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Effectively Calculable & other poems

By Michael Aird.

Effectively Calculable

Everyone plays a part in our day. Humpty Dumpty—we need every piece babe. C’est la vie. In the sense that my DNA doesn’t take calls or make jokes. I’d like to compete here with the idea that all the King’s men is the King himself, and vice versa. That’s passed to the people now, precious unity of babbling voices. The process of assembling bodies has never been this personable. With enough petitioning, there’s bound to be a state subsidy for having the head move in conjunction with the hands and feet. Do you feel imbalanced? Six out of ten people similarly see themselves inside the outside at the heart of the normal run of things. To put it otherwise would be pure violence, as if he wasn’t pushed from the wall, but fell of his own accord. That’s to create something out of nothing—say the missing mass that passed right through your fingers, like sand or time. Detection might just mean recording the screams of this singularity after it has fully gravitated toward a state of necessary disrepair. This is no cause for alarm, but its effect is potentially on a collisionless course with the nature of struggle itself. For instance, I can’t be properly recognized by such an inarticulate heap. And yet, I have never worked to produce the language that in this case can be portioned off and packaged home. The fantasy, then, would surface as the medication of not the symptoms so much as their representation. That way I can still hatch potent surprises like myth or folklore. I am thus a terrorist in Yemen, an oil magnate in Houston, an egg in mid-air. No simple conjuring trick is going to definitively settle whether the keys to the ranch that I busy myself rattling actually open anything. No exorcism is going to draw out the truthfulness of the truth that his is a shell of who I am or what I’ve been. What is most frightening is that at the last minute you might pull off the mask to reveal that you’ve pulled the whole face off as well. The buzzing so-called—it could be of indirect discourse. In Beckett’s stage production of his text Not I we therefore find the sole focus on the curvature of a mouth around somewhere in there my entrails under a microscope…bicroslope…likerpoe. The standard candle coming to illuminate how with great effort I finally put this sentence back together again. But I have to say that the last word has kept the first word waiting far too long—if like a crab you could go backward. What is the matter? Of extraction, extraction in all possible directions (one has to realize that the ghost is there, be it in the opening of the promise of the expectation, before its first apparition), extracted in the name of another time or another tool. He wanted to store the potential to retell the story. With whatever was lying around. Closing in on how your face is the same as everybody has, equally hard to identify. Neither more nor less: how once you’ve cracked once there is no going back.

Le Moindre Ingeste

Generally, I take the greatest amount of pleasure in walking from my desk into the kitchen. It takes 12 unhurried paces to reach the middle of the kitchen area. I usually move backward 3 paces to get access to the fridge. About 9 paces in to this journey there is a long, thin mirror that I often stop in front of. The bathroom is 4 paces from the kitchen, and I typically visit that location also, by turning to my right and retracing 2 of my original steps, and adding 2 more. I invariably end this set by taking the almost direct 5 paces out of the bathroom that lead to the kettle. Of nearly equal pleasure is the 4 paces from my desk to the computer area. This is frequently coupled with a visit to an adjacent bookshelf, or can alternately become a subset of the kitchen visit. Seldom, in fact, is this particular movement complete in itself, unless of course it represents the terminal gesture of the very first bathroom visit of the day. That specific collection includes an arrangement of the bed, bathroom, kitchen (kettle), and finally computer area. My least favourite series is that terminating with the bedroom. From my desk it is 7 paces to the bed; from the kitchen, and likewise the bathroom sink, it is 8 paces. In this sense, the bedroom can function as their arbitrary intersection, although the bed is often empty, seeing how I occupy the observer’s position, and so am removed from the count. Very seldom is there another warm body (or every possible x) to correct its vacuity. Further, the bedroom series almost always involves a continuous mapping from one of the other trajectories. So, if I move from my desk to the kitchen, there is not an infrequent possibility that I might overlay those paces with a corresponding move to the bedroom and back again. Sometimes I do this for no other reason then to dispel the abnormality that the kitchen itself defines the kitchen set. Or to be more accurate, I plainly forget why I have come into the bedroom, but nonetheless highlight to myself how engaging the kitchen in my mind serves as a prototype to the whole movement. Where all of this breaks down is when there is not a suitable restriction to categories of my movement, in thought or otherwise, and the whole space is universally seen as comprised of one movement, so that it is subject to such facetious commentary as I walk from here to there to here. I could just as easily suggest that I walk from here to here to here to here, where each of the individual entries of here might represent a location or a number of paces or both. The ambiguity could be deepened with an introduction of a there, which might come to mean a negation in the form of retracing, if not backward movement, not to mention a stasis. This would become natural if the there were to appear as the last member, but were it to appear in the middle of a series, questions would arise as to what in fact opened the new interval. Personally, I would suggest the kettle and the brewing of tea, but this would be merely contingent. The fuzziest feeling comes from lining up all the possibilities and attempting to guess which one might be the guess of someone being forced to guess. In this case the item selected would prove to be the necessity of excluding the selection, but only in the sense that at this particular moment I had moved on.

My Fickle Mistress

Our guest for this hour. You can witness this absence of an ability to attend. The word processor’s one function. Quite readily a breach in the pace of social conduct. Where is near exactly? Without explicitly overstepping my own limits, I might confess. Well, Wittgenstein now suffers from it. It is as if one had altered the adjustment of a microscope. Frankly, out tools are so much better than they used to be. To make an approach is sometimes all we can ask. If you were to read the whole supplement. I might be in pain, for instance. I might not even look at you during large stretches of the conversation. Everything is thus an applied Science, which I did not know about myself. That is, a smiling mouth smiles only in a human face. It doesn’t matter when, precisely, because editing occurs all the time. He is standing next to she who is standing next to he. This will likely be posted moments later. Given the range, speech delays have not been found in every instance. My experience has been that nothing is negligible. Guilt is not necessarily a genetic phenomenon where it has been positively identified. It helps to have your name tag visible when first being introduced. That is like always saying what you mean to say. Between me and you, between languages. It doesn’t hurt to pick up a second or even a third opinion. When pointing to the body, I repeat, this is not infinite storage under any configuration. You have to feel confused first, careless later. While sitting in shirt sleeves and slurping his soup. That is, how much of our thinking can be both unregulated and contracted out. Picture-thinking, in the broadest sense, offers the most continuous results. There’s always a return to the scheduled programming, even where that includes “we’re now going to a break”. Passive allocation of deficits and/or disorders. I’m about to feel competitive again. Just do a search using the terms successful people and impulse control. Actually, we no longer say child-genius, but a brain in its professional capacity. Why not? The suffering of others is relatively easy to get over, depending on the algorithm in use. In fact, arm flapping and unforeseen ticks might prove to be just as effective as a predecessor such as Pigeon Rank. I like to think of remedies like talking to myself in the most up-to-date fashion. See how profitable it is to have a mobile category, not merely an accidental one. You cannot teach its astronomical rise in the last 20 years. Intervention strategies should include austerity measures or a reduction in the number of key terms. The word wall might just contain is, at, and and wailing. Anything else could raise questions about relevance or improper individuation. If we can help it, we don’t want to amplify the space between two objects. For example, it’s not superstitious to say the foot at the end of your leg is still your foot. The best exaggeration money can buy doesn’t have to be expensive. As far as the public goes, this might very well represent an addition by subtraction. We don’t have to agree on what counts as a self-inflicted wound, but we should recognize that it serves to quote a deeper source of agitation. That’s one way of understanding progress, especially if what is beyond the link is yet another link. It’s perfectly natural to vaccinate yourself against taking in such a recognition for the time being. Life expectancy itself is a habitual outburst. I find mostly in the executive function traceable patterns worth anything. In my estimation, this is welcome news to sympathizers and family alike. Tell me more about your relationship. It’s true that information is always forthcoming. Suppose I say of a friend: “He isn’t an automaton”. Suppose I say: “This is increasingly hard to process”. One could be deferred to next week’s segment. That’s certainly closer to the mark or among its properties. Entertaining every possibility is seldom a wasted investment. At the end of the day, it sure beats slipping through the cracks. Could I just about contribute as much and make it a practice.

Michael Aird lives and works in Vancouver, Canada. Current musical obsession = Elinor Frey: La Voce del Violoncello. Current print diversion = Soren Kierkegaard: Fear and Trembling. Current YouTube distraction = Shaolin Drunken Kung Fu. His work has appeared in such journals as Lungfull!, Bombay Gin, Rhino, Salthill, Dislocate, on-line by Word for/Word, Bomblog and Blackbox Manifold. He has work forthcoming with Fence.

First published in 3:AM Magazine: Sunday, September 6th, 2015.