not everything is about the zodiac, she snarled.

but generally things are, sexfoil, interruption of columns.

the meaning of gleipnir essentially is magnets, a gash in the ricercar. you might feel stupid trying this, but it's worth trying. every night it's always my wife. she holds a feather out. intolerable.

the word in that sense is a sort of cement flake, a braque thru glass pox and the holding air. just take anything chipped off, for instance, a rockface? speaking a low torque off aztec, or norman, air winding with heat from tents in the sinai, sweet cottages of the galilee (Jesus, mebbe, was a greek-speaker) all this being et cetera et cetera. all this being!

the slavic languages are easily absorbed because they center on a void. I mean very straightforwardly. it goes on & on, you stop breathing, a horse in pain or not, but the russians for example don't believe anything. unerring encounter -- this is part of their famously big embrace of the negative, and of the relative, in politics (cccp), philosophe (bakhtin), the arts (malevich, stravinsky, khlebnikov), &c &c. among no ppl I know is the unknowable so gladly central to living.

more to the point --
when we say "Ancient Greece"
we are referring to a geography
fairly commensurate with the sum
of today's Turkey & today's Greece.
it was full of Greekish ppl, speaking
Greekishly. I mean pretty Greek,
basically Greek.
the two main groups who came in
were Turks & Slavs.
the Turks did not learn Greek,
spoke Turkish, for which reason
the part of the Greek world
were they built farms & shipyards
and low stone houses near mountains
now speaks Turkish;
where the Slavs came
they learned Greek right away,
for which reason it is still spoken there,
& for which reason their ethnos
gave us the english word slave.

"The aesthetic regime of the arts," in which "the identification of art no longer occurs via a division within ways of doing and making... but is based on distinguishing a sensible mode of being specific to artistic products," "is the regime that strictly identifies art in the singular and frees it from any specific rule, from any hierarchy of the arts, subject matter, and genres. Yet it does so by destroying the mimetic barrier that distinguished ways of doing and making affiliated with art from other ways of doing and making, a barrier that separated its rules from the order of social occupations. The aesthetic regime asserts the absolute singularity of art and, at the same time, destroys any pragmatic criterion for isolating this singularity." autumn may be coming to new york, and for new york.

just as true:
when the dgews first came from what's france
to what's joimminy, they dropped their lingua pronto.
they had spoken a normannish romance thing,
but presently adopted a heavily germanic sense abt tawking.
the language became yiddish; a few romance words
(like bentsh) survived into it. but mostly just
jerrmin jerrmin jerrmin.
they even called it taytsh sometimes.
as they moved east always further,
met the slavs.
liked how the slavs tawked
& took a bunch of words. but they never never
dropped things out the german frame
as they had the romance.
paskudner & tshaynik & a heft of the syntax
without question are slavic,
but somehow it never seemed useful
to drop what was being sed
& tawk like the locals.
I find this curious, abt the Slavs,
who are among my major language-heroes.

after substantial hiatus of a year or more, I have returned at least somewhat to blogging.