tonytobecasual:

Book of The Death of Arthur | 1

tonytobecasual:

Book of The Death of Arthur | 1


tonytobecasual:

Book of Galahad | 7

This one kind of terrifies me—Julia said she didn’t realize what she was doing, but I think the storm was on her mind. (A house in a tree with some kind of throat/cyclone etc.)

tonytobecasual:

Book of Galahad | 7

This one kind of terrifies me—Julia said she didn’t realize what she was doing, but I think the storm was on her mind. (A house in a tree with some kind of throat/cyclone etc.)


tonytobecasual:

Book of Galahad | 6

tonytobecasual:

Book of Galahad | 6


Duncan’s inscription to his aunt in the copy of THE OPENING OF THE FIELD Julia bought me a few years ago.


changedfool:

singing to the wolf

a draft for Virginity

Spencer Dobbs sings to the wolf. Real shit happens in Austin.



tonytobecasual:

Book of Galahad | 5

tonytobecasual:

Book of Galahad | 5


tonytobecasual:

Book of Galahad | 4

tonytobecasual:

Book of Galahad | 4


tonytobecasual:

Book of Galahad | 2

tonytobecasual:

Book of Galahad | 2




To devastate conventional, standard canonical, representation. Because the poem is the moment of a listening. And the sign is only given to sight. It is deaf and it deafens. Only the poem can voice us, move us from voice to voice, make a listening of us, give us all language as listening. And the continuity of this listening includes, imposes a continuity among the subjects that we are, the language that we’re becoming and the active ethic that is this listening, from which a politics comes. A politics of thinking. The Rhythm Party.
Henri Meschonnic, “A Rhythm Party Manifesto” (trans by Avra Spector & Lisa Robertson)

tonytobecasual:

Book of Merlin | 4

tonytobecasual:

Book of Merlin | 4


Stacy Doris, from FLEDGE

Stacy Doris, from FLEDGE


tonytobecasual:

Book of Merlin | 3

tonytobecasual:

Book of Merlin | 3