A few of the issues "explored" on the list over the list six months have been mapped in the piece below. Best John K ______________________________________________________________________ Utterance: Graphology 7 (A Draft) for Peter Larkin "...pastoral is not capable of definition by reference to any essential quality..." W.W. Greg _Pastoral Poetry & Pastoral Drama_ With the route decided (on) they set out, rigorously noting Long on one of his walks pressing absorbent surfaces, code-switching & uttering names of place realised in moments of inculcation: Beverley & York & the Streets of Scarborough impressing themselves on maps the persona grew up with, though "here" it's more built-up & the gaps between signposts are shorter: a wandering voice, a pair of blue eyes instanced in the brief parish: "When Elfride fell asleep that night she was loving the writer of the letter, but thinking of the writer of that article." Associating sentential features against a spreading sky - yes, & even "condoning the jaw's lexis", despite the stilled floater, iconic in the screen's simulated movements. The flows. The flows. Butcher recommends: punctuation at the end changed to fit surrounding sentence, e.g. so that sen-tence does not end with a comma (Displayed quotations) what each writer in a tryst might be inscribing to each other, "nonnulli sensus", as if on cheap paper this might be a rustic correspondence - transcribe is a better word as visual encryptions of speech temporality of the word, despite the claims of oral traditions & "signatures" of scr[y]pt, & ersatz reading of personality traits through handwriting like the choir monks of Rievaulx when the Abbey was at its peak & not remotely sublime, in fact sublimity being the antithesis of good management & sound latrines: Cistercians, Prynne, & parallel poetries (----- Message Text -----) "which is mere conjecture" yes, Eliot of course, but direct engagement? Peripheral recognition? An intrusive "critical voice" disturbing "the latent matrix"(?) per the intrusion of the lyrical into the poem. Clarify the specially-read persona - i.d. - anti-lyrical notary adding up an-Other, or creating a central register to fringe against. The machinery, the gauche illumination. All is annotation to the project of validating presence: script as the precursor of immortality - spiritualists busy about the cabinet as automatically two pens utter loudly & softly, faintly & darkly. I undo the utterance & contradict. The typeface is voice, significantly other & not the speaker, or singer, or utterer. But handwriting can't quite get free of itself. Which manuscript do we take. Valid number? The proof is [in] the theorem. Graphology dressed as closure. It comes after the drafts. As if that process is complete. There is sheep shit & it sticks to the soles of your shoes. Fills the tread. Black-faced sheep shaggy with tails & not like the tight-wooled merino whose shit is often hard & black where the I comes from. And there is a picture of a paddock which is like a field though might be bigger given the general expanse & Fuji colour has it deeper than any blue this part of the world could muster. Maybe it's something to do with Chernobyl. Shouldn't eat the mushrooms in Eastern Europe & maybe even Germany they say. Coating everything with pesticide the South West Australians are proud of their clean, vigorous, and robust food. But a victim of its own analysis, it becomes draft. I read somewhere or maybe I said it first or independently or imagined myself to have done so that Aboriginal sand paintings are the most permanent kind of art. Sand as script. Though it is recalled now that the remark was made anonymously by an audience member after a paper was given at Klagenfurt Uni, Austria. _______________________ %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%