woof woof

MisSa Dada was not a group . Knot that group that. but a group of . other than. its obvious significance. to whirling roun the cosmonaut~ ~

___________________

this way you can hold your nose up pod carrier . its dangerous in the air
daguerreotype

you think your body is cute but its not half so bad
as the winking sailor's that's kicked your whore around

speaking of changing its revisions plastic feet do the trick

summer __ you're a cheap date or tawdry partner undanceable bane

(bawdry as the bering strait)

(strait is the fate of
elm and polar poplars)



withered by the hour

guarded by the sunset wrapped by the quota buried by the


(her comment is iconic lovers
clunked in the ornate)



boondocks whizzed by prose knackered by cherry-trees




(over the side
man
over the
)

a sunset galloped



(this
has
tried)





living room with no itinerant intent to cleave





them'd be

breezy tunes
hefted by walks
merry chase


and every daily geese


________________





after that she speak lover's mouth
south of her grinning
we'd speak its weeping eyes to nothin' doin'
roun the unkempts faculties
you'd hear the cafe
tapping
spoons



in our room

our room


_______

in the mouth all sorts of things lodge. is that reside? no preside its residual swamp.comfort. of lovers past tense. bodies huddled in quilt. not guilt. or the messy shame many've tried. a dozen and more will go no . weeping as it say. some to this.s undown none ~ come to bear ~ .


_______________________

them that would be are
are they now?
indeed they was
in~ word forward ~
for_word reward~


_________________

and say

and

say the fa ct that the guy in the picture is moving

and his hair is long and there's nothing else he can do but give up

and the girl's naked and got no clothes and she wants her and he wants her and she wants her and her wants something else

and that's the way it goes when the coo-coo desisting desirs uncoded

go maxi flow maximum no mini-coat maxicoat and the religious ethic's mixed up

with the coded social ethic and

yer socius has a coded background

and her arms are Modigliani but her body is wired strange for admiring other women

and burrowing her head in the sweet taste of woman

and you can't find your plate and the whole has topped stopped and toppled its heat

O Topos of tropos____________

nit to secret age its rain

that was Lawrence striding down the 4th dimensional street

eternity beckoning at his heels

he's a musician who's papa done

outlive d the

death of death the terribilita

of

Euripides Europe

back then

no you don’t mean a miniskirt with the ass showing or the cleavage clearing or the wasted ruins of capitalist pleasure showing or the exhibitionist delight in her ass hanging and the ipod and the eyephone with the walkie talkie and the 2311 songs downloaded from limewire and the satellite dish hooked to the back of the water bottle and the politically correct out in the open three by four love air affair and the improv course and yoga the yogurt and somewhere

GoGo boots her ass ‘shaking’ blonde dyed superjet white I don’t know how todesribe defrag it hair and hairum and marram and grass is green greener on the other side and this is the holy trinity of your Love Light let it rescind on me on the me that is personal egoic shine Tibetan book of the dead plateau bardo bardo bardo bard a bard in theland of bardo land barred from the bars an d its that plateau shit mate its that plateau shite yer down at the mouth you old lover yer the pentagram next to the hip swinging love making bodies all the day long

_______________________________

comment: this a poem you wrote|

you play horn cello and basoon|

je pense

I think someone will teardrop a shedding eye
when Lawrence fourth person Ferlinghetti passes on
as he 's the oldest of the old of the old poets
and his books and drawings
and them sometime afternoons
and the Braque painting or the twist of the secret wink
in the Andalusian maid
and the editor and Tyrannosaurus Rex

and his other numerous
achievements and shrewdness all these years
these decades

these cafes

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Exhibitions & Collections

Le fruit permis

1956

Author : Tristan Tzara (1896-1963)
Artist: Sonia Delaunay (1885-1979)
Published: Paris, Caractères, 1956

Sonia Delaunay played a pivotal role in the development of the French artists' book during and after World War I. Together with Blaise Cendrars, she created an illustrated book bound in concertina folds over two meters long (La prose du Transsibérien, 1913) which is now considered the most innovative book of that age, with its rapid succession of art movements. She also remained active after this, and collaborated with another author after World War II: the Dadaist Tristan Tzara, whom she'd known for a long time. The French artists' book in this second period was mainly defined by lithography, as employed by printer Mourlot for art dealer and publisher Maeght. This was the age of lithographical books by Picasso, Braque, Miro and later Bram van Velde. Delaunay however didn't employ this method of reproduction for Tzara's poems, creating original paintings instead. She created four of those gouaches for this book, Le fruit permis, published in 1956 by Caractères in Paris.

Simultaneity
Sonia Terki was born in Gradizhsk in the Ukraine and came to Paris via St. Petersburg in 1905, where she married gallery owner Wilhelm Uhde. Although she had already been in contact with the French and Russian avant-garde, Uhde drew her into the direct circle of artists like Braque, Derain and Henri Rousseau le Douanier. In 1910 she remarried painter Robert Delaunay. Together, they developed a theory of colour based on scientific research that demonstrated that to the human eye, blue is different next to green than it is next to red, and that some colour contrasts create the illusion of movement. The Delaunay couple's concept of 'simultaneity' worked with colour contrasts and dissonants. They used simple basic shapes like circles and squares.

Initially Sonia Delaunay broke away from the traditional division of paintings by choosing a different medium: the embroidery of tapestries. This way she could abandon lines and choose instead for colour planes, for which she envisioned the colours of Rousseau (she therefore took note of his use of colours, while others criticised him for his naïve style). She came up with thousands of variations on these basic shapes, decorating any item that came within her reach. First inside her home: quilts, book-bindings, trunks and clothes. Later, outside her home as well: costumes for films, theatre and ballet companies (the Ballets Russes), curtains, rugs. She produced designs for Metz & Co. Even a Citroën car had its turn. The effects may be compared to those of the German Bauhaus movement, with one critic remarking that Delaunay achieved in France by herself what it took a whole school to accomplish in Germany. Her first simultanistic piece was a quilt for her son Charles in 1911. It is a remarkable work, the more so because the actual cubism of Picasso and Braque's collages had yet to begin.

Dada
The poet Tristan Tzara was born in Romania, wrote the first Dadaist text in Zurich, and introduced Paris to Dadaism in 1919. Sonia Delaunay engaged in a lifelong friendship with him that began after Robert Delaunay had contributed to the magazine Dada. Tzara wrote a poem for Delaunay at the opening of her boutique Simultané at the international Art Deco fair of 1925. The Dada movement was described as nihilistic due to its systematic attack on grammar and word meanings. Tzara was interested in primitive modes of expression, but would later develop into a surrealist, and later still into a lyrical poet. He was a supporter of the communist party; he was also an active member of the resistance during World War II.

After World War II Sonia Delaunay illustrated two of Tzara's books. This first work contained nine poems and dates from 1956. Delaunay elected to do the illustration in pochoir, using templates from which the painted area had been cut. A template was made for each colour, so the combination as a whole had to be considered in advance. She usually had the templates made by others; the actual painting in gouache (in aquarelles as well in other books) was manual work that she did herself. The borders are a little frayed, because she wanted to emphasise the manual work by avoiding mechanical lines. Some borders and planes have been visibly altered by pencil; the colours don’t cover the designs completely, leaving the work slightly transparent. The colours are still extraordinarily fresh, lively, intense, even frisky, and convincing. The book's typography is unremarkable. It was printed in an edition of sixty copies. This is copy number 10, signed by Delaunay and Tzara.

Bibliographical description:

Description:	Le fruit permis : poèmes / Tristan Tzara ; avec quatre compositions au pochoir de Sonia Delaunay. - Paris : Caractères, [1956]. - 56 p. : ill. ; 29 cm
Printer:	Caractères (Paris)
Edition:	60 copies
This copy:	Number 10 of 60 on Marais
Note:	Signed by the author and the artist
Bibliography:	Monod 10799
Shelfnumber:	Koopm K 345

References:

• Stanley Baron, Jacques Damase, Sonia Delaunay: The life of an artist. London, Thames and Hudson, 1995
• Sherry A. Buckberrough, Susan Krane, Sonia Delaunay: A retrospective. Buffalo, NY, Albright-Knox Art Gallery, 1980
• François Buot, Tristan Tzara, l'homme qui inventa la révolution Dada. Paris, Grasset, 2002
• Dominique Desanti, Sonia Delaunay, magique magicienne. Paris, Ramsay, 1988
• Michel Hoog, Robert et Sonia Delaunay. Paris, Éditions des Musées Nationaux, Palais du Louvre, 1971
• Sonia Delaunay: Rythmes et coulours. Paris, Hermann, 1971
• Sonia & Robert Delaunay. Paris, Bibliothèque Nationale, 1977

Cover

Gouache by Sonia Delaunay

Title

Gouache by Sonia Delaunay

Edition statement, signed by Tristan Tzara and Sonia Delaunay

Page 13

Colophon

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• 1951 - 1960
• Le fruit permis

Koninklijke Bibliotheek - National library of the Netherlands

O thi s is...

____________________ EnLarge You Tube To NUETOOB~ go beyond the concentrations of obvious territory making yer dadaphaphaphaphapha roam

by way of EyElasHIioUs or Not

Sophie Taueber is not

delauney is not Lady T Sophie

and her type of painting is not cubism
nor is Arp and chance of choice
Cubism ~



or the slanting building lanscape of tilting cities and their
stovepipe angles and their worried rummage sales and their love affairs

Nor this Eiffel Tower with its love machines furtive
encounters and every other fairy tale of love

delauney is not taueber

delauney is not taueber

and her type of painting is not cubism
nor is Arp and chance of choice
Cubism ~



or the slanting building lanscape of tilting cities and their
stovepipe angles and their worried rummage sales and their love affairs

Nor this Eiffel Tower with its love machines furtive
encounters and every other fairy tale of love

Faciality ~ and what was the hidden visage of ~

__________________________

Here is an image I fooled around with . Playing with simple things adding taking away.

The face _ it's always elusive _ even when clasped with love .

ioftenwonderewhyyersotouchyabout


thatconcentoftheschizoidyoubeingsoliteralheartedwhilehopingforsomethingbigger

If Dada Bc Aduffy come around the pearl neclace does that mean she /he are weirs troubled out to sea?

Does the Dada tomorrow mean the mAma today how they worked around the infinite night ~ .


_______________________________________
to be a n Arpian
cut the eyes
add
paste

to become a Sophie (that wordwhich's wisdom)

Taeuber

add slanted buildings?

______________

curtain cloud

this was the rag woman notion

Bc got the low-down (and out) on notion ~ its trellis work. wrought steal. or cameo topictura.a democratic carriage of concentric percolation. __; she is haberdydasherdy to its number of trival; sell, out to rink soaking rinse, the structure of choice; the remainder of womb; the sudden of ajectival archival; close to one near arriva[l]. departure not close, or sapience as knowing your near my notion. You got the notion. Not a brob, but abob, agog, so it go. Whence your fortune; cookie. Not guild and build nor bildungsroman.

Word smuggler to here. Hear that notion.Notion peddlar rag bender. So c to d was c.c. to b.c.

the din the din my dear is deafening
yet the noise of her thigh ~

so thethethe'n

yes and Aunt Mathilde had had an affaIr with some fella who knew Tzara's son Christopher, the physicist. is that you spell it? so, anyhow, aunt Mathilde who was my grandma's sister, who was a gal worked at Zigfield folly's brought us to Paris, she had been a scandal gal when she was there in the 30's caught in some torrid love melodrama with the family and friends of the above named poet, T.T. Well, that same fellahin later was crucial to & scandal has it he was my Pop. But when I got born, turns out I was not human, but a mere flic of the becomings native natal narrative crisp as Rice Krispies and popsicles. what can ya do?

I never went to no illiteratre school so I was a hungry girl till I met fleck again In Paris sometime in the years when Guy Debord was doing his thing. Ya know, letters and all, psychogeography and so o.n. I went to school at Vincennes and learned from professors Deleuze and Lacan and others all about Immancence and flow and then became a girl.

I was born to blow
become
& flow

the (e) ke _ y

is to keep working. as play becomes it s name.a s snip snap to repair is erased as the spontaneous osprey shakes her hair. in the harem the bodies wore night as veils. besides vellum what was there? one asks pretending an old answer

olde r
than the question the ancient day of antique

_______________________
dear heart your gramaphonetic is breaking to the duel of its antiphony silent

as the lure repatriating its love


and the dance and the dance the dance
its the stripled hearing mating its friend careened by french

___________________________ One thinks of the You
predicated to its long squeezed lover her diction pressed tight to her breast
open mouthed to her baby milk
suckled by the dry heat of pride

____________________________________ You wanted to hold this danza?
______________________________________You of all people matched
_____________________________________by the steeple of forgetful hands

helding yours cupped by its run of strength

_______________________________________________ sang genius as the pane____________


didnt you know the
incomplete has always been fair
game to love
_________
open your coffin
letting the turtle out

love your heart a big brained skipping thing
but between your ass your thighs not the marrying kind
as human distress signals milk's been your baby
lifted by the rush of your angry err

________________________________________________

does this reckon its melody?
capture its tear
come again
mingle
midget to the forest
of barrier
and complete
fruit

________________________________________________

hush ugly one
keep going
the keel's drifted over your soft
bay your rage
at loving
what can only conclude
with fairness
not weather
or
say two and four
create
a bloc
of time
hammered to pressed makings

____________

wasnt it a case of the kettle calling the coal balanced white? or not balconied black?
you see now how working is play hangared over biplanes lifting their silver sovereign feet

_______________________________________________

a cheap skate_ say this was you

a rubber tube_ this the me supposed

a hose for lady hamlet's thigh

its girth well bred

midnight's flown

come home


______________________________________

I know secrets only you can conceal


_________________________thus the cinnabar collates

_________________________ painting our face with lacquer

___________________________the brush fine as a detailed comb ~
__________________________________ for your lips
these between things
or the other ones crushed by your laminated thighs ~

as lovers do
they do ~

do ~

to T

backto the repair shop Mister Triste non tristeeeeeeeeeeeeeeeeeeeeeeeeeeeeeback to th e repair

shop
MiSteRR Tttttttt ~

tristan is not trist 'e ~

Tristan and his manias his over other lovers

under tree and table subway and skytrain hovers the gantry
make wheels pinwheel
nose dives by factories and bus terminals
_________________________________________

biscuit tins
lover's wraps in forwarded hips __________________

hipping along the buttoning avenue Tzara was not sad

obverse of hill and dale
rumoring the desire of breast in mouth
mothering the thought the calliope

the epic simile of her hip verse smile ass her sex

needing the houred momentous of encounter and hour glass
bubble butt
heart shaped african volute and violet of her memory smile cave



every eros a page to her eyes touch
tristan milk shake and the american pie
not half mast at her thought but blindness at her desire

forsooth the many in the one
belly baring daring spring of her flesh

tristan remarkables the word unmade in bodies of desire heps the sing the bodies of desire

cries cries the high sign the name of at the hour

second axes of climax

___________________


saying william
william
where are ye?
_________________________


sk that again
a salad in a handy one

clippin g between each tree many feet.
whispers round
your neck
kisses to your toes for tristan clippin g for trist

____________________________




how can the word sleep ?
its bear trundling long hard and puffed fisticuff
over the road we went
motorcycle hill
remembering catching baiting

in the _e living roo ~ m

in the living room we fall. kissed by brain cells. our brain to brain over the slippery hip of your thighs.

not this but between islands

-----------------

inthisbedroom we're alove

what is this about ?

w

what is this about numbers? or saydada marries mary. or

contrary she find picabia rammed against a wall.a mirror. hammering the

__________________
therewere many dada scholar. none as cute. as you. she recall her tiny uncovery a cicatrice wound to fruit its fine.