Sunday, November 27, 2005

Top Up George

First, da word on the war of an immensley talented all new langpo language maestro and full time party host MC Megagag.

George, Swifty and their not so incredible mates are on software medication; pop ups, light tablets and full time injections. Their only desire is to ask for more, with black and white certainties in bullseye tosses, throw after throw, every time, to go beyond and become constantly alive in a tastefully engineered practical frame of pure spectacle.

Not the disposable ones, the freebies and throwaways, the ones they don't want. Not like Dawn's recyclable wrap-arounds; the shiny see through accessories at the OT fashion show. Glasses like that never go out because they're always in, just like George and Swifty and the teams of consultants at the war veterans hospital, the Vale, on ward 11; viewing, watching, making a difference to planetrary affairs and taking a tiny part in the show themselves just by being there on-ward when it's going on. Plugged to the full top up.

Bullsye tossers; addicted to work, play, tlc, a PC, biscuits, tea and a few games of Bully, where they tip the mask and become avatars to deport through fibre as leaders and top bottle-washers heading a cypher mass of conquistidors in lone rule; dominant elites, bossing about all day and the state in welfare others connect with via George, the sling and mockney barrow boy daring himself in the words of lingo laws.

One of Georges many bum lickers, Swifty, is thinking of chancing his arm on a sonnet, as long is it isn't just a jumble of loosely numered lines with between 8-10 syllablles, which the straight "A" gang of Full Dollar, DJ Dazzle, Ron the silly man, and Swifty's fellow colleagues on the rap crew are happy to call a sonnet.

A bit like naming a cardboard box a house, thinks Swifty, just because it has six clearly dilineated boundaries keeping out the terror shapes of a beyond the Full Dollar is scared of, touching cloth about, going beyond, uncontrollable and kacking his load over.

"No," he writes

"they are not the same. Both are seperately seen and their presence noted, should there be a need to do so."

So why do they waffle their wonky words which fool no-one but themselves?

Because the current "debate of dare" lies with 2005's recent TS lecture, which Swifty has just finished reading, and already his thoughts are firming up. His first impression, after he read the title, is that this year's seer in speech speaking his blather, the TS reader podium god; was attempting a Frostean register, because the legend of "figure" appears. George Siertz starts well, thinks Swifty. He can not speak, all is not there as his recorded life begins and he chuggs along great guns, but after finding himself a fair way into the seer's maxims Swifty gets to the proper doings. The twinkling tingle and jolt off full gen. The biggy that won't hide, Swifty learns, is that George began his career in poesy at 17, in a far off past when life was one eternal day of Tir nOg commerce at Poetry PLC HQ where George was a new nobody who new orbits of reality connect through undying, to love always in bloom.

The seer in Siertz is at his physical peak in a paradise of the mind where only thought can roam, when he is shown the identity of an "other", in a piece of text he, the unamed "other" dares to call a poem. The poem of a faceless contemporary, shown to George, by another unamed acquataince playing the linguistically small but syntactically big role of being, just another no-one. He who shall remain nameless; for to do so is just not George's natural way. He does not have that kind of false minstrel mask to don, for within his ouvre there is no make-up and paint bag of the shaman and charlatan whose works on paper are utter bollocks. Not the full top up.

After reading this text George Siertz is outraged at the impertinance of the nameless phoney poet and impulsed to wallow in poesy himself. Show the fakers "what's behind the dream", as the poet Rody Ryan might say, by writing a response. Present himself to the world having "read the commentaries...appearing informed", staying "topped up", and wishing only to motor along like the Mossbawn bard, making pretty shapes in lots of lingo. Dance at disco Parnassus, the posh place with real taste certificates and an upmarket jiggy vibe, getting with it according to the rules, the ones in the cannon, knocked up by the greats who found the edge of mental but weren't bonged out to the bonkers state that gets described as

"superb, wonderful and brilliant" by professional chatterers professing a deep concern with the well being of poesy and her slaves.

It strikes Swifty, that Siertz uses the exact same dodges which he moans about in the first part of his TS essay; about sophistry in language and how

"The terms and turns of speech are part of a discourse that determines outcomes and controls debate" and "language is not a tool but a medium"

George Siertz gave a great long spiel about how language can be corrupted and used to keep the serfs, like himself, downtrodden; the usual guff designed to give off humble word merchant vibes, hinting that he is only interested in truth, beauty and pure art. However when it comes to the turn and the two unnamed bit parts of annonymous poet and unamed fellow youth roll on his stage of page he begins "giving it the big one" about wanting to write because someone he was connected to wrote a crap poem. His relationship with this person is not dilineated or given detail; he is just the blur and smudge Siertz is asking us to trust him on, that he was "lousey", in the Don Patterson way.

George says that this was the first poem he had read written by someone he knew, and it was so false to life his being was overtaken by another worldy spirit and he was forced into action to redress the balance.

Swifty, however, reads it another way, believing it to be an obvious reaction in the jealous 17 year old he imagines Siertz was back then, getting miffed that another may be gifted, just like Swifty is jealous of George? Swifty finds this a more credible plot, as the Siertzean spin George gives is too far fetched for him to swallow whole. Swifty asks

"How many 17 year olds are really wandering round like Byron, Shelly or a young Wordsworth, siezed by outside powers which compell them to right percieved injustices on behalf of art?"

Swifty contests that, the kernel at the heart of this TS delivery is but windy arguments put up by a dreamy youth whose imagination is fizzing on overtime, cluttered up with the flame of fancy and weaving its dream into blockbuster epics where he is the central protaganist, free from moral blemish and here to save the world.

Siertz has a few pops at the Don of last years prattle, and furthers the idea that the poetry world's one constant is the cut and thrust, dust ups, scraps, spats, chance scuffles and protracted battles that occur when poets present themselves through print.

He rehashes the tingling Astley angle about publishers being poets who constrict the market and, in the same breath, says how great and wonderful and how much he respects his own publisher. Cor blimey, knock me down with a lanky streak of soft hair, George Siertz, daring to be different.

But the Full Dollar, the one who Swifty switches off the comment box for because he is a stalker talking scary; beyond the usual. Not the usual anglo, but a born druid and full time wandering bore, with 24 hours of piss poor play in the day with which to entertain his fallow bards, regular readers and fellows at the academy of madness bringing life to deposit. With smoke and mirrors, moonshine, black bag, ops, purple rain by Prince, before slipping into the moniker of artist, formally known as the trotting pompenjay plodding his words, some might say, in the background of sound in the record of Swifty's mental illness, written about as part of MC Megagag's ongoing occupational therapy.

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