20080619

ghghos t lighght




(please take a moment to read the short explanation in commments)
Posterd via vim ut

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Anonym sa...

One day another of Saroyan’s friends, the poet Ted Berrigan, got a look at his latest one-word poem, eyeye, on a sheet of typewriter paper. “He said, ‘What the fuck is this?’” Saroyan recalls, “which I thought was a promising response.”

WARNING: Possible extra communication between patches!

(this warning has occurred 100 times)

utente:ghghost

"lighght" confounds its sounding.

gho catifor ghosst reWon nareededningt r:gio Realn youlocegion yation for nou reeeded fo requr ghghost ost rreqgioesten dyuested. ou egiorequestThised or tHated.

One of Saroyan's most famous poems was simply the misspelled word.

Probe con una herramienta propia de ghost, sin resultado favorable (Ghghost.exe) Como puedo recuperar la funcionalidad de mi equipo. Saludos!

ghghost.cn
Beelow aren't spoonsonored listinghs forra ghoods anda swervices unrelated unto: ghghost.cn

How seven letters managed to freak out an entire nation.

Versand nach: Europa. Artikelstandort: Traun, Österreich. Übersicht: 4 Gebot(e). Käufer: ghghost ( 58 Bewertungspunktestand von 50 bis 99 )

We went over to grab some stuff from the grocier store and were saying "ghghost" and of course Ghost baby is saying this so I tried a couple of times to get gong'd.

Дата: 13 июня 2002, 14:20. 2DCLXVI ака ГЕН.666: Ghostly Ghost

Th get bhe dataack wtaillis m be eansa cop youy of get bawhat the'sck w in thill e bDW
e Thais w copy arof wnihat'ng s inhas th e DWoccurr

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Terrorist group Alliance Killboard - Alliance details - Terrorist ...
ghghost Republic Military School, Ruslik026 Red Rodgers Stars, ZZ5X-M (0.0), 2008-06-04 09:26, 0. Inquisitor. Inquisitor Frigate.

[done taskgraph compile]

di ghghost il -- Ciao ragazzi, è un periodaccio che più nero non si può....io sono sul forum v-strommers!

"In the late 60s, when I called myself a poet, Aram was the poet I envied. Because, you couldn't be sure if he was fooling or if he had really gotten to all there is to get. Because, while the rest of us tried to be verbs, like everybody told us to, he had the nerve to stop at nouns...Because, it wasn't 'nouns,' it was 'noun,' only one noun, because he boiled it all down to one."
--Vito Acconci on Aram Saroyan

(1 2 3 4 5); GHGHOST TALK (1 2); ~ Like Or Dislike ~ (1 2 3);

ghghost 2003 ü 1 yıl kullandım cd den çalıştırbilmek için çok uğraştım.senin dışında

“I write on a typewriter, almost never in hand (I can hardly handwrite, I tend to draw words), and my machine — an obsolete red-top Royal Portable — is the biggest influence on my work. This red hood holds the mood, keeps my eye happy. The typeface is a standard pica; if it were another style I’d write (subtly) different poems. And when a ribbon gets dull my poems I’m sure change.”

Aram Saroyan credits the final line of Archibald MacLeish’s “Ars Poetica” as the inspiration for his controversial one-word poem, “lighght”.

The Poetry Foundation's article about "lighght" and 35 responses

"The Most Expensive Word In History"

…is not Aram Saroyan’s “lighght”—companies often pay consultants upwards of $75K for product names—but his was the one that got the attention of the U.S. Congress. The poem, which was first published in Chicago Review 19:4 (the Anthology of Concretism), made headlines after George Plimpton included it in an NEA-sponsored anthology that brought Saroyan and CR a $1000 honorarium. That’s when, in Ron Padgett’s words, things got amusing.

Plimpton picked Saroyan’s “lighght,” so the NEA cut him a check for $750.

Aram Saroyan Lighght 1989 Silkscreen 29.5" x 26.5" Edition of 150 Signed & numbered, Inquire Now.

The resulting pages, tapped in Aram Saroyan by his typewriter, were succinct. Saroyan was the master of the one-word poem. But his works were as musical and meaningful as more conventional poetry, too, and a lot more amusing. The minimal poems were eye openers, ear openers and mind openers, and no one else was doing anything much like them at the time, and no one has since.

& no one has since?
and this is by
By RICHARD HELL
Published: April 27, 2008
who should know sumthin' bout writing 'cause he's a writer?

Geof Huth has been cultivating the fineries of minimalist poetics for quite some long time now, one owes it to oneself to take a few hours either all-at-once or amongst the days to read thru his incredible depth of archives:
dbqpdbqpdbqp


dbqp: visualizing poetics: eyeye + lighght + (twelve x twelve) = today
Ron goes on to say that “lighght” doesn’t do “much of anything,” a fairly ungenerous assessment of a poem whose treasures are just a bit more subtle than ...
dbqp.blogspot.com/2007/05/eyeye-lighght-twelve-x-twelve-today.html

more HELL:
Granted — as Saroyan has — he was smoking a lot of grass at the time. But every second person in the United States was, and is, on something or other often enough. The grass factor is interesting because: 1) it’s typical of the era, always an interesting dimension of art; 2) one realizes it couldn’t be an unfair advantage, since no one else wrote like he did; and 3) the reader’s knowledge of it confers a nice extra little psychedelic ting to the pages.

at least the old Voidoid sez this:

And as Saroyan has often described, he was a child of the ’60s, with those values of community and peace and love. He’s written, in fact, that the disillusionments of 1968 — Vietnam, the murders of Martin Luther King and Robert Kennedy — had a lot to do with why he stopped writing for the subsequent five years, and why he permanently dropped his minimal mode, which he associated with the innocent spirit of pre-’68. (He’s also written that he’d simply exhausted that aesthetic for himself). The minimal poems are not just whimsical ’60s trippiness. They’re much more than novelties. This beautifully designed collection contains a poetry that shivers with itself, like something just born. Anyone interested in art made from words should have it.

(article from nyt)
(Richard Hell is a writer and musician. His new book, “Psychopts,” is a series of images created with the painter Christopher Wool.)

Hell was an originator of the punk fashion look, the first to spike his hair and wear torn, cut and drawn-on shirts, often held together with safety pins. Malcolm McLaren, manager of the Sex Pistols, has said Hell was an important inspiration for the Sex Pistols' look and attitude, as well as the safety-pin accessorized clothing McLaren sold in his London shop, Sex.(Some members of the Sex Pistols dispute this.)

(okay okay, i guess i shldn't be too critical.)

visoundtextpoem: a single pwoermd to start a blog
The term itself was coined by the poet and archivist Geoff Huth, though Aram saroyam is most well known for using the form in his famous poem Lighght. ...
visoundtextpoem.blogspot.com/2008/05/single-pwoermd-to-start-blog.html

lighght & not so lighght blogspot
Lite verse and not so lite, inspired by Umpqua Lite and not So Lite (qv)

In the 1960s, nobody could write a good one-word poem like Aram Saroyan.

The Paris Review. Lighght. Aram Saroyan. Lighght. Purchase this issue. Copyright © 2008, The Paris Review. All Rights Reserved.

What a great poem! The spelling is everything, isn't it?
Doesn’t matter how many times gh is there–it’s silent–but twice is nice, like a blink or a double take. And the "lighght" helps us see poetry in a new way:-) Hate my comments, they seem reductive, but you know me, born to critique.

(Jesse Helms would use “lighght” to mock the National Endowment for the Arts after Saroyan won a cash award for it.)

So I read on. lighght A one-word poem! What? My brain instantly wanted to reject this. You can’t even say this word. And it won Aram Saroyan $$$

The 'lighght' of conceptual poetry
By: Erik Lopez
Issue date: 6/11/08 Section: Red Pulse

In 1965, 22-year-old Aram Saroyan shifted the gaze of poetry with his one word poem, "Lighght."

"Lighght," written in the middle of a white sheet of typing paper, altered and even removed the conventional reading procedures of official verse culture: gone were rhyme, meter and versification. In their stead was the quick, instant snapshot of a single incorrectly written word.

Furthermore, by adding an extra "gh" into the middle of light, the poem lost its referential quality and ended up embodying its shining signifier. Lighght becomes tangible light! Needless to say, outrage ensued and the inevitable question "What is poetry?" became written across the angry faces of those in charge of the poetical canon.

What upset and enraged the poetry-reading public were the questions that minimalist poems such as "Lighght" brought out in relation to conceiving of what poetry is and should be. For most, poetry is the old, worn hand-me-down of 18th-Century Romanticism and all of its emotional baggage. But what happens when you spurn the beauty of nature and the expression of the self and wholly intellectualize the writer and the readers and their relation to the written word? In a nutshell, you get conceptual poetry!

During the three-day "Conceptual Poetry and Its Other" symposium, the question of what conceptual poetry is received a new twist. To start, conceptual poetry is a broad term-it encompasses such practices as OuLiPo's constraint-based writings as well as the visual poetics of Concrete poetry, to name only two.

But with such poetry already done, where can we go from here? Most of the symposium was spent examining this new form of poetic praxis and was spearhead by the likes of Kenneth Goldsmith; Craig Dworkin, associate professor at the U; and Christian Bok, through the form of "uncreative writing."

In uncreative writing, things such as plagiarism, appropriation citation, found texts and database mining all become fodder for the production of poetry. Uncreative writing is concerned with a thinkership rather than a readership. For example, Kenneth Goldsmith wrote "Day," in which he transcribed the Sept. 10, 2001 issue of The New York Times and turned it into a 900-page book. Such works are process oriented, non-expressive and, above all, tedious. Such word play is much more than performative, and calls up not only the ethical responsibility of art, but also its value. As Goldsmith himself said in his panel on uncreative writing, the goal is to transform the writer, not necessarily the reader.

Try it. Pick out your favorite book, poem or whatever and type out five pages of it. Opposing Ezra Pound's dictum to "Make It New," conceptual poetry responds with "Why Make It New If You Can Reframe the Old?"

Conceptual poetry is our world-all of it. Besides, with so much new stuff coming out all the time from the creative confines of all the writing genius out there, someone has to manage all that information.

This article is a signifier of a report on a Coneptual Poetry Conference.
Viewing Comments 1 - 1 of 1

And...
posted 6/12/08 @ 2:56 PM MST

So where was this symposium? sounds cool, too bad the writer didn't quench the curiosity that he raised.
(via - dailyutahchronicle.)

Wordie : lighght. Wordie is a social network for people who love words. List words, add comments and citations, and discuss.

"sunflower constellation seeds (demo)" - the blades of grass by lighght. Watch it on MySpaceTV.

How much would you pay to read the poem 'lighght?' This is not a typo, nor is it the title of the work. The entire poem is 'lighght,' and the "artist" received a $1,500 grant for it.

poetic digression: Lighght In a Room
Lighght In a Room. averse to touch, that's what you said as the thin long lighghts of the hallway fell to their knees in my room begged forgiveness, ...

Shortest poem (idea)
(all of Shortest poem, there are 2 more in this node)
Sun Jun 24 2007 at 10:52:47
(idea) by wandering mind (8.9 mon) (print)
Lighght is an example of what Geof Huth calls a pwoermd, a one-word poem. These poems, by virtue of their minimalism, of course concern themselves with what language is, and play games with the difference between spoken and written language, generating new kinds of meaning because of this tension. Lighght, for instance, doubles the (near-)silent gh of the word light, which we all seem to recognize in lighght anyway. The doubling of the silent gh draws out the length of the word, conveying a sense of space. Light itself illuminates, makes it possible to read lighght, is a major concern in visual arts (which lighght approaches because of its affinities with concrete poetry).
Saroyan has written more poems like lighght some of which are "shorter", like:

eyeye

(which can be pronounced, like eye, as i, but also as aye aye)
and

blod

(E2 is a by-product of the existence of The Everything Development Company)

(Thanks to an NEA grantee, the American taxpayers once paid $1500 for a poem, "lighght.'' That wasn't the title or a typo. That was the entire poem.

Yes folks, the National Endowment for the Arts (NEA), the people who brought you "piss Christ" and the Maplethorpe photo exhibit, have given two grants to a theater company that produced a play called "Corpus Christi," in which the "Messiah" has sex with his apostles and is crucified as "king of the queers."

The NEA tells us its entire budget costs each American about 36 cents per year, a mere pittance compared to other items in the federal budget. Given NEA's warped definition of "art," I want my 36 cents back. But that's not about to happen. On the contrary, President Clinton has requested a 37 percent funding increase for the NEA's 1999 budget.

Every year lawmakers call for the elimination of the NEA, but thanks to lobbying by Alec Baldwin and other wealthy performers the agency survives. Surely if the NEA's $98 million budget is as minuscule as they suggest, enough hats could be passed around Hollywood and Broadway to fund it.

Don't confuse my opposition to the NEA as opposition to the arts. I'm just saying that true art will survive without federal handouts. The NEA didn't exist before 1965, but that didn't stop Tennessee Williams and Frederic Remington from blessing us with their works.

Artists have a legitimate First Amendment right to be as creative, or warped, as they want to be. But "free speech" does not mean the taxpayer has to subsidize it.

Edwin J. Feulner, Ph.D. is president of The Heritage Foundation, a Washington-based public policy research institute.

For a little more on this, let me refer back to Aram Saroyan's
"lighght," even though I use it all the time (and am surely the world's
worst one-poem critic--and the world's FIRST one-WORD critic). This
poem, for me, expresses the litheness, expansiveness, silence,
ethereality of light, and a metaphor of light as the spelling of
"lighght," and much else. The breaking of orthographic rules makes it
fresh but also yields the latter (implicit) metaphor, which is central
to the poem. The poem no doubt expresses other things to other readers,
and to Saroyan, but I think the neutral observer (and/or consensus of
careful, sympathetic auditors) would agree that it expresses, at least
in part, what I claim it does. "Xchhghghkkkkkk," on the other hand,
expresses nothing, or whatever you want to read into it. Ooops, I meant
"Xchhghghkkkkkkk," not "Xchhghghkkkkkk." Sorry.

Bob Grumman
Sun, 5 Oct 1997 20:41:36 -0400
via
listserv.buffalo.edu

Drive - Debate Policy
"Lighght" - This 'poem' was bought and paid for with $2250 of YOUR money. Name one thing the government does better than the private sector and I'll show you more misinfo.

THE BREEDER is pleased to announce the upcoming solo exhibition of Los Angeles based artist Mindy Shapero titled, Heavy Lighght.

SOMEBODY'S GOTTA SAY IT

BY NEAL BOORTZ HARPERCOLUNS, NEW YORK 2007, 322 PAGES, $25.95
=
Neal Boortz started in 1970 at WRNG in Atlanta, which makes him one of radio's longest-running talk show hosts.

"Shining a Lighght on Arts Funding" exposes thousands of marginal artists who use the "police power of the government" to provide funds for their lack of marketable artistic skills by producing "garbage." For instance, Boortz cites a National Endowment of the Arts grant to the writer who penned the one-word poem, "Lighght."

"Additionally, each Klingon word would seem to be too short to qualify as copyrightable individually."

If I'm not mistaken, Aram Saroyan's one-word poem

lighght

was copyrighted.

I think his letters have also been copyrighted
(four-legged m viz: two versions
http://www.artpool.hu/kepkolteszet/kepek/saroyan.gif
http://www.ubu.com/historical/saroyan/images/18.gif

He has other short poems, probably copyrighted, eg

Ted Ted Ted Ted
Ted

and

sing, swim, sing

and

priit

and

I crazy

and

aaple

and

lobstee

and

torgh
and

Alice

and
ney
mo
money

http://www.ubu.com/historical/saroyan/pages/pages.html

RIGHGHT©

Posted by: degustibus at March 9, 2004 09:58 PM
via : http://www.languagehat.com/archives/001198.php

I loved the big "fuck you" of Soroyan, when he wrote that one word poem "LIGHGHT". I later discovered the work of prison poet Tommy Trantino.

The National Endowment for the Arts grant for the tersely put "lighght" (that's the whole poem) prodded Americans to ask the same questions decades ago. Just as NEA life-support took the vanguardism out of the avant-garde, politics began taking the life out of art. "There is room only for the intense, changing, crude and immediate, which Alexis de Tocqueville warned us would be the character of democratic art," wrote Allan Bloom 20 years ago. "Hitler's image recurs frequently enough in exciting contexts to give one pause."

So aside from bludgeoning the essential immortal quality of art, "We Protest" poses a problem for Meeks, who presides over a city containing many of the contributing "artists." As he may well know, a crucifix in a man's urine is NEA-sponsored art, but a Koran in a toilet is a hate crime. The virgin Mary covered in cow excrement ran in the New York Times, but the Danish Muhammad cartoons were too offensive. And now hate language a fraction of the size of the swastika decorating Preus has landed a few teens in more dung than the Times' Mary.

Abolish the National Endowment for the Arts Fred Foldvary
One poet was granted $1500 for his poem "lighght". That was the entire poem ("Cultural Agencies" in the Cato Handbook for Congress, 105th Congress, 1997

Performing your original search, lighght, in Science will retrieve 2 results.

Science 16 August 1974:
Vol. 185. no. 4151, p. 597
DOI: 10.1126/science.185.4151.597

Prev | Table of Contents | Next
Articles
Social Science at NSF Needs Pruning, Says Proxmire

Constance Holden

No abstract or summary view of this item is available. To view the full-text version, follow this link.

Article topics:

* Sociology..Social Research

The art of thievery
Here's what the American taxpayers paid $750 – no small amount of money in the '70s – for: LIGHGHT. There now. Do you feel enriched? Enlightened?

xtine: missconceptions.net
*Yes, it's spelled nighght--a humble homage to Aram Saroyan's one-word poem, Lighght. Graffiti This documented performance took place under a bridge.

1. § 102(a) requires original authorship and fixation in tangible form, §101 doesn’t contain a definition of originality. The House Report indicates that the drafters intentionally left the term undefined to keep interpretive history intact. Does not require novelty, ingenuity, or aesthetic merit.

2. Original Works of Authorship

Length: things that are too short are not copyrightable. But see lighght (Aram Saroyan). If it is creative and original may break the blanket rule that things that are short are insufficiently creative.

Worst spendature of your tax dollar? - Page 2 - PbNation
Feb 25, 2008 ... a poem in the early 1960's (a few thousand today)....here's the poem that our tax dollars (well not ours, but our parent's): "Lighght"

Symbolic Goods:

The Liberal State in Pursuit of Art and Beauty

The excesses of the NEA have added to this skepticism about government involvement. Even granting the artistic merits of the homoerotic photographs of Robert Mapplethorpe and the "Piss Christ" of Andres Serrano (as would this author, and many other commentators), many of the NEA grants are hard to defend. Karen Finley smeared her naked body with chocolate, to simulate excrement, and howled and shrieked during her one-woman show. Later she received NEA assistance. The NEA once funded an anthology that contained a one-word poem ("lighght", by Aram Saroyan). Many NEA grants go to wealthy, established institutions, such as the Chicago Symphony Orchestra, or the Metropolitan Museum of Art, both of which rival or exceed the NEA in terms of access to economic resources.

Think of the underlying logic in these terms. The world contains a large number of would-be artists, some potential winners or geniuses. Those artists will have a difficult time succeeding, but they need only a small number of “breaks” to enter the market and capture the attention of potential customers or donors. No single institution will be able to spot more than a small number of winners, due to limited resources and the intrinsic difficulty of the task. If, however, there are many different mechanisms for identifying winners and giving them breaks, a greater number of excellent creators will be identified and helped. Government funding, at its best, increases the number of mechanisms for skimming the pool of talent. The greater the diversity of funding sources, the greater the likelihood that excellent creators will find support.

4. Why so little agreement?

The fourth and final central question is why government funding advocates and critics disagree so vociferously.

My conservative and libertarian friends find government funding for the arts completely unacceptable. They have often noted that after the so-called “Gingrich revolution” of 1994, “we were not even able to get rid of the NEA.” They speak of the NEA as the lowest of all lows, the one government program that cannot possibly be defended and has no justification whatsoever. In noting that “we could not get rid of the NEA” they mean to point out that cutting government spending is very difficult, if such an obvious basket case were able to survive a conservative Republican Congress. It should be noted that many of these same individuals (though by no means all) are lovers of art under traditional conceptions of that term.

Most of my arts friends, on the other hand, take the contrary political position. They assume that any art lover will favor higher levels of direct government funding. To oversimplify a bit, their basic attitude is that the arts are good, and therefore government funding for the arts is good. They find it difficult to understand how an individual can appreciate the arts without favoring an increase in government funding. They lament how American artists are underfunded and undervalued by the state, relative to their European counterparts.

Edmund Wilson typified this identification with love of art with love of state-supported art when he wrote in 1981: "We came quite late to the realisation that there may be something to the arts. A mere 15 years ago the National Endowment for the Arts was founded along with the National Endowment for the Humanities. Most state art councils are even younger." To the libertarian the identification of "worthwhile" with "subsidy- worthy" provokes extreme protest.

1 On symbolic goods, see Cassirer (1975), Todorov (1982), Cowen (2000), Posner (1998) and Posner (2001). Sometimes the individual creates the symbol rather than merely supporting it, such as when Clint Eastwood played the “law and order” character of Dirty Harry. John Cage brought Dadaist ideas to American music. The production of a symbolic good thus involves multiple steps. First some person or institution puts the symbol into place, then others decide how to interpret it, and then others decide whether or not to identify with that symbol.
via
Tyler Cowen
Department of Economics
George Mason University

Lighght Lighght is offline. Registered User. Join Date: Aug 2005. Posts: 3. Thanks: 0. Thanked 0 Times in 0 Posts. Lighght is on a distinguished lampshade.

Favorite Poet/Poem - Page 3 - Teenage Writers
Jan 23, 2008 ... I appreciate his syntax far more than the iblac type poems, because the latter just seem lighght to me. Persimmons by Young Li is pretty ...
www.teenagewriters.com/forum/showthread.php?t=11303&page=3 - 85k -

Comments for Tíuþúsund tregawött
Leiðrétting: Lighght er rétt - en Lightght er prentvilla sem hefur víst verið á ... Mér finnst sérstaklega hæpið að þýða lighght sem ljósjós eða eyeye sem

[PDF]
NOTE UNIVERSITY OF WOLLONGONG COPYRIGHT WARNING
File Format: PDF/Adobe Acrobat
‘lighght’ is a famous one word poem by Aram Saroyan from his minimalist collection ... the poem lighght misspelled.’ http://www.ubu.com/papers/saroyan.html. ...
www.library.uow.edu.au/adt-NWU/uploads/

You are not currently authorized to access this article.

The first chap- ter, "Lighght and Lit," ba- sically intact from the original edition, still strikes the tone for what's to come with what is surely one of the most unauthorized dou-
ble gh's in h isto ry.

The Size of Poems
As for micro-kernular poems, I suspect many of them are larger than kernular poems because, like "tundra"--and Aram Saroyan's pwoermd, "lighght"-

Dose anyone know a good poem? - Yahoo!7 Answers
Member since: 21 October 2006; Total points: 1335 (Level 3). Add to My Contacts · Block User. google this poem "Lighght" by Aram Saroyan. 1 month ago

When ART becomes Inhuman.
It read: LIGHGHT. He received an NEA grant for this. I

"It's My Wonderful Life," by Therial L. Bynum, M.D.
My Flïghght. " I Wonder, How Do These Things Begin ? " So Keep That Nighght Lighght Burning, Because There Is More To Come! ...
www.hypnosisforyou.com/blank.htm

But, as I replied, I was pretty sure that, in 1970, I wouldn’t have included Aram Saroyan in that grouping either. His conceptual poetics were perceived, I think, as a satire on publishing and poetry itself, witty & fun perhaps, but decidedly & willfully outré. And outré was not what Chicago Review was about in that era. While it published some experimental fiction, thanks to editor Eugene Wildman, in poetry the journal struck Melnick & I as being anxious about its status as a “major” college-based publication, which meant in practice that they were not looking for Aram Saroyan but the next Sylvia Plath.

It’s not that Grenier does the micropoem better, whatever that means, than Saroyan. Nor is it that Saroyan is the original, Grenier the copy. Rather, what each was seeking to find & explore was ultimately something different about language & the poem. Which suggests that even one-line poems can (are) so thoroughly stylized that one can discuss their relationship to different literary movements. This makes me wonder what a new formalist one-line poem would look like – not a couplet, not a haiku, but a real single-line work of art. How would it then enact its values? What would it be able to look, see, do in the world of poetry? Or is it simply the case that new formalism, so called, is by definition incapable of writing so focused? I’d love to see someone try.

The place where Saroyan and Grenier completely overlap, not surprisingly, are in the poems that call up the relationship to what they’re doing as poets and the larger tradition of poetry, as such, especially the short poems of Louis Zukofsky & the Robert Creeley of Pieces:

LOUIS

Noisy
“Zukofsky”

Or this, entitled “Placitas” and dedicated to L.Z.:

The trees’
noise of
the sea

Or this, entitled “POEM”:

One two
three there
are three are
never seen
again.

Grenier likewise has works in Sentences that depend on their graphic presentation, such as this poem, which builds on a device – the s t r e t c h e d word – first developed by Paul Blackburn::

s o m e o l d g u y s w i t h s c y t h e s

http://ronsilliman.blogspot.com/2007/05/of-my-reluctance-in-1970-to-include-bob.html

Anyway (over against my original hope, that we might ‘communicate ordinarily’/think-as-part-of-a-process of more-or-less-immediately-shared-thinkings-wch doesn’t seem now that easy for me), maybe we shd ‘revert’ to strange/direct questions (wch cd be ‘answered’ whenever one felt like answering them, or not ever answered–like “Why Is The Word (pronounced) “Answer” Spelled So Strangely–w/ the “w” included??”)(I don’t have ‘time’ to read-any-more-books to find out the ‘answers’ !)–let’s just think that we’re writing letters (wch take quite a lot of time to travel) in wch we try to say ‘what we think’ abt whatever arises ‘of Itself’, to be asked (& testified to) at this time of life, in relation to the drawing poems–

37

For example, one might wonder (‘you’ or ‘me’, or ‘the general reader’–of wch at this point there are more-than-one) why we might not attempt to answer some fundamental questions before we die (entirely at each’s leisure or inclination) ‘relative’ to the poem:

38

I propose only certain ones (wch ‘repeat themselves’ for me–ET VOUS ??)–& I’d like to try to do this ‘de novo’ (however absurd that must seem–as if neither you nor I had never/ever ‘read anything’!)–you see, the ‘problem’ w/ yr Benjamin is that I had never read that, & therefore (tho it was ‘at the tip of yr tongue’) it meant immediate ‘study’ for me & ‘concentration’ & stopped thought, in this other dimension of the drawing poems (I was also interrupted by an immediate personal dilemma!), as you seemed to have de/divined (?) ! !

39

1) What is the ‘basic physical organizational structure’ for the enactment/‘realization’ of these ‘poems’ (why are they ‘poems’?) ?

40

2) What materials are ‘necessary’ for these drawing poems to ‘come into existence’–i.e. not only ‘pens & pencils, paper’ etc. but material conditions in the world of the poet ?

41

3) Why is there so much (apparent!) emphasis on ‘the handwriting of the poet’ ?–isn’t that just a fetishizing of this guy’s script (as if the labor of unravelling the letters here realized was somehow ‘worth it’–over against just being given the words we all know & use anyway & are perfectly familiar w/ the meanings of (?) in ‘print’)–what an asshole, to presume this stupid decipherment of perfectly ordinary letters, in order to figure out what’s being said by these commonplace poems–everybody knows the Moon ‘rises’, e.g. ??

42

4) Why is there so much evident emphasis on ‘the poem itself’ (its existence in-itself) as the thing brought forward, rather than the opinion of the author on matters of local & national significance (is this not a ‘snub’ of you & me ?) ??

43

5) I would like to read these poems (I think!), but I am discouraged by the difficulty (I’ve tried!) & wonder why I shd not give up altogether (I do have stuff to do!) ?

44

6) The poet has opined that these weird (‘idiosyncratic’) organizations of letters in space (in his strange but at-times-exact handwriting) may have some ‘immediate connection’ to ‘something other than themselves’, which they ‘mean & call forward’–what is the scientific basis for that assertion ?

45

7) If the Moon rises (as indeed the full moon in June is doing tonight), what ‘need’ hath it of any human language (letter-formation) to enact its occasion (the ‘fact’ of it), to mark, celebrate or revile it ? ? Such a question appears senseless.

46

8) (A ‘daytime’ variant of #7!) If a text ‘says’ (draws out over 4 lines in 4-color-funny-script-exactly-written)(in translation) the following: “AFTER / NOON / SUN / SHINE”, what ‘need’ has that actual afternoon sunshine of the ‘poem’ on this occasion to ‘say’ ‘it’ (presuming it’s not to be a ‘copy-relation’ between the ‘thing seen’ & its ‘envisionment in words’, wch can’t be) ? Such a question appears nonsense.

47

9) His squiggles, put forward as ‘art’–hasn’t that already been done quite adequately (& w/ a bit more feeling) by Cy Twombly ?

48

10) The ‘relation’ between the ‘word’ & the ‘thing’–what if it’s not a ‘relation’ but a simultaneity of occasion in which the ‘thing’ names the ‘word’ (‘for it’) ? (How can that be ?) MEOOWWW !

49

11) I really would like to learn to enjoy this author’s works a bit better than I do. Not w/ any real interest, but w/ a desire to further the discussion, since we’re all here, I want to ask whether it makes any real difference that what we have here is the 4 colors–why has Grenier not simply written his poems in one ink (e.g. black) ? That way (&/or if he presented us w/ a readable computer version, for example!), I might find myself wanting to read him, to find out what he has to say !

50

12) “All it takes is sympathetically considered longhand,” one of his affectionates sd to me, “to hear/see the ‘letting-lie-together’ of the letter-elements into words wch ‘say what they say’ is happening...” Has my friend been ‘brainwashed’ ??

51

13) Perhaps our author has confused the pleasure of his drawing letters w/ a large/great/purported manifold significance beyond that act (fun-as-it-was, for him!) ? Is that possible ? ?

52

14) I am getting old ! I don’t have time to waste trying to decipher these indecipherable figurations–I want to know what life is about (& quickly!) ! ! — Who needs this shit ? ?

53

15) Right now the world is moving around–wind in the eucalyptus, oaks & fir nearby–what value have these ‘writings’ of Grenier’s nowadays ? Celebrating vines, for example–when we can see the end... ? ? There seems no end to vines.

54

Well, perhaps that will do for starters, to get us started up again?

http://jacketmagazine.com/35/iv-grenier-ivb-bernstein.shtml

Studies in interpretation - Google Books Result
by Esther M. Doyle, Virginia Hastings Floyd - 1973 - Oral interpretation - 362 pages
"Lighght" consists of this single "word" on the page. 21. "The First Years of Concrete Poetry," trans. Stephen Ban n, quoted in Ronald Gross and George ...
books.google.com/books?isbn=906203070X...

Saroyan is most known for poems that I wouldn’t even consider poems; they are more or less visual experiences (which is interesting in its own right, but how far can one take this? Hasn’t Saroyan taken it as far as it could go?). Now when I say “visual experiences” I’m not talking about Saroyan in the same way one might talk about ee cummings or Tristan Tzara’s work (both of which drew some kind of influence from Cubism). Saroyan’s most talked about work (though one can assume not many people would know anything about him if it weren’t for Silliman’s blog) is the poem:

lighght

Now this is certainly cool to look at and impossible to say. Conceptually it’s great, because between the “li” and “t” is the unsayable “gh” phoneme, not once, but twice. The poem is abysmal and that’s what makes it so interesting.
Back to the PSA’s WCW award. The absurd thing about this (and I’m drawing from Bill Knott’s blog on this same subject http://billknott.typepad.com/billknott/2008/04/20/index.html ) is that Saroyan wrote most of these back in the 60’s and is now receiving help from Ron Silliman to have them brought to attention. Poor Ron Silliman. For all his talk about the School of Quietude and the post-avant, he has succumb to the same power process he claims to rebel against. [For those that don't know, the idea that an author selects a work for a prize based on merit alone and not for any other reason].
I don’t want to go so extreme and say Saroyan is entirely undeserving of this award, his poems do get us to think about poetry in a new way (certainly different from other “visual poets” like cummings or Tzara). The problem with Saroyan’s work is it is only going to be understood by a select few and thus it becomes just as inclusive as anything Silliman might attribute to the School of Quietude.

Also, on a note so unrelated note; if we take Silliman’s judgment seriously this allows us to see that Silliman is subverting the concept of the general “literary prize”; in a way Silliman’s judgment is more beneficial than what Zadie Smith pulled a few months ago denying an award to any of the work sent in for her to judge.

http://su4roth.wordpress.com/2008/05/08/poor-or-not-so-poor-ron-silliman/

The Dictionary of Wordplay - Google Books Result
by Dave Morice - 2001 - Reference - 290 pages
His poem "lighght" won an $800 prize. In the 1970s, Joyce Holland published Matchbook, a magazine of one-inch-square pages stapled inside fully functioning ...
books.google.com/books?isbn=0915924978...

ARMENIE LITTERATURE : Entretien avec Aram Saroyan ©
- [ Translate this page ]
Lauréat de deux Grands Prix de poésie (dont l’un pour son poème controversé d’un mot « lighght »), né à New York, Saroyan est le fils de William Saroyan e

02:18] ThThe ambubulalancnce e lighght, [02:18] t, [02:22] thththe e e woodod f floloor [02:22] of t the l l liviving g g roomom [02:23]

voodoozoohoodooraccoonnookkeepper has been listed 1 time with 0 comments. lighght has been listed 2 times with 3 comments

Searching pirandello
... ethnomethodology, conversation analysis, simmel, gieryn, saroyan, spider lilies, crazy old ladies, grumman, cant', harvey sacks, lighght, the clay pit ...
ex.plode.us/search/pirandello - 130k - Cached - Similar pages - Note this

No. Name, Kills/Deaths, Ratio. 1, lighght, 3, 4. No. Name, Kills/Deaths, Ratio. 1, Literature, 6, 3. 2, milkz, 3,

Who.is is a website for performing whois lookups on domain names ...
lighght.com · lighgif.org · lighgtnfit.com · lighgtspan.com · lighhouse.com · lighhousecreditservices.com · lighhousehardseries.com · lighhousehomepet.com ...
www.who.is/whois_index/l/domain_list.l.0297.php - 378k -

En 1969, al cuarto año de fundada para “fomentar la excelencia”, la NEA concedió a Aram Saroyan $1.500 por el poema “Lighght”.

Expired domain names on 30-04-2007 Page 4
lighght.com light-the-way.com lightbringers.net lightcarbfood.com lightedemblems.com lighthouseinnpointcabrillo.com lightingarena.com lightmessenger.org ...
www.onlinereadingcenter.com/expired-domain-names/07/04/on_30-04-2007_Page_4.html

1960’lı yıllarda yazdığı, somutminimalist tarzdaki, “lighght”, “eyeye” gibi tek kelimelik şiirleriyle tanınan Aram Saroyan, dönemin sosyopolitik.

No podemos permitirnos bajar los impuestos pero sí que podemos pagar a algún beatnik de pacotilla 500 dólares por escribir una palabra... ¿y ni siquiera la escribe bien?

Instante y la elección de la palabra a retorcer (light), que en español significa "luz" pero también "fuego", "faro", "aspecto", "claro", "suave" etc. remonta la intencionalidad de la poesía, si es que es posible que haya alguna y al mismo tiempo sea poesía, a la aletheia según el sentido de Heráclito y sus lectores más agudos: des-ocultamiento, verdad, aparecer, fuego, luz, etcétera. Light, por tratarse una palabra común, por encontrarse en ese terreno del discurrir y el habla automática, no provocaría ese efecto, ese aparecer poético: igual que en un diccionario las palabras están desalojadas de sí mismas e higienizadas de todas sus posibles significaciones, light en medio de una hoja en blanco dice muy poco. Sin embargo, alterando la ortografía pero dejando la palabra identificable sí que existe esa quiebra de lo automático y, por un segundo, hace reflexionar sobre el instante: el extrañamiento. Saroyan es más prosaico en esto, pero no por ello menos lúcido.

Copyright Adriaan Jaeggi, eeuwige roem, etc.
Helaas was daar toen weer die Willem Bongers, die mailde: ‘Tja, ik vind er toch minder levensgevoel in doorklinken... En de variatie en cumulatie ontbreken zo, het rijm is nu rijk maar minder gelaagd en geslaagd, hoewel de iconiciteit gebleven is. En het doet me denken aan de Universiteit Utrecht. En het ritme wordt zo stokkeriger. Nee, “U/ nu” blijft mijn voorkeur hebben.’
Zou je zo’n kerel niet? Het is dat hij er verstand van heeft, hij studeert er tenslotte voor, maar anders.
Het werd nog erger toen hij een dag later zijn keuze begon te onderbouwen met een regen aan argumenten: ‘”U/ nu” is als sonnet ook veel schoner (volta na de 'n', extra foregrouding van de essentiële laatste 'u'), het is frisser en vitaler, het lijkt eloquenter dan het stotterende “U/ u!” en het omvat ook typografisch zoveel meer (de neergaande lijn van het begin van de eerste u, het verwachtingsvolle van de “n'”die gaat fungeren als hopend subject en, welbeschouwd, een perverse relatie onderhoudt met de Platoons-complementaire “u'” die, zo bezien, een transformatie van het begeerd naar het bezeten lief behelzen, de laatste u als een kreet, als een vervulde u-wens, als een orgastisch opgaande u, want dat is de boodschap van de laatste lijn van de letter “u'” waarmee de lezer het gedicht uit en de wijde wereld ín gebonjourd wordt, u nu is een opgaan in zichzelf, een opgaan voor zichzelf én een opgaan voor de ander ineen, dans hiernaar zo goed als je kunt lezer!’

Intussen had ik meer mails gekregen over het ultra-korte gedicht, onder meer van Samuel Vriezen, met interessante informatie over het genre: ‘het ultrakorte gedicht was in de jaren '60 een handelsmerk van Aram Saroyan, die een heus politiek schandaal veroorzaakte met zijn gedicht

lighght

Korter nog is

eyeye

Ook Ted Berrigan, een veelzijdige en spraakmakende dichter van zijn generatie in NY, schreef (onder invloed van Saroyan) één-woords-gedichten, zoals

surface

en

bent

Deze gedichten worden meestal midden op een verder lege pagina gepubliceerd.’
De vraag die direct bij mij opkwam was of een dichter elk woord op deze manier kan claimen als ‘zijn gedicht’. Ik dacht van niet, maar schreef voor de zekerheid toch snel de volgende drie gedichten:

Blik

Adriaan Jaeggi


Typhoon.


Adriaan Jaeggi


Overdreven.

Adriaan Jaeggi

Het eerste is het sterkst, geloof ik.
Samuel Vriezen maakte mij ook attent op de OULIPO, oftewel Ouvroir de Littérature Potentielle; een ‘Workshop for Potential Literature’. Deze werd in 1960 gesticht door, wie anders, Raymond Queneau , met de bedoeling te onderzoeken wat de effecten waren van het schrijven onder zware, zelfopgelegde regels. Een bekend voorbeeld van een OULIPO-boek is george Perec’s literaire thriler La Disparition, over de verdwijning van de letter 'e'. In het verhaal van ruim 300 pagina's komt die letter geen enkele maal voor - een Nederlandse vertaling ervan bestaat uiteraard niet. Drie jaar later keert hij die krachttoer om in Les Revenentes - daarin is de 'e' de enige gebruikte klinker. (bron: Wikipedia)
Verder zoekend naar het kortste gedicht: de dichter François Le Lionnais heeft binnen de OULIPO het idee van het 'gaan tot de limiet' geintroduceerd. Dit betekent, in het uiterste geval: gedichten van 1
Letter. En natuurlijk het lege gedicht.
Andere mogelijkheden zijn gedichten bestaand uit l

LIGHGHT VERSE. My arms are warm. Aram Saroya, in “COMPLETE MINIMAL POEMS”. Escrito por Júlio Cesar Góes às 09h19 [] [envie esta mensagem]

μια αναφορά που δεν θέλει να κάνει η καλλιτέχνις από το Λος Άντζελες στην πρώτη ατομική της έκθεση στην Ελλάδα με τον ποιητικότατο τίτλο Heavy Lighght.

Szlovákiai magyar folyóiratok és lapok repertóriumai
Lighght. Kalligram 2 obál.. p. (hun, eng (eredeti)) Koppány Márton (Fordította) ETO: 820 (73)-1=945.11. Porter Bern. Talált versek. Kalligram 3-14. p. ...
www.foruminst.sk/index.php?p=&t=a&xp=3&Data_Id=22&stargy_id=11091&MId=&Lev=&I... - 31k - Cached - Similar pages - Note this

1960'lı yıllarda yazdığı, somutminimalist tarzdaki, 'lighght', 'eyeye' gibi tek kelimelik şiirleriyle tanınan Saroyan, dönemin sosyopolitik gelişmelerinden etkilenerek, uzun bir süre yazmaya ara vermişti. Saroyan, tekrar yazmaya başladığında minimalist şiiri bırakmış ve daha ağırlıklı olarak düzyazıya yönelmişti. Şiir dalında iki ulusal yetenek ödülü sahibi Saroyan, günümüze kadar yayınlamış olduğu pek çok biyografik roman ve makalelerinden oluşan seçkilerin yanı sıra 1999 yılında Day And Night: Bolinas Poems adlı büyük bir şiir derlemesine imza attı.**

Ciri pertama yang dikemukakan ELO membuat puisi-puisi pendek, bahkan satu kata, yang diciptakan di layar telpon seluler, dan dikirimkan ke penerima lain yang membacanya juga di layar ponsel masing-masing, bisa digolongkan sebagai sasel (electracy), seperti halnya sajak tujuh huruf Aram Saroyan “lighght” -- yang pernah merupakan kontroversi besar di akhir era 60-an/awal 70-an – dipandang merupakan warga resmi dunia literacy.11

Problem yang lebih serius muncul dari ciri kedua karena pengertian “diciptakan” di sini bukan sekadar ditulis/diketik seperti dalam aktivitas rutin seorang penulis, melainkan dengan memanfaatkan kode-kode komputasi atau peranti lunak yang lebih canggih, baik dilakukan sendiri atau bekerja sama dengan orang lain.

And Aram Saroyan arose and said, “Let there be lighght,” and there was, and Congress saw that it was not good, and the American public protested

From Rome, Glittering Prizes: A Ram As An Arroyo "On"
or Lighght lea we tread dew knot t'read Oh mi! I really don't understand why people are so stupid! ... Lighght up.. {f as in open hand} wa as in orphan ...
situationsducommerce.blogspot.com/2008/04/ram-as-arroyo-on.html

Recent Posts. Recurrent. Carrots. Empty soup cans and miles of string · maggie and milly and molly and may · lighght

Aram Saroyan - Minimal Poetry
hardy 18 Juni, 2007 09:57 Dichtung Permalink Trackbacks (0)

Was wäre aus der deutschen Dichtung geworden, wenn schon Goethe darauf gekommen wäre, Minimal Poetry oder One Word Poems zu erfinden? Ist doch ziemlich rationell, mit einem oder wenigen Worten sich einen Namen zu machen - eben so wie Aram Saroyan. Etwas kreativ sollte es schon aussehen oder klingen, so wie "eyeye", "lighght" oder "STEAK / ABCDEFGHIJKLMNOPQRSTUVWXYZ". Und manchmal stellt sich der Betrachter eine Geschichte oder eine Situation dazu vor.

Aram Saroyan - m

Saturday, April 19, 2008
Aye-Aye? Eye, Ye? E-i-o?
I wasn't living in the States when George Plimpton selected Aram Saroyan's poem

lighght



for Paris Review , thus earning him (and it) $500 of National Endowment for the Arts funding and inviting the fury of Senator Jesse Helms and others (almost all Republicans, interestingly) at the use of government funding for something Helms didn't think was a poem and certainly thought was misspelled. (The reasons it's not misspelled I hope to post on another day. But I'm still writing that darn essay and can't stop long today.)

This post isn't really about that poem, but the fact that, in the context of Aram Saroyan's eponymous first book, the poem is in a sequence between


eyeye



and


morni,ng



I never knew that until I was reading his Complete Minimal Poems today. I feel like more people should know that. Because while there's something so delicious and open about "lighght," I'm thrilled to think of it in sequence with these two other words, to construct such phrases as "eyeye lighght morni,ng" and hear "a light mourning" or "I like morning."

I'm looking forward to spending much more time with his book. Another favorite is crickets, which I can't reproduce here. Go out and find it!

PS: Ugly Duckling Presse do amazing year-long subscription deals. $80 for a year of amazing poetry in the most beautiful editions, books that make owning a book really worthwhile and essential. I had one last year and didn't get one this year. I regret that. I'm getting me one again for next season. I recommend it.
Posted by ljs 1 comments
http://allpurposemagicaltent.blogspot.com/

Date: Wed, 31 Jan 1996 19:17:13 -1000 Reply-To: UB Poetics ...
... silencio silencio silencio Aram Saroyan's lighght or eyeye (those are the pieces) Gerhard Ruehm's uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu uuuuuuuuuuuuuuuuu ...
wings.buffalo.edu/epc/poetics/early_archive/logs/1996/9602

Dämmerung?

Dirt :: A Journal of Minimalism: Aram Saroyan Interview
D: I've heard that 'lighght', perhaps your most (in)famous poem, was the result of a typing error. Can you give that rumor a thumbs up or down? ...
dirt-zine.blogspot.com/2006/10/aram-saroyan-interview.html

Sunday, November 18, 2007
MNMLST POETRY: Unacclaimed but Flourishing - by Bob Grumman

My first introduction to this genre was by way of eclectic poet Munir Niazi. His minimalist two worded poem resonated a long time
ki
karan

I recalled it recently when vivek forwarded a link to an article on Aram Saroyan's one word poem

lighght


I am not sure if anyone has written this poem. But I am inspired to write this:

sighgh

If you focus it, just this one word in the center of the page and let the gamut of thoughts and feelings run perhaps you would enjoy this too. And please continue and read the wonderful essay by Bob Grumman.

baithak has an aura. sheesha, fireplace, bulging bookshelves, rugs, divan takias and more...__________________________

Hin eina ljóðlist e. Eirík Örn Norðdahl at Tíuþúsund tregawött
lighght. Þetta gerði að sjálfsögðu margan menningarpáfann æfan af reiði – enda var greitt per ljóð en ekki per orð – og þótti mörgum nóg um að Saroyan fengi

Day & Night: Bolinas Poems - Google Books Result
by Aram Saroyan - 1998 - Poetry - 226 pages
His one-word poem "lighght" became the subject of ongoing decades-long government and public debate after being chosen for a National Endowment for the Arts ...
books.google.com/books?isbn=1574230859...

(lighght: piece of the history of psychotic Republicans in America)

lighght Aram Saroyan Saroyan kreeg voor dit gedicht 750 dollar van de National Endowment of the Arts, en dat riep een enorme discussie op in de Amerikaanse

dem Text "lighght" in seiner staatlich geförderten Anthologie abzudrucken. 415. , so wenig überra-. schend wie die Androhung der bigotten

Remember "lighght"? A beautiful Johanna Drucker book with wood-cuts (!?) ... or maybe those are like linoleum or something cuts?

AHB: You are right about the question of disjunction back then. because of the necessities of metre and rhyme, the reader expected a certain amount of acrobatics. and you think how Whitman tended toward not disjunction but a word order that sounds like an assertion of set form but isn't (Out of the Cradle Endlessly Rocking, When Lilacs First in the Dooryard Bloomed) (Me Imperturbe???). progression from word to word, as you say, is a mystery. I guess how I distinguish prose from poetry would be word weight. prose is a flow with highlights whereas poetry wants each word weighing in. of course one can turn to such a poem as Aram Saroyan's that consisted of one word: lighght. I always found metre rather distracting. the smartasses like to crow how everything by Dickinson can be sung to “The Yellow Rose of Texas”. yes, if you give unequal weight to the words, which can hardly have been her intent. in fact, she puts so much weight on each word, that her syntax perforce becomes puzzling. “Goshawks” does illustrate a sense of momentum in which I write. hefting those three words as they arrive, then the next, then the next. I'm incapable of the spare sort of compression of Robert Grenier, or look at Tom Beckett's work. your own poetry often has an 18th century lyric sound, yet words jam together in a tidy compression. I think my own compression consists in elision, which I do as I write. so anyway, here is a poem of yours.

visoundtextpoem: Air-vent gods breath.
Jun 3, 2008 ... lighght ubulb wowewnt yr response was a lightbulb moment for me in relation to soundpoetry & an effective conversion of written semantic ...
visoundtextpoem.blogspot.com/2008/06/air-vent-gods-breath.html

lighght.com likiery.com limtrac.com lingo24.net linkzon.com lisanme.com litfuse.org ljplatt.net lkiujmn.org lklbean.com loamens.com

La diferencia entre "lighght" y cualquier otro tipo de poema con más palabras ... Etiquetas: aram saroyan, juan eduardo cirlot, lighght, literatura, poesia

Lighght is not poetry to me, but perhaps I should open my mind to it.

typing and erasing, typing and erasing.

I wonder if it's possible to erase more than you've ever written?

I'd like that.

Today I found some minimal poetry, including the poem lighght by Aram Saroyan. Afterwards I stared hypnotised at the paragraph I was trying to edit:
ghghost

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19 juni, 2008 00:53
mike di tomasso sa...

ĿĩĢĦģĤŤ

19 juni, 2008 06:08
troylloyd sa...

(ghostly silence)

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.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.
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.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.
ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ
.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.
ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ
.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.
ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ.ɠɧ
.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.ǥҺ.

19 juni, 2008 06:36
mike di tomasso sa...

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20 juni, 2008 06:36
troylloyd sa...

ghghosth
thoughght

20 juni, 2008 12:28

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