An attempt to engineer a song in reverse - from poem, to name, to poem again. The point of reference was originally the third chapter of William Carlos Williams' "Paterson: Book Four." Now, we tend to pick and choose somewhat randomly.
Wednesday, April 03, 2013
A Poem from October 2012
Paterson: Book II, Chapter 1, p. 55
Nóme.
Nóme.
KMC 4/3/13
Tuesday, April 02, 2013
Paterson: Book II, Chapter 1, p. 50-52, 54-55, 58-61
Lovers in the Park
There is no place outside
from which to say
what this is
or what it is not.
There is only it:
warming,
or reminding,
or being,
in its own
degrees.
But somewhere
a dog jumps for a Frisbee--
and forgets:
a fence;
a leash;
a chain.
KMC 4/2/13
Saturday, April 14, 2012
Paterson: Book I, Preface, p. 3

To Make a Start: from Paterson
And just as time begins to pass the rigor
sets in, leaving nothing but stiffened beauty,
a pair of boots, a dog, and a yearning quest
of continuous loss over continual gain. Particulars
ease forward reticently. The hope of the general--
the only genuine hope--continues its rolling.
Furthermore (or perhaps however), these ends are rolling
on progressively as always, falsifying the rigor
of the first and calcifying hope and pain into general
anesthetic. Means shift meaning faithfully toward beauty.
The edges shift, shake, and oscillate the particulars
within, blurring the simple itinerate quest.
Is this the everyday, constant quest
of movement between crowded streets, rolling
forth? Are these them? These the particulars
we wanted when we dragged this dead dog in rigor
up, swabbed the blood from its ears, releasing beauty,
ghostly, from a concrete mutt? Arrived has our general.
It's hard to explain the exquisite truth in general,
but more so when you're an undead retriever mix back from a quest
that included drowning in the grey expansive beauty
of the Atlantic City ocean where the horizon sets to rolling
and lapping at your feet. This grey is a grey of a rigor
so severe that all who see it see only its particulars.
The dog is it. The one with all the particulars.
Her moves are to become our moves, her sounds our general
approach to all and all that will be. Rigor
is her only requirement. We shall leave, naked, on a quest
for it all, but only if all of it begins with rolling
freely out in its own direction and beauty.
The only thing that counts as far as beauty
is concerned is this: divide up the particulars
into categorical desires, then smash them with a rolling
pin. A fine dust will be generated and a general
feeling of peace will wash over you and your quest
will end. Breathe deeply this dust, for it is your rigor.
There is only rolling in this nothing beauty.
There is only rigor in these murky particulars.
There is no general thought in this categorical quest.
Thursday, August 04, 2011
Paterson: Book II, Chapter I, p. 57-58 (II)
Ice on the inside of a window: Alma-Ata
“Госуда́рственная пре́мия СССР!”: Moscow
Ca-ROCK-ithy, C-ROCK-ithy: 4 December, 1930
“Think of them as frescoes in motion!”: to Frida Kahlo
Whisps of chilled air: Alma-Ata
Strike!: Strike
“A film without equal in cinema!”: Joseph Goebbels
One hundred thousand dollars: py6 2,746,800
The numbness of a cheek: Alma-Ata
In the morning, Rising: 11 February 1948
KMC 8/4/11
Paterson: Book II, Chapter I, p. 57-58 (I)
and Tell:
everything is shadows
moving faster
than they should be.)
Paterson: Book II, Chapter I, p. 58
Sunday, July 10, 2011
Paterson: Book II, Chapter I, p. 55
fucking roof rises,
until it quakes
LISTEN--
this,
Jesus Christ,
please take
it;
and keep
Thursday, November 05, 2009
Another Promise of Another Return
In any case, I'm posting today to announce that I (I'm not sure about Conversely) want to get back in the blast poetry saddle. I've been thinking a lot, and maybe it's the sleepless haze I'm constantly in or my perpetual state of intellectual exhaustion, but I think I've got some good ideas again. I'm not going to make any official promises about posting--instead, I'm just going to say that I'm going to do the best I can. I know we have probably lost essentially all of our readership over the past year, so I can say all of these things with the confidence that I'm not going to be offending very many people, at least. I also plan on putting up some of the rough demos from our musical endeavors over the past year or so. Gaston Monescu did some incredible work on these songs, and they deserve (at least) an internet forum. With some luck, I believe Gaston is going to have an opportunity to put together slightly more professional versions of his material in the next few months, so I'll be sure to pass those along as well. As for other materials, poem/lyric changes should be posted soon, and as always, we welcome feedback on any of our archived material (remember: the basis of this project is that none of this material is ever truly 'archived'...it's always 'in process'!).
Oh! One other bit of news: Two of my poems--"The Haitian President to His Women" and its companion poem, "Women to the Haitian President"--were published a few months ago in The Breakwater Review...which of course means that I am now, officially, a published poet. So that's cool, I suppose. I've already dusted off my beret and great God, you should SEE the soul patch I've grown: it's amazing.
So, until the next post, let me say again that I appreciate those of you who have been involved in this project with all my poetic heart (twice the size of a regular heart, btw!). Take care, and we'll get new material up soon.
Also: enjoy those Paterson photos! They're old, but aren't they AWESOME?!?
-T. Az. (or, more humbly, Kenny Camacho)
Tuesday, March 03, 2009
Tuesday, October 21, 2008
Paterson: Book II, Chapter I, p. 52
Imagined Indians / the Ground Spoke
Looking past
suction-cup arrows
and cheap plastic bows,
my brother settles
on a toy wooden
musket and coonskin
cap, hung to the left
of the sale window
in a Blue Ridge
tourist store.
Our parents buy a
second set, and we’re
matched the rest
of the day:
exchanging empty
rifle cracks from behind
the boulders along
the clean hiking paths
to the top of the
mountain.
At the summit,
my brother raises
the butt of his gun
and rams it against
my cheek; his face: red,
angry. Our mother
scolds him, reminds him
we’re brothers; we don’t
fight with each other;
we’re not savages.
In the afternoon,
our father buckles us
both into the back-
seat of our car, and we
close our eyes for the
long, winding drive back
down the Parkway: two
Boones, two Crocketts, foe-
less, now, and silent;
sleeping on and off.
I have a picture
at home: A doe-skinned
Mother, papoosed,
paused mid-stride along
a game trail, bare foot
lifted and waiting
to slip silently
into the oil-painted
underbrush. White streaks
filter down through the trees.
Caps in my pocket,
striped raccoon tail pinched
in the nape of my
neck, I imagine
Indians, smooth, dark,
hatchets in hand, bows
on their backs, quiet –
each frozen in step
as our car turns tightly
around another corner.
10-21-08





