#spam-lyric-ing

[willtheweirdrat]

AND FOR EACH CORRECTLY USED APOSTROPHE, I COULD FEEL MY HEART SINK INSIDE MY CHEST INFRONT OF ME!!

[luckydinosauur101]

! SPOILER ALERT !

I will be posting about Chapter 17 of “The Rehabilitation of Death” by @Bamsara for probably the next day or 3, including posts rambling about parts of both that chapter and many others before.

Please, if you do not want to be spammed with posts and reblogs; turn off notifications for when I post or something :)

WE STARTING HERE

FIRST OF ALL

Is this a reference to the 5+1 lmao?? Bro you ASKED for them to LITERALLY KILL THEMSELVES TO SEE YOU

SECOND OF ALL

“Without question, he closes them.” This entire chapter I noticed, especially as Narinder got more drunk, he was more willing and compliant with doing whatever Lambert told him to do, no fuss, no question. “Do this.” “Ok.” “Go over there and sit down” “alrighty”. Not even a fuss. I think it just shows how much he truly loves the Lamb, and only his sober pride stops him from just willingly letting Lambert take the lead

Haha cat’s neck goes -snAp- I thought of his head borderline 180’ing here

-Bam self-inserting their own drunken mood cuz they decided to get drunk while writing but then arson collapsed on himself-

I literally just ended up taking a picture of this entire scene here because.

I’m sure. I’m sure you can tell why.

I was listening to

I recommend listening to it it’s pretty good- very fitting to Trod (@-Bamsara again I may or may not have made my own trod playlist for songs I thought fit. And I may or may not like for people to give me their opinions on how they fit :3c)

And so I hit the “I’m sorry” part right before I read the “I relinquish the crown to you”. Fitting. Agonizingly. Fitting

AND AGAIN A LITTLE WAYS DOWN.

“Under all that angst and anger is a beating, human heart” as I read the

F U C K I N G.

“They do not have a heartbeat. They do not have a pulse. They will not rise.”

I HEAR THE LYRICS AS I READ IT.

I needed to take a second.

Because it really.

Really hurt.

That entire scene.

hurt.

[pileofpawns]

Intro post!!! Wauuugh! Finally!

I have been meaning to make one these for ages but I've never gotten around to it lmao

Hi there, I'm Plum! I'm 17 years old and my pronouns are she/her (though idc if you use they/them on me either). I'm a disabled aroace cis girl. Nice to meet ya! This is where I tip my brain contents into - Consistency does not exist here! I mostly post about my interests (which can change very rapidly), but also make generally nonsensical shitposts and rarely post art I make.

Misc info about me:

I'm okay with any and all gendered language being used on me. I'm not a guy but you can call me one if it's funny (or even if it’s not funny)

Common speech quirks and things I say and type a lot include "wowzers", "eep", abbreviating "-ing" to "-in", and capitalizing words for emphasis

I LOVE turtles. Can't get enough of em. My favorite species is the three-toed box turtle!

You are always free to mention me on posts or send me asks for literally anything! People nudging me to show me something they think I'd like brings me SO much joy.

Fruity fella who loves (literal) fruit

🐢💕 <- favorite emojis

I am disabled!! (I know I said it at the top) My disabilities include ADHD, dermatillomania, misophonia, mitral valve prolapse, and major depressive disorder. I’m only sharing these because I’m comfortable doing so and I want to talk about them!

I have a habit of calling anyone who I am even slightly acquainted with "bestie". If this makes you uncomfortable please let me know and I will stop!

I make visual art, write, and craft things sometimes! You can check out my stuff under the tags #plums art and #plum writes . I've also been playin the violin for uhhh... 7 years now?

I HATE discourse and I'm a strict inclusionist. This blog is safe for endogenic and mixed origin systems, self-diagnosed folx, folx who use microlabels, and pretty much anyone not trying to cause harm to others. Please keep discourse out of here.

I'm a scalie and also alterhuman in some kinda way!! I don't really label it lol but I am a three-toed box turtle in some capacity.

You can find me on ao3 here

You can find me on YouTube here

And you can find me on Discord under the user pickledplums ! If you shoot me a friend request or DM please let me know who you are first or I will likely not respond.

My blog name is a lyric from the song “Ghostdubster” from the “Super Ghostbusters Deluxe Edition” album by Vargskelethor. Give it a listen, funniest shit I’ve ever heard.

Spam likes/reblogs are okay!! They make me rlly happy :))

Non-definitive list of fandoms I'm in/media I enjoy:

Sonic the Hedgehog

Teenage Mutant Ninja Turtles (mostly 2003 and rise but I love all iterations)

Tales from the Stinky Dragon

Usagi Yojimbo

PaRappa the Rapper/UmJammer Lammy

Rhythm Heaven

Samba de Amigo

Magic the Gathering (not really versed in the lore but I do play the game!)

Dungeons & Dragons

Spongebob Squarepants (the main cartoon and the musical)

Kid Cosmic

South Park (I am not very active in the fandom anymore and have not watched the actual show in ages, but I will occasionally like/reblog fanart. I recognize the problems it and it’s creators have.)

userbox credits: 1 2 3 4 5 6 7 8 (bottom two are by me)

Welcome to my silly little blog! I hope you enjoy your stay :}

[musical-spam]

this acc is just so i can spam lyrics occasionally w/o disrupting my main

also while @falsettos-every-day is on hiatus i will be falsettos-ing WHEN I CAN REMEMBER TO

btw if you’re followed by an acc called @aaaaaa-musical-trash that’s just my main do not panic

[icyfox17]

IF YOU LIKE THE ACOUSTIC GUITAR VIBES HERES ANOTHER ONE OF MY ALL TIME FAV ACOUISTC (kinda, it's not exactly acoustic but its a soft version of their rock songs) ALBUM !!!

the videos they made for these ARE ALSO REALLY COOL TOO they did it all in one take during quarantine so theyre unpolished i lovethemsfdl

okay wait BACKING UP the song that the guitar reminds me of the most ISNT ACTUALLY ON THIS ALBUM HELP (->just spent 10 mins trying to find it) SO HERE IT IS AND THEN I'LL GO BACK TO SPAMMING SONGS FROM THE OTHER ALBUM

the guitar intro IS LITEARLLY THE SAME arhghrhjkgrkj

anwyays

under the cut

more music spam

I LVOE THE SOFT SOUNDS ALBUM SO MUCH SOBBIGBGIILKSDFSKD

THIS IS ONE OF MY FAVS!!!!!!! THE GUITAR IS SO PRETT !!!! IT SOUNDS LIKE RAIN !!!!! ive been learning it on guitar and OH M YFUCK its hard BUT SOOOO SATISFYIGNKGL

THIS IS !!! ONE OF MY FAV SONGS !!! EVER !!!!!!! I LVOE BOTH THIS VERSION AND THE NON ACOUSITC ONE

idk what it is about the instrumentals BUT THEY ARE JUST SOOOO COOL AND UNIQUE AND I JUST OHMYGODDDD I LOVE DELTA SLEEP SPOOM CUHCJL

this was one of my most listened to songs last year just bc its so comforting that i fell asleep to it THE NON ACOUSTIC ONE IS SUPER DOPE TOO THOGUH OMG

SANS SOLEILLELIEL <3333 I LISTEN TO THE ROCK VERSION MORE OF THIS I THINK BUT NBOTH SLAY

and i cant rec this without reccing THIS BAD BOY

ngl. i refound this song from the lovejoy playlist BUT it is MY song fuckers, a lyric from this is the title of my fic "solace is everything" AND I HAVE POURED MY HEART AND SOUL INTO THAT and argghhrghrhgh there's another lyric in this song "and if i fall through your fingers, that's alright. that's alright. that's al-" and that:))) will take place :))) in my fic :)))))) heheheh

OKAY ONE LAST THING LET ME LINK A VID TO ONE OF THEIR VIDS OF THE SOFT SOUND BCC GENUINELY GUYS THEYRE SO. SO VIBES.

ANYWAYS SORRY FOR THE MASSIVE SPAM I LOVE DELTA SLEEP A LOT....

@jiksvokrat im @ ing u too for song recs tehe

GUYS HALF ALIVE CAME OUT WITH AN ACOUSTIC EP TODAY AND OHNYFUCJINGOFKSD??????? CREATURE??? IM BREATHLESS ITS SO FYCKING GORGEOUSSJSJAKSKFDKSHDNFKDSHDKCKDBSKDHDKSHODS I CANTDOTJSISJANDKDS THE SONG AT 3:22 OGJFYDODO IM LITEKRLAKYTHDKXVSKRVWEOEHEWOBDKSBSJDBDOAHSJSHSIDVSKSBSHSKSJDLSGSKDGSKSHSJSJJSKSHAKW

@cristalmystery SPRUCE SPRUCE SPRUCE IM SHAKING YOU SI HARD RUGTNOWVJSOAHD

[sophfandoms53]

mama mia. here i go again. spam-ing. sophia fandoms' inbox

So are you randy? Cuz sis spammed the Mama Mia lyrics in my inbox the other day.

If not, I apologize lmao

[mymusicmemories]

Brian Wilson - July 1st 2015 - PNC Bank Arts Center, Holmdel, NJ

Set 1 -

Our Prayer

Heroes And Villains

California Girls

Shut Down

Little Deuce Coupe

I Get Around

Drive-In

This Whole World

Then I Kissed Her

Cotton Fields

In My Room

Surfer Girl

Don’t Worry Baby

One Kind Of Love

Sail Away

Wild Honey

Sail On, Sailor

Darlin’

Wake The World

Busy Doin’ Nothin’

Surf’s Up

The Right Time

Runaway Dancer

Wouldn’t It Be Nice

Sloop John B

God Only Knows

Good Vibrations

Encore

All Summer Long

Help Me, Rhonda

Barbara Ann

Surfin’ U.S.A

Fun, Fun, Fun

Love And Mercy

On the morning of Wednesday July 1st, 2015, I woke up and went to work. It was just another nothing day, just like the day before and how the next day would be. Around 10am, I checked my email and opened what I thought was spam, but I opened it anyway. It said that I won two tickets to see Brian Wilson that night at the PNC Arts Center. I didn’t believe it, mostly because I didn’t remember entering any contest. I replied to the email and it was legit. I must have entered some Facebook giveaway months earlier. It was a little over cast so I called, still not fully believing I won anything, to see if these were lawn seats. They assured me that tickets are good seats and would be waiting at will call.

I called my wife and told her we were going to see Brian Wilson tonight, I told her about the emails and the phone calls and to be ready around 3pm. She then reminded me that we have two kids. So I was bummed, and said I guess I won't go and she suggested I take my oldest son, Patrick, who was 8 at the time. I really never thought about it, but it was a great idea. Patrick was at this time a big 60’s fan. Loved The Beatles, The Monkees, The Four Seasons and The Beach Boys. This was the perfect first concert for him.

Let me tell you a little about Patrick. He’s basically been a musician since birth. He got his first drum kit at 2 years old and he never stopped. When he was 9, I took him to jam with some guys I used to be in a band with and he not only held his own but he made them forget he was a kid. When he was 11, he joined a band and he’s gotten better and better. Now at 13 he’s a real musician, he’s an excellent drummer and self taught piano player. He’s actually playing drums as I type this. 

So, I pick him up and we go to the show. He was excited and we blasted the Beach Boys the whole ride. When we got there we had to park in the overflow lot, kind of sucked to walk half a mile with a little kid, but we made it. I go to Will Call, gave them my name and they had no tickets for me. Someone else came over and I told them that I won some contest and they said the tickets would be waiting for me at Will Call. This person looked and said they have nothing for me. I was just about to reach into my wallet and buy two tickets when a third person came over and asked if it was through Facebook. Told her it was and she came back with an envelope with my name on it. I was shocked it was real. 

We go in and walk down and down and down. Our seats were in the tenth row. Told Patrick to enjoy this but not to get used to it, these were some of the best seats I ever had for a concert. It was early and he nervously talked and talked and talked and just when I thought he ran out of words, he talked some more. It really wasn’t as annoying as I’m making it sound, it was actually kinda fun. This was a real experience for him and I got to enjoy it with him.

The opening act was Rodriguez. I had never heard of him but they billed him the “Legendary” Rodriguez. This tall, skinny guy, dressed all in black sat in a folding chair with an acoustic guitar and blew me away. I didn’t know any of the songs he played but it was incredible. Since then I have become a fan. He was supposed to play about 20 minutes from my house in March but the show was canceled due to quarantine. If you ever get the chance, watch the documentary “Searching For The Sugarman”, I think it’s on Netflix. I highly recommend it. He really has an incredible story.

Patrick was respectful but was looking ahead, can't really blame him. He wasn’t there for this guy, he was there for the Beach Boys. Rodriguez finished and light came up and the crowd started filling the empty seats around us. I’ll never forget when the light went back out, Patrick jumped to his feet and was clapping like crazy as the band took the stage. They opened with “Our Prayer”, not the best way to start for an 8 year old, but then right into “Heroes and Villains” and he was dancing and mouthing the words he didn’t really know. 

I was so impressed with Brian’s band. They were as good as any band I've ever seen. Brian’s voice is what it is, but it’s Brian Fucking Wilson and that’s all that matters. Al Jardine still sounds like he’s in his 20s. To me, one of the best things was that they all seemed like they were enjoying what they were doing. They would smile and laugh to each other, that kinda stuff shows in the music. The worst concerts I’ve been to have been the ones where it seems the band is just going through the motions. 

When they went into “Little Deuce Coupe”, Patrick looked at me smiling. This song was one we played together in the basement music room. We were singing along and Patrick was playing air drums. The lady next to him was really getting a kick out of him. When he was singing along to “Cotton Fields” she gave me a look, as if to say, “Sir, you are raising this kid right.” 

The second most memorable song of the show for me “In My Room”, I have always thought this was the most Brian Wilson song The Beach Boys have ever done. The harmonies were spot on and Brian’s voice, for the first time all night, really nailed it. It was also nice because we all sat down, I’m not as young as I used to be. To this point “In My Room” was the highlight for me.

The next big moment was when Blondie Chapman took the stage. This guy is a rock star. He looks like a rock star, he dressed like a rock star, he played guitar like a rock star and carried himself like a rock star. “Sail On, Sailor” has always been one of my favorite Beach Boys and Blondie did not disappoint. His vocals were perfect. It’s really no wonder why he was a Beach Boy or why he played with the Stones. He has “it”, whatever “it” is.

My next favorite Patrick moment was during “Busy Doin’ Nothin’”. Brian led the crowd in a sing along of “Row Row Row Your Boat”. The kid seemed confused, but he laughed and sang along. We all laughed and sang along. There was something so childlike and playful about Brian Wilson that was so contagious. We were all just having so much fun at this point.

The one part of the show I didn’t really like, I understand why, but I didn’t really like,, was “God Only Knows”. This is absolutely one of the very best songs ever written. I do truly love everything about this song. Perfect music, perfect harmonies, perfect lyrics and perfect angelic vocals by Carl Wilson. The band played it album like, it was so good, this Carl appeared on the screen behind the stage and sang the song. It was a recording from a Beach Boys concert from the 70s. I know most people like this but not me. It wasn’t bad, it’s just not my thing I guess. I would have much rather have heard Brian sing it.

The one thing I never explained to Patrick was the encore ritual. After “Good Vibrations” and the band left, he couldn’t quite figure out why no one was leaving and everyone was clapping and holding up their cell phones ( god I miss cigarette lighters ). I do believe he asked me, “what’s going on?” When the band came back, I think he got it. I have never been a fan of the whooping and hollering of the pre-encore. We all know what’s happening. But the kid was loving it, so I was too.

The second song of the encore was “Help Me, Rhonda”. Everyone was singing and dancing and no one was singing louder than Patrick. I still have video of him singing and me trying not to laugh. If there was one song that whole night I enjoyed most it was this. Patrick’s joy in this moment was something I’ll never forget. I’ll never show him the video and I would never tell him how funny it was. No one should ever be embarrassed by the way he sang or danced at a concert. This was a really priceless thing for me.

Next up was “Barbara Ann”. Now we were sitting in the center of the section in front of stage left. I could see the right side of off stage and there just off the stage, in blue jeans, a tee shirt and a baseball cap. Having a good time like the rest of us was Bruce Springsteen. I nudge Patrick, “I think that’s Bruce!” His response was not at all what I was hoping for. “Who?” I was crushed, no longer did I feel like I was raising him right. I, at this moment, was crushed. I shook it off when Al motioned Bruce to the stage and Bruce joined all on the mic and sang the backup.

Up next was “Surfin’ U.S.A.”. Now a roadie ran out a guitar. Brian Wilson, Al Jardine, Blondie Chapman and Bruce Springsteen. It was so crazy, Bruce was singing backup like he was in the audience. It was just so much fun to see. This wasn’t “Bruce Springsteen”, this was Bruce, a guy from NJ who is a fan Brian and The Beach Boys. He just happened to have the best seat in the house. The really interesting thing was Brian completely “no selling” Bruce. He might have even known he was out there or even who he was. Oh, man, I hope he didn’t think we were “booing” when we were “Bruuuuuccccce-ing”. This, of course, was my favorite song of the show. 

Brian closed the show with “Love And Mercy”. The perfect and to a perfect night. One the ride home I tried to explain to a very tired 8 year old, how special this show was. We saw real rock and royalty. We saw a great show. We had great seats. Patrick’s first concert. And a Bruce Springsteen pop in. This might have meant more to me then to him. I just hope he has the memories and this is a story he will tell someday.

[richmegavideo]

Don’t Be A Creep: Twitter Calls Out Kodak Black For Sexually Harassing Young M.A

Source: Splash News / Splash News

Kodak Black is bringing all the heat to himself following his creepy courting of Young M.A.

While Kodak is confessing his lust towards the New York rapper in songs and a recent video, many people are calling sexual harassment against him, especially for a guy who already has sexual abuse accusations aimed at him.

The whole Kodak Black-Young M.A talk started in February when Black commented under a picture of M.A and Nicki Minaj saying, “Both Of Y’all a Get It.”

Black then kept pushing his sentiments in his music. On his latest single “Pimpin Ain’t Eazy” he raps, “I go Young M.A on these dumb b*****s/Like a dyke man, you ni**as can’t f**k with me.,” and then follows with “I’m f**kin’ Young M.A, long as she got a c**chie.”

In another part of the song, he also raps, “I swapped out the spice for the bud/F**kin’ on a dyke, I’m in love. I’m f**kin’ on a dyke, she the one.”

Black’s fans hyped up his vomit-inducing “bars” even more by spamming M.A with talk about the song. M.A clearly had enough of the harassment when she went on Instagram Live on Sunday to talk about how annoying Black’s followers have become.

“And y’all keep talking about this Kodak situation. Y’all n****s is weird, bro,” M.A said. “And it be n****s on that sh*t. What’s wrong with y’all? Is y’all n****s alright? Come on, bro. Like obviously the n***a’s weird…”

M.A went on to say that she and Kodak had a show in the same city, and she’ll talk to him in person if she gets the chance.

View this post on Instagram

TSR STAFF: Tanya P.! @tanyaxpayne _________________________ #YoungMA responds to #KodakBlack after he included her in some NSFW lyrics on his song ‘Pimpin’ Ain’t Eazy.’ ____________________________ In the song, Kodak raps: “I don’t even see the confusion, I’m f****ing #YoungMa, as long as she got a coochie.” ___________________________ Needless to say Young MA wasn’t feeling the line, and said she might even pull up on him in Arizona. Both coincidentally have a show out there so we’ll see if this gets squashed or not (SWIPE)

A post shared by The Shade Room (@theshaderoom) on Mar 17, 2019 at 11:07am PDT

  In another Instagram Live video, M.A, who is openly gay, clarified that a lot of her frustrations were aimed at Kodak’s followers:

“They always take sh*t out of proportion. They always try to take sh*t and make it something that it ain’t,” M.A explained. “In the live video… I’m literally talking about the people in the comments… and I’m like ‘Why y’all still on that? Get off that situation. Y’all d*ckeating.’ I know I’m a female stupid… but at the end of the day, that’s not my preference… that’s why I said y’all weird.”

M.A’s comments unfortunately didn’t stop Black from hurling more inappropriate comments about the situation in an Instagram Live video of his own.

“I do more good than I do bad and more people love me than hate me,” Kodak said before slipping in another comment about Young M.A. “I’m talking ’bout, how you a girl but don’t want your p***y penetrated?”

View this post on Instagram

#PressPlay: Oop! #KodakBlack responds to #YoungMA (view earlier posts)

A post shared by The Shade Room (@theshaderoom) on Mar 18, 2019 at 5:52am PDT

  Twitter gladly explained to Kodak how having a vagina doesn’t necessarily get you excited about the peen.

Folks especially laid out how they wouldn’t let Kodak anywhere near their privates when he’s already awaiting trial for allegedly sexually assaulting a teenage girl.

Kodak Black has rape allegations against him and really just said “how you a girl but don’t want yo pussy penetrated” on IG Live with his whole chest. That nigga guilty, your honor.

— GIRLS OUT NOW! (@yungbabytate) March 18, 2019

https://platform.twitter.com/widgets.js

Hit the next pages to find out how more people are calling out the Florida spitter for his lewd, sexually disturbing talk.

The post Don’t Be A Creep: Twitter Calls Out Kodak Black For Sexually Harassing Young M.A appeared first on .

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[willtheweirdrat]

THEY SHUT DOWN THE LEATHER BAR WITH THE DARKROOM NOW THERE'S NOWHERE TO GO! CAUSE I CAN'T HOST AND YOU CAN'T HOST NOW EVEN THE SEX SHOP WITH THE VIDEO ARCADE IS CLOSING IT'S DOORS AND I STILL CAN'T HOST AND YOU CAN'T HOST!!

[spamzineglasgow]

(SPAM Cuts) ‘Therianthrope’ by Jane Hartshorn

In this SPAM Cut, Maria Sledmere explores Jane Hartshorn’s shimmering revisioning of the selkie myth in ‘Therianthrope’, a poem which you can read for free here in the new amberflora.

> ‘Alterity’, Elizabeth Grosz argues in Volatile Bodies (1994), ‘is the very possibility and process of embodiment: it conditions but is also a product of the pliability and plasticity of bodies which makes them other than themselves’. Jane Hartshorn’s poem ‘Therianthrope’ reads like tendrils of breath exhaled from a creaturely consciousness which spreads, coils and drags across the space of the (web)page. ‘Therianthrope’ refers to the mythological ability of human beings to shapeshift and thus metamorphose into other animals; for instance in the case of werewolves, or, as in Hartshorn’s poem, the selkie. Just say it, softly: selkie. In doing so, you whittle the gorgeousness of skin into a click of consonance, you stretch something of a flesh which is or is not yours.

> Like myself, Hartshorn grew up in South Ayrshire, Scotland, in a town where, as Burns put it, ‘Auld Ayr is just one lengthen'd, tumbling sea-’, and homesick I listen for the brittle west coast, fraying at the skeins of her lines: at once a ‘slippery’ confession, an unravelling of myth, the breath of an animal joy, captured in hydro flight. 

> Arranged on the page with the undulations of white space, making full use of that horizontal sprawl which speaks of oceans — of expanse and limits — ‘Therianthrope’ enacts the habitus of the multiplicities it contains. It takes a while before the ‘I’ in this poem surfaces, and when it does, it is in the mode of desire: ‘I loved him      yes’, and so — Molly Bloom pushing her bedclothes aside — I think of the affirmative splash in which the mouth gasps for air above the water, and the gap that is time’s to own. When the speaker compares her kin to ‘the sirens / who lure poor men to their watery deaths’, there is the spectre of T. S. Eliot’s ‘Prufrock’: whose song of course is a ‘Love Song’, concluding in underwater chorus; where the ‘we’ is an uncertain signifier, subject to ‘drown’ in the wake-song of ‘human voices’ — ‘wake’ of course a summons and ceremony of death as much as awakening, and life. Is that ‘wreath[ing]’ of meaning a tangling of desire that threatens to strangle? Who is doing what to whom, and how to give poetic space to such perilous love?

> The transformative push and pull of violence or wildness slyly directs ‘Therianthrope’. There is a kind of abject, bodily horror that runs throughout, emerging in stringy, proteinous tendrils of line:

Alterity in the body is a condition of mingling affects, love being the pharmakon that binds and separates, poisons and cures. The ownership of ‘a body’ is ambiguous, but parts of the body can be identified: ‘my head’, ‘my thigh’. If there is a Kristevan horror in the semen-like ‘dribble of egg-white’, we might see this stain as the marker of an epimorphic semanalysis which the poem, in all formal elasticity, invites: this idea of an emerging, dynamic signifier which is engendered in the selkie’s transforming body. After all, are not eggs the property of women’s bodies? The narrative arc of Hartshorn’s poem is familiarly mythic: following the violence of desire in which the animal is split, parted from her skin to become a kind of mousseline female, bearing from her ‘thin membrane’ of trembling humanness several children to the man who stole her seal self, until one day she flees the nuclear home and the man becomes more animal: devastated with desire and lack, ‘he knelt on all fours    tore at clumps’. Yet despite this mythic structure, the poem itself dissolves at the point of its many obsessions with form: ‘a biscuit cutter pressed’, ‘the triangle of my tailbone’, ‘the coming apart’, ‘triangles of greaseproof / paper’, ‘the shape of me’. In these lines, we glimpse the violent geometries which impart upon bodies a fixing identity. If woman is essentialised as soft, animal, subject to capture and ravage, then there must always be ‘a kind of contradiction’ where that which is edible, sprawled and malleable turns back on its terse hunter: ‘anthrōpos’ and ‘therion’ may demarcate humans and beasts, but Hartshorn’s poem renders the fluidities of desire and affect that pass between each.

> Despite the poem’s obsession with peelings and cuttings and hardenings of form, the selkie’s body remains the most elusive thing: by definition, it slips. The many cuts of this text, those lines spread into flows of gasp and breath, mark attempts of the voice to stammer in a field that threatens its swallowing. The collation of human and nonhuman materials — liquid, enamel, bone, skin, mud, membrane, grass, flesh, vegetable — indicate the loosening of natural hierarchy and identification, perform a textual navigation by which the speaker navigates the craggy hostilities of the world she’s forced into. Her voice, depending on a speaker’s interpretation, might be read as fluid, lilting or jagged, snipped. It is the breakaway of the tide’s interruption: it speaks the sea as much as a ‘feminine’ body. It is a hurt thing, cascading lines to regain its power. I think of sea level rise, floods, the shifting shape of solastalgic landscapes. I think of what Charles Olsen in ‘Projective Verse’ says about the open field as the expression of ‘breathing’, ‘an energy-discharge’ attentive to myriad forces. Particles of syllables collapse like the crumpling of skin; their arrangement the kind of aftermath of a plundering, in which the agencies of lyric voice are disseminated through the body’s metonymies: where a line is a cry, space is a breath, skin is human treasure, human is beast, beast is flesh, love is a shape and the poem is woman. And she is so much of so many things, reflected in the pared lamé of Hartson’s doubling, elliptical lyric: ‘the pain / of making a space       for myself within          this other’.  

~

Text: Maria Sledmere

[willtheweirdrat]

NO MORE TROUBLE SLEEP THERE'S A BRAVE NEW WORLD THAT'S RAGING INSIDE OF MEEE

[willtheweirdrat]

My boots are from airports, My backpacks from friends I'm not a man of substances so I'll pretend To be a wanderer, wondering Leaving ascetic belongings in hostels and restaurant bins The roads are my home, and horizon's my target If I keep on moving, never lose sight of it Treating my memory of you like a fire Let it burn out, don't fight it, and try to move on It's been sixty weeks, since I saw Vienna A bandage and a wide smile slapped across my face I'll pick up my hiking boots when I am ready, And I'll put down my roots when I'm dead. The distance is futile, Come on, don't be hasty You'll get that feeling deep inside your bones. I'll be gone then, For you, must be, alone.

[willtheweirdrat]

YOU SAY YOU CAN'T TELL WHAT I AM, YOUR SLURS WHEN YOU WALK NEAR THAT'S LITERALLY THE WHOLE PLAN DUDE MY EYES ARE UP HERE!!!

[willtheweirdrat]

CAUSE BABY IM AN ANARCHIST AND YOURE A SPINESS LIBERAL!! WE MARCHED TOGETHER, FOR AN 8-HOUR DAY AND HELD HANDS IN THE STREETS OF SEATTLE!! BUT WHEN IT CAME TIME TO THROW BRICKS THROUGH THAT STARBUCKS WINDOW YOU LEFT ME ALL ALONE, all alone..

[willtheweirdrat]

CAUSE THIS IS THE PART WHERE I SHUT UP AND LET YOU INFEST MY BRAIN WRAP YOUR ARMS AROUND MY CORTEX DIG YOU IN AND LET YOU DRAINNNN YOU'LL NEVER GET RID OF ME OH I'M LIKE A FUCKING DISEASE I'LL MAKE A HOME IN YOUR GUT, CAUSE IT'S SOMEWHERE WARM TO SLEEP

[willtheweirdrat]

WE'VE GOT A COUNTRY HOUSE NOW OLD DOG HAS BEEN PUT DOWN NOW ITS GOOD TO BE AROUND TREES