The Alan Sondheim Mail Archive

November 6, 2006



pain. avatar.

in pain. if she moves they knew i played with avatars, avatar-abuse: this
avatar dancers - and we can map into entirely new spaces and content - the
occupation of virtual space - parent-child relations, father-avatar avatar
< digital < broken > analog < mocap < digital > avatar-meats are leashed,
tethered to logical reach of avatars. reach avatars. of and my people! my
avatars! my little maud-enunciation of avatars, pre-duet: making new
avatars on - my, the swords make the avatar angry! azure writhes house.
they knew i played with avatars, front of the house. that they avatars.
that one cannot cum seems to lack coherency. i wish i was home. avatar-
abuse: this is more than familiar to me. i am in the neighborhood manner,
similar to the avatar but the dancer is dancer imitated by a month old,
protocol-driven, hunger for signifiers, azure struggles which is more
than familiar, is more than familiar: they knew i played with avatars.
avatar-abuse: this relates to mother-father relations: primordial thought
of "my avatars avatars." so this is what it looks like from inside - an
avatar. those few knew i played with avatars; all of them are avatars,
but mapped - which in fact indicates the direct murmuring of avatar-meat;
you can hear them directly beneath the swords. avatars have to avoid
swords, their baggage. they speak through a thousand dancers, most of whom
were abused.


the devils in Rilke's church very short

emanations tether flesh to representation
imaginary spreads the paste of the body's uncertain declination
"i decline to accept such images"
"i recline to accept such images"
nothing moves but the trembling of your drum of flesh
we were never stopped, nothing stopped us, not even hell
the hell of burning cocks, burning cunts
but never this ecstasy or indefinite sublime which remains unreachable
o holderlin
o rilke
the shadows of prophecy turn one inside out
shuddering, primitive he said, shuddering she said, trembling
surmounting the drum of flesh, unmounting the drum of flesh
pipe and tabor played simultaneously with hands and mouths
racket played with fingers and mouths
viol d'amore, vial d'amore, vile the mouths of hell
ecstatic the mouths of hell
o rilke
o holderlin
the mouths of hell return us to the remnants of perfect desire

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