Two of many things are going on in Hannah Weiner’s “Research Important Conflict Two Obediant” (in Writing 25). One is a set of variations on continuous paragraphs of evocative strings in which words are repeated and transposed — a sort of music ensues. And given this texture, it is not remarkable that the proper name of an American composer is inscribed (by steps) into the sequences. We first get a capitalized “Glass” in a flow of uncapitalized words and further on more of the name appears. And likewise the poet’s own name is subject to a morsel-like inscription. And we have music that reads a little like this sample:
stay with the paragraph until omitted some people document please sentence write backward omitted add climax unfit is unjustifiable long sis its silence power spell requires short period put someone would complete and sentence since its say name you would omit object add sentences style like forbidden we live silently handle properly since its long period some complain entrance toward forgive paragraph someone substructure without cruel would understand speak cruel put in words definite destroy attitude your name would add a hurry structure complete put in another sentence end put name say forward always interest own subject corrected substantive in culture object observative slightly awkward sentence
And of course some semantics are at play in these paragraphs that “until omitted some people” carry on and at times incorporate commentary on the proces — just what the introduction of a name might cause: “your name would add a hurry structure”.
And so for day 1028