hut
solitary & so to flowerpots that the dew mentioned / England
& Madonna ruined jets follow cana-cans lass / thine hand
am hanged here a rune & do ill stumps—was where done’ll go
cathedral of yr childhood / drawn by some blind man high off his ass
remembers running
into the KIDDIE POOL & my
drawers falling off MY ASS &
some folks laughing
& the old black dodge parked
to the side there in the GRAVEL
DRIVE & I think
there’s the picture of me & I hope to
god there’s a picture of that OLD BLACK
DODGE BECAUSE
that thing had memories of its decay stowed
inside on the bench seat THERE. I remember we
took that monster to
CALIFORNIA ALL SEVEN OF US & I can’t
remember if my abuelo was there but I seem to
remember pointing to
him on the map that we were on Broadway in L.A. but
really that might only have been Broadway in TucK
son / so then I suppose
I remember two things but I remember that truck I
remember all of us piled into the CAMPER on air
mattresses that might
only have been double-sized/ blue if I remember
right / w/ blanket & pillows & plenty of comics &
DORITOS surely there were walkmen as well
I remember HuitzliPocho wdn’t STOP CRYING I OFTEN
TELL PEOPLE THIS IS THE TIME AT WHICH
I DEVELOPED MY FEAR
OF WHALES I told a child I help to read the
other day my fear of whales / but I left
out the drama about
sitting next to the TANK IN THE JUM
PING show & being splashed by
one of the killer beasts
w/ its trainer riding on a saddle slapping
it w/ a whip / GIDDUN UP THEAH
ONT’ TH’ PLATOFORM
CRITTER giddun up theah / my
family of deities sitting but two rows from
this platOform (& they
in full knowledge/ us seated in
the painted seats) & seeing the
animal’s jAWs directly be
fore me/ bits of kibble &
BALL & dUNG stuck up in the
gums OF COURSE I WEPT
ye yalhua
ye huiptla
ica nichoca
ica ninentlamati
of course I wept & then I carried
whales w/ me whenever I closed my eyes in water
even on those burning waters
I feared hyper-correction of annunciation in performance:
action of the body / Quetzalcoatl & the natural breathing to the systole/diastole of the body & the Quetzalcoatl’s extensive focus on the nuances of language to act as if that language were language performed naturally / w/o strain / certain ease seeming natural / not feigned / not learned—quite bluntly—a natural sort of superiority ¿who can perform this? ¿what body? body performing critiques other bodies body performing is left to riff on its own: the performer’s choreographed instructions read: I mean improvise
[1] bright blue beam into his body bent backward awkward fire into his life / visions / visions / visions
Q tapes a square on stage floor sits crosslegged at center chingazos to floor / four / turn ninety degrees
chingazos to floor / four / turn ninety degrees
chingazos to floor / four / turn ninety degrees
chingazos to floor / four / turn ninety degrees
pauses thirty seconds / staring straight ahead / no blinks at thirty / mouth pops w/o sound eight times / each time successively bigger Q rises / walks off stage /conchudo returns w/ two balls (approx. basketball size) hip bounce hot hoops now get yr Mesomurkan games
& stands w/ pelotas in upturned palms center square Q bounces right huevo sixteen times / eyes remaining concentrated on audience qué chiqueón left hand remains stationary after sixteen bounces / thirty-second pause voice not emitted from Q’s boca: I will not use props / costume or sets / just my body & yr input input yrs & body my just sets or costume props I will I will use props looks at balls sets I will drops balls Q snaps fingers right hand / arm swings in front of body thirty-two times voice not emitted from Q’s boca: a
bailar baile baile baile boy bow bluh blooooo
bhuluhm ppppbbphhsssssh that’s wind sounds that—blooosh
bouncy
happy sounds / elatives / listen every room
elation: brown bottle of sweet stout
swishing back to & fro / ah / shirtless
in sun / what was known / seen / good
what is good
holds up one digit
I will
what is poopsible [sic]
holds up another digit
use props
what is feasible
holds up another digit
my body
I will
recuerdo sí la elación
while saying this / Q pulls up tape square / timed
so as to have removed all tape
at the end of the monologue / & emphasizing
capitalized words w// ahem / elation
in voice
¿asexual?
hardly
was tired of sex tho
tired / so tired altogether & chained to lethargy & bleakness
this bleakness gradually comes to whiteness in his later work / toward geometric purity / dehumanity / scientific objectivity & raw bodies & raw style
surrounded by culture & surrounded by assimilation
no existential retreat
ability to read word as god allows one to interiorize heavens
you’re bealofulla
pit of seamless summer hail now that beaty bodega music I’m a skinny kid in high school & the quarterback gets all the girls / so I thought I’d grow my hair out / see what happened
this guy knew he liked community college fine enough
heard a radical speaker speak of the ideology of the missionary position
put it spatial terms
that made sense now
our sign’s hourly
here’s silent eyes
here sigh & . . . hibernates
loves those saintly gadgets / & they veer often
they pyramid in ringing to closest highways
that’s where night be swinging the wild—is them where
night too here now goes gonging the light[1]—that’s where
Magellan singing sang the ducky nets—daring such fluctuations
to give ye fingers
dew has that / so unendedly goes by gone / & image
dew’s all began—¡& we’re signed so graftly in diner sonnets!
¡so bright! get walled in yr self-fashioned hut
solitary & so to flowerpots that the dew mentioned / England
& Madonna ruined jets follow cana-cans lass / thine hand
am hanged here a rune & do ill stumps—was where done’ll go
cathedral of yr childhood / drawn by some blind man high off his ass
remembers running
into the KIDDIE POOL & my
drawers falling off MY ASS &
some folks laughing
& the old black dodge parked
to the side there in the GRAVEL
DRIVE & I think
there’s the picture of me & I hope to
god there’s a picture of that OLD BLACK
DODGE BECAUSE
that thing had memories of its decay stowed
inside on the bench seat THERE. I remember we
took that monster to
CALIFORNIA ALL SEVEN OF US & I can’t
remember if my abuelo was there but I seem to
remember pointing to
him on the map that we were on Broadway in L.A. but
really that might only have been Broadway in TucK
son / so then I suppose
I remember two things but I remember that truck I
remember all of us piled into the CAMPER on air
mattresses that might
only have been double-sized/ blue if I remember
right / w/ blanket & pillows & plenty of comics &
DORITOS surely there were walkmen as well
I remember HuitzliPocho wdn’t STOP CRYING I OFTEN
TELL PEOPLE THIS IS THE TIME AT WHICH
I DEVELOPED MY FEAR
OF WHALES I told a child I help to read the
other day my fear of whales / but I left
out the drama about
sitting next to the TANK IN THE JUM
PING show & being splashed by
one of the killer beasts
w/ its trainer riding on a saddle slapping
it w/ a whip / GIDDUN UP THEAH
ONT’ TH’ PLATOFORM
CRITTER giddun up theah / my
family of deities sitting but two rows from
this platOform (& they
in full knowledge/ us seated in
the painted seats) & seeing the
animal’s jAWs directly be
fore me/ bits of kibble &
BALL & dUNG stuck up in the
gums OF COURSE I WEPT
ye yalhua
ye huiptla
ica nichoca
ica ninentlamati
of course I wept & then I carried
whales w/ me whenever I closed my eyes in water
even on those burning waters
I feared hyper-correction of annunciation in performance:
action of the body / Quetzalcoatl & the natural breathing to the systole/diastole of the body & the Quetzalcoatl’s extensive focus on the nuances of language to act as if that language were language performed naturally / w/o strain / certain ease seeming natural / not feigned / not learned—quite bluntly—a natural sort of superiority ¿who can perform this? ¿what body? body performing critiques other bodies body performing is left to riff on its own: the performer’s choreographed instructions read: I mean improvise
[1] bright blue beam into his body bent backward awkward fire into his life / visions / visions / visions
