"Because I ain't gonna play chords"

.... Because to transform states into moods is already to strike a blow against them, and the question of whether or not the mood itself is justified is kind of beside the point; we are dealing with the construction of a form of language in which the mode of existence of everything that is there is being re-ordered or re-determined----and the corresponding accession of possibility for speech or thought is the thing to be emphasized. The more perishable the moods, the greater the area in which it is possible to move.----Because as states dissolve into moods we feel ourselves to be liberated, we are suddenly able to -move- again, and this has an inevitable knock-on effect on the tone of our language, and through language on life as well. Because the most expressive forms of political certainty (f.e.) themselves tend to come from the repetition of simple musical forms, with tonal or rhythmic motifs as gateways to corresponding emotional states. So that eventually it all starts to fit together----the transitions at the simple level of the intentionality of what is said are existential and not moral transitions, and when I say that after this transition it is possible to say anything I am expressing a truth of feeling and not a moral truth, having to do with the actual overcoming of subjective blocks and inhibitions. The point is to define the approach to language that corresponds to the minimum of unnecessary subjective aversiveness and constraint. This is a practical attempt to counteract some of the objective constraints that turn language into a painful knot of self-clarification, in which subjective energies congeal into personal and political despair (=inertia at a higher level). Everything that is carried out at the level of 'form' or mode is done so in order to establish a terrain on which the poet -feels- powerful and free, in the understanding that this is turn controls the tone of the work being produced, the aim being to establish the foundations for a poetry that runs contrary to the dominant minimalist abstraction (=self system); a system of merely logical extremes (of judgement) that rapidly metamorphose into interiorised rage; a complete breakdown in the capacity to deal with this. And the important thing to remember is that this doesn't have anything to do with -states-, with hope or despair or hopelessness etc., but instead has to do with the relation to the -meaning- of those expressive states and the primacy of whatever procedures or elements of the language prevent us from being locked into them.

... Because what I have realised is that it's only using a style in which the principle of development or progress is a means of perpetual negation or dissolution that it becomes possible to say anything at all; because it's only then that the register of the statement ceases to be determined at the same time as its assertion. I wanted to write a poetry in which even the worst slurs and attacks of rage could appear with an almost tragi-comic fragility, as the most exquisitely delicate lyrical moods, permanently at risk even at the moment of their first onset of dissolving or flowing away, as if all the brutality of our experience and our failures of responsiveness were to appear or reappear inside the thinnest and finest shell of ice, and to disappear alongside of it. Lyric poetry defined as:

'an unbelievable, horrendous existence that purchases the beatifications of grace through a shocking helplessness in absolutely everything that is of use, the happiness of a permanently bleeding wound, for which no medicinal herb on this earth blooms.' (Emil Staiger)

I wanted to take all the worst experiences, the crudest thoughts and to make them as fragile as lyric poems, not because the desire to hurt someone weak is legitimate if it is ephemeral -but because this is a method of reducing the constraints that we feel when we relate to language as a medium-. When we feel no constraints, we feel no desire to lash out. 'Morality' as downstream from compositional orientation and not vice versa.

... to expand the domain of that horrific, unbelievable existence