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6.3 Subterfuge INDEX John Berndt p. 2 Editorial p. 3 Philippe Sollers p. 4 John Stickney p. 5 Kathy Acker p. 6 Western Cell Division p. 10 Frank Moorehouse p. 11 Pierre Joris p. 15 Jake Berry p. 18 Ronald Sukenick p. 19 Ann Noel p. 21 Dennis Oppenheim p. 22 George Bowering p. 23 Michael Heckert p. 24 Sheila Davies p. 25 Balint Szombathy p. 29 Harry Polkinhorn p. 30 Richard Martel p. 32 Joanna Gunderson p. 36 Dennis Cooley p. 39 Alain-Martin Richard p. 40 William A. Reid p. 44 Stan Rogal p. 46 W. Pope L. p. 47 Annette Mangaard p. 48 Karen Maccormack p. 49 James Sallis p. 50 R. Bartkowech p. 51 Misha p. 52 Dominique Robert p. 52 Fortner Anderson p. 53 Lisa Teasley p. 53 Richard Gessner p. 54 Ken Gangemi p. 54 Thomas Baer p. 55 . Mark Leyner p. 57 Marina LaPalma p. 58 D.G. Tenenbaum p. 59 Louis Lapointe p. 60 bill bissett p. 62 Geza Pemeczky p. 62 Guy R. Beining p. 63 Gil Aufray p. 64 Waldemar B. Schwauss p. 65 Robert Morgan p. 67 Opal L. Nations p. 68 Ralph La Charity p. 68 Derek Pell p. 69 Christof Migone p. 70 Heidi Arnold p. 70 E.J. Cullen p. 71 Saul Yurkievich p. 72 LeRoy Gorman p. 73 Miekal And p. 73 John Oughton p. 75 Rich Gold p. 76 Andrea O'Reilly p. 79 Paul Dutton p. 83 Jim Francis p. 84 Publications Received p. 86 Contributors' Notes p. 88 1 - ~ I, ,.. ~ . ti ' . .., , s . EDITORIAL Reality is constituted where two discourses / two codes inter-sect. La The utter ance, monologic/hetero-glossic, the inter-polation of realite the reader, the reader generates meaning, the disjunction of se the text, a necessary feature, an explosion of meaning, the constitue poly-semous ra ther than a def-initive meaning through la ou deux .,. ' the fixed text. The open subterfuge of the textual or discours / deux art-istic ex-pression, a response to a fragmen-ted codes s'entrecroisent. world-view, the blur be- tween lies and truth, L'enonciation, propre back-bench bargains, the War Measures act, au monologue/ hetero-glosse, lobby groups, corporate conspiracies, bal- !'interpolation du lecteur, ;. ance of power, reality, Heis enberg, the le lecteur engendre le sens, la .. i spy, the voyeur, the assassin, hot and disjonction du texte, un cold war, Mata Harl, fabrica tions, caracteristique necessair une detections, investigations, Laura explosion de sens, la polysemie Secord, the yippies, the Rhino plutot que le sense precis tout au long party, the Green movement, du texte fixe. Le subterfuge ouvert de O'( . contras, Ollie, scams, l' expres sion artistique ou textuelle, une takeovers, hustling, reponse a une vue mondiale fragmentee, le flou entre artists and mensonge et verite, des affaires de dessous de table, la writers. Loi sur les mesures de guerre, des groupes depression, des con- spirations de compagnies, un equilibre de pouvoir, la realite, Hei senberg, l'espion, le voyeur, !'assassin, la guerre froide, la guerre to tale, Mata-Harl, des fabrications, les defections, les investigations, L aura Secord, les yippies, la parti Rhino, le mouvement Vert, des contras, Ollie, fourberie, prise de controle, l'escroquerie, d'artistes, d'ecrivains. ul, uu.:I, t . ··: 1101 l'/u en · · ~l111uc ,,.,. ulu 1 ul11111lcl1•1 111,~ 110110 1111 c'/11 11 11 11011 cll1011I cll1011l1 ,1110 '/lllloulc 111 111 < 011 null, 11uull1 11111011'/1< cuu 101110 11111 cllu '!110 1111 I°' l'lu oi l'/11 cm I II uc 11 '/'"' 1110111 II 111uc 01111 olo ,111111 Id I'/ 11 Id,'/ ol ao llol '/llo luc '/ 110110 1I II C'/ 11 1111 1 I u 11 <II i o ii! <II IoII I I Iu < y Iu I u u I c I u u ·1 n II o u I< I111 11 <1 ol, 011111 11011111 11111011'/1< mu 101110 11111 cllo '/1101111 · IOI l.,u 01 l'/u 011 I II uc 11 'I'"' 1110111 II 111oc cull1 olo , ,1111111<1,., 111<1,., olm llul '!llo luc.,110110 1111 C'/111111<1 Ion cll1011I cll1011l1 luc '11111 1111 1 cluo '/t1llo11lc 111111 cl i ,I, 011111 11011111 11111011'/IC mu 101110 11111 cllo .,llo1111l i 101 1.,., 0111'/u 011 l11uc11 ·11111 1110111 111110c 01111 olo 11 ,l11111ld1y 11ld,., ol1q llol yllo lucyuollo 1111 <'11111111 : 011 cII 10111 <11101111 luc "'" 1 1111 1 c III o 'I" 11011 lc I,·,.,, cl . )I , 0 II II , 110 II II , 11 I110 " '/ I C Ol II IO II I() 11 II I cl IO '/II() 1111 I ~ S l'lu oa l'lu 011 I II uc 11 ·11111 1110111 II 111oc 01111 olo ~ . (l) ~ 11ld1'/ 11ld1'/ olao llol 'lllo luc'/110110 1111 C'J11ll11c I ~ cllacml cllao11l1 luc '!Im ,m , duo '/11110111< 111111 cit ~ ..o II Id I'/ 11 Id,'/ olao llol yllo luc y 110110 1I II cy11llm, 3 ~e b~sic pra~tice production the factory the key in the last instance here of a melodrama and bong flop sigh m sleep_ unage of d:ath one tr_ue friend of mankind there it is you have the partition into its great fronts b~t evidently nothmg essential hardly two or three designs a diagram of the demonstration a plan fromH for leavmg ah yes to leave of course not well to shuffle the deck infinity that things will not reach in the progression they file it down within its rotation it is the grand shuffle in any case the movement of by Philippe Sollers the ~ni~e ~d the i~nite is one of the return of each person to himself owing to negation in this way the hqmd 1s dressed like the cloth which it washes so the girl of the unshackled comes undone for whom does the path proceed tell me tell me muses and you set in motion but who will speak about the fatigue [translated by Elaine L. Corts] the ?isintegration a false heaving of full kidneys in the nerves when you are required to carry what cames you and each bone blown up by electric plates the arms longer and longer the exhausted state to seize the propitious moment or to stay away from the fire under the influence the purr the old acrimony of the g_ori~la obliged still to answer to pass the salt oh i am not kidding i know the price and myself yes elementary structures the gods they say do not eat anything except their family members what a meal maybe 1will have the strength to be even weaker yet broken by the cry but there is the torture of the other or still the children born from the open body of their mother come out on their backs there is my sense confident and burning iknow already how she will fail to find out i see her already eyes open incredulous of surfaces see that is why i recognized it immediately yu the fish woman who dances dragging her leg a mouthful of life and odors carried away blown on like a torch are you able to touch her head riddled when a step is executed to the east the left sweeps her along yes the design emerges from a dance which with holes to feel the weight of it to hurl it into the race and to laugh even so to continue isn't it the is sung and if the design ends by expressing itself in a whisper in being aphasic only blame yourself for mom~nt when you fall apart when you break down when you are caught on your knees when you hl\ffi your inability to clear the wall to find yourself again before the design in the immediate beginning anything_ a7all t? yourself d~h doh child doh poor child poor child drenched hair temples and nothing masked for the ball this is why the gesture which binds and loosens is truly formless without likeness answers it is an unpasse of high gray walls and she is there next to you her moist warm blood wisps of waves quickly tumbling over their crest one upon another as long as this emptying from the head to the blond hair a little saliva on her lips neck strangled afmger in the door cut slashed in full flight an accident feet does not take place the opposite even of the elongation of the obscene vase the reversed canon of no it was not an accident am i your bird says romeo and she says if only you were it is true that i would the sensualist who makes his corolla ostrich exposing his ass to the open-minded well the subject will ~ill y_ou with too ~an~ c~esses and he foul womb of death i will force your rotten trap to open up and always be afraid of the thunder he will not approach the anti-lightening dry violet colorless the anti­ 111 spite o~ everything i will stuff you with even more food oh how often people on the point of dying everything the brilliant veined fire faint in the interior moist on the outside a pocket in the middle i say have fel_t J~yous those who ~tay by them say it is the flash of light before the dark night that they can that we have to wear out our vision spread our hearing before letting it go in its turn come on take this not feel mside themselves this unexpected ecstasy sucked in which has always been on the horizon their brain out for me gold meant sonority and jade radiance the branch the leaves the wave the source all exce~s held ~ack streaming for~ come on now come now die where was your life and other striking that has to be slipped into silk the grass the light and the ducks fly together wild geese are surprised by curtam falls i love these tragedies everything is orchestrated for this type offall from the summits it the cold the gardens have green bamboo red flowers illuminate the brushwork and so on we have to doesn't work anymore it is ridiculous a shame after the time of the bourgeois gentilhomme see now exercise our throat our larynx lungs liver spleen the two sexes anus thighs knees soleS' of the feet like arrived the time of the petit-bourgeois gentilfemme the tunnel will still be long for some centuries the forehead and the hand will be able to toss the top of a ball you continue with the north star is far away surroundin_g every p~ofound ~ind a mask unceasingly grows and develops thanks to a perpetually the ocean is deep the seaweeds meet we come from diverse regions all their poetry is dualistic and e~oneous mterpretation that is to say dull in everyone of its words
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