kari edwards


Notes: poetic sculpture / sculptural poetics

I was taught there are three basic sculpture techniques, subtractive, additive and assemblage. the first two being traditions that date back to some of the earliest known pieces of sculpture. assemblage on the other hand is (somewhat) a twentieth century phenomena, starting early in the century with the cubists, futurists, and dadaists continuing through to the happening and fluxus movement of the later part of the century. even in the virtual world there is text construction with its multiple reading paths to chunked text.

The poetic process is for me a form of sculpture and an act of assemblage. the process begins with the first piece, there could be others pieces that are thematically connected (or not) that follow, but there is always that first piece. the piece could have an intended form (or not), where the form is generated through the process. the content that arises is usually out of some deeper intention that I hold or an intention that is polemic in structure or both. it could be as simple as how does this work? or how can I make this work?


                                    Why did we ever stop?!?

can anyone explain... can anyone com... the other left, then a right down...
-and then or than or when or and or when then or a hand in the


put forth with such voluptuousness, such macabre personages. with corpses we cross like virtual suicide drains in my lover's prefabrication, this cranium with a thousand years now, you exchange the determination of other humans as though we do not engage this repulsive posturing of stimulation, these terminals, these thrills, these 4 o'clock instances of my own disequilibrium. I myself among our disquiet, our eyes our vast appearance of, which is, forced to then as though absolutely the next enclosed supreme certitude, a letter enclosed in a gesture of others enclosed in a not even.....


then kiss abruptly midnight, if the fish feel these terminals, these limbs....help!!! the mystery, right down a thousand years to a would be guillotine with get 2 months *FREE*@ http:/ /.mc=featuressquared/ junkmail, these limbs!!! (feel)




                                        I know the clay


I know the clay, the extreme center, they said the surface. the earth's pressure masses the dirt, the extreme center, they said the bedrock and mass psychosis goes with mass inhabitancies. the earth's pressure east of madness, west of insanity. that's as far as the stories go. lunatics and the tiny little pores, really tiny little pores send vibrations through the center's extreme. they say lump, the one that attacks in an all out declaration of details. really it is the insurgency of details on central residential particles. all talk all bedrock, through the east of truth. an hour in and the largely caught. a surface that works through the clay to the annotation in mass psychosis, a schizophrenic hypothesis. I mean the masses undertake the dirt as madness, the center's extreme beyond extreme. they completely said, "truth be it free unto the dirt, the bedrock through and through lunatics all the time every time.



a table of contents

1.             the winds of war
2..            a dull desire
3.             neither a nor b
4.             pass or fail
4,a.          in or out
5.             that's life
6.             love it or leave it
7.             better off left as is
8.             it will come without warning
9.             first with war
10.           between worlds
11.           from the bottom up
12.           voices against a nation
13.           a vision of neglect
14.           between virtue and vice
15.           unworthily at any time
16.           vague and dizzy
17.           unprotected and unquiet
18.           unreadable and becoming
19.           an instrument of the soul
20.           think with it and use it hard
21.           when treason is no crime
22.           trash a sin or a banner
23.           to thy self be everything
24.           tissues and rocks
25.           a ward eye on spent rocks
26.           redeemed in the silent touch of
27.           thick as a thoroughfare
28.           sublime as a personal transcendence
29.           stained without sleep
30.           stunned in growth
31.           a robber and a chair
32.           straight to hell in a hand basket
33.           whose existences is stupid stuff
33.           rotten to the core
34.           molten lava aftermath
35.           to strive to seek
36.           to remove the straight jacket
37.           steal their will to power
38.           start not at square one
39.           a rapprochement agreement
40.           loose of strata and squares
41.           subtle shades of woodcocks
42.           a train wreck in waiting
43.           zero degrees and temperate zones
44.           thick as thieves
45.           a baker's dozen


kari edwards is a poet, artist and gender activist, winner of New Langton Art's Bay Area Award in literature(2002), author of a day in the life of p., subpress collective (2002), a diary of lies - Belladonna #27 by Balladonna Books (2002), Electric Spandex: anthology of writing the queer text, Pyriform Press (2002), obLiqUE paRt(itON): colLABorationS, xPress(ed) (2002), post/(pink), Scarlet Press (2001), and Iduna, O Books (fall 2003) She is also the poetry editor of I.F.G.E's Transgender - Tapestry: an International Publication on Transgender issues. Her work has been exhibited throughout the United States, including Denver Art Museum, New Orleans Vontemporary Art Museum, University of California-San Diego, and University of Massachusetts - Amherst. Edwards' work can also be found in Blood and Tears: an anthology on Matthew Shepard, Painted leaf Press (2000), Aufgabe, Fracture, Bombay Gin, Belight Fiction, In Posse, Mirage/Period(ical), Van Gogh's Ear, PuppyFlower, Vert, 88: A Journal of Contemporary American Poetry, Shampoo, xStream, Big Bridge, Nerve Lantern, FIR at potz.com, muse-apprentice-guild, Panic, Avoid Strange Men, and The International Journal of Sexuality and Gender Studies.

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