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The impasse, meanwhile, that is both language’s creative condition and its problem can be described as the disjuncture between words and meaning, but at a particularly material level, one at which the writer is faced with the necessity of making formal decisions—devising an appropriate structure for the work, anticipating the constraints it will put into play, etc.—in the context of the ever-regenerating plenitude of language’s resources, in their infinite combinations. Writing’s forms are not merely shapes but forces; formal questions are about dynamics—they ask how, where, and why the writing moves, what are the types, directions, number, and velocities of a work’s motion.
from The Rejection of Closure by Lyn Hejinian
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"I want blood, guts, and chocolate cake / I want to be a real fake"
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This is the sea, then, this great abeyance.
How the sun’s poultice draws on my inflammation.
Electrifyingly-coloured sherberts, scooped from the freeze
By pale girls, travel the air in scorched hands.
Why is it so quiet, what are they hiding?
I have two legs, and I move smilingly.
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