Thursday, August 22, 2013


-after K. Goldsmith

Pull the body in, extend. Look directly to
The front.
Don’t shake the body leftward and
With the back keeping straight.
Block both hands levelly
In front of the body.
Punch forward with the right hand.
Hold the left fist,
And put it on the joint of the right arm.
Look directly to the front.
It is called Seven-star in T-stance.
In order to make you understand easier,
We practice in the
In a moving coherent movement,
Which is called Hold Hands and Shrink
Body in T-stance.
Next we will demonstrate and explain
The another foot technique—
The left foot takes a step to the right.
Put it on the upper front of the right
Squat down.
 With the back straight.
Now let’s demonstrate completely
Next we will begin to demonstrate and explain

We would
Provide you with brief demonstration
Hold the fists beside the waist.
Snap the leg levelly forward.
Both legs practice in turns.
The manners of a snap kick and heel kick
Are the same.
But kick and snap are also quite

There are various of forms
In the Heel Kick.
While practicing,
You should not kick over the waist.
Other wushu schools in the society
May require that
You should kick over the head
Or even higher.
Now, we will practice
According to Shaolin’s leg technique.
Front Kick

Next we will demonstrate and explain
It requires both hands to
swing it back and forth.
This movement is called Twine and Wrap
Around Head.
While kicking to the left,
That means after the Twine and Wrap
Around Head on the right,
Turn the head left.
Kick at the same time.

Complete demonstration

Complete demonstration

If you kick high enough,
You can kick up to the bottom of the ears.
Let’s practice from the first step
That is to kick to the position of the waist
The Inside Kick.
()                             Inside Kick.
If you want to kick the right leg, move
The left leg first.
Stretch the left leg outward,
Then kick the right leg in an arc
From right to outward, then to inward.
Slap the right hand with the right foot.
It does not mean to slap the instep with
The right hand,
But to slap the right hand with right
Now let’s demonstrate completely

It begins with the preparing form
Block both arms outwards
With the height equal to the shoulders.
While kicking the right leg,
The right leg kick in an arc
From the left upward, then to
Downward, and the right.
Then slap the right hand with the right

15. Jump and Slap Foot

If you have never practiced
Jump and Slap Foot before,
You will feel daze when you watch me
Perform it,
And you don’t know where to start and
But actually, it is very simple.
If you divide it into step-by-step
It takes two and a half steps,
To finish the Jump and Slap Food.
We would first kick the right leg in

2013. Aug 22, 11:15pm DONE

If Influence were Health

                                                    “Influence is Influenza—an astral disease.
                                                      If influence were health, who could write a poem? Health is stasis.
                                                     Schizophrenia is bad poetry, for the schizophrenic has lost the strength of perverse,                                                              wilful, misprision.”
                                                                                –Harold Bloom

Poor Bloom. He got himself all twisted around in this quote. Let us help him!
Influence is a psychic disease, and the psychotic alone is the most perverse and wilful in her misprision. To imagine a schizophrenic who was not perverse and wilful in her misprisions is to imagine a normal person. That is, Bloom calls schizophrenia “bad poetry” only insofar as it said to lack what most defines itself: misprision. Bloomian misprision is a type of schizophrenia. The truly Bloomian reader of poetry is a schizophrenic, except for the above quoted disavowal. Bloomian criticism is schizophrenic, insofar as it misreads the text of cognition.  Misprision of life is schizophrenia. Schizophrenics lack nothing in perversity, or will, or misprision. A truly rigorous schizophrenic, or mispriser, such as myself, was only needed to expose this.

Wednesday, August 7, 2013

Poetry Changes Things

"The nations thronged around, and cried aloud,
As with one voice, 'Truth, liberty, and love!'
Suddenly fierce confusion fell from Heaven
Among them there was strife, deceit, and fear;
Tyrants rushed in, and did divide the spoil.
This was the shadow of the truth I saw."

--Percy Shelley, Prometheus Unbound

It is fashionable among certain modern poets, such as the still highly admirable Charles Bernstein, to claim that "poetry changes nothing". I might venture that it has even acquired a jingle-like status among those whom it influences. The least rememberance of the implications of even the term *influence*, of which they all still parlay in, however, already begins to show, and already show quite well, that any poem of any poet once in existence may be read (or heard) by others, changing them all through this experience forever after. One is very much tempted from here to invoke Spinoza, whose conception of the affects in his Ethics appears liable to justify even the claim that even any event of mere thinking or cognition has immediate, going on infinite, ramifications for the world. Much less a poem, which is, among many otherwise ways of expressing it, an externalized memory of an inward condition by thought. Poems are just vastly influential externalizations of thought, perhaps much moreso than thought in-itself. I wish I did not even suspect the need to assuage others of the material reality of all the ideational elements of my expressions; thoughts are as corporeally real as poems or readers of poems are is my neurobiological stance. Any supposed deficiencies of this ontological gesture aside, for myself, at present, then, I desire further to impress you only with their ethical supplements. Poets express themselves to others as they are, they denude themselves to the caress of the other who faces them. Poetry changes things even just because it is an expression *from* one *to* others; the aspect of change registering in this "to and from" already quite apparently. The hands that turn a poem change the world as much as the hands that turn a screwdriver. Or the mouth that speaks a poem changes the world as much as a mouth that kisses you. No act, or behavior, or corporeal movement of the world is without consequence, in end.