thinking through Sawako Nakayasu's _Pink Waves_

I'm trying to organize my thoughts for my Monday evening meeting of Ekphrastic Practices. We're on our fourth text, Sawako Nakayasu's Pink Waves, which responds to/ekphrasticizes many things, but notably: Waveform from Amber DiPietra and Denise Leto & Adam Pendleton's Black Dada manifesto.

It's pure chance, but the Pink Waves are colliding with my bedside book, Claire-Louise Bennett's Checkout 19: both are studies in what the face and the ear do while the brain (and the face and ear) are READING.

I saw that Suzanne Scanlon's recent writing referenced Joseph "Brodsky’s admonition that the only true subjects are Time and Language"  . . . and of course I agree and of course I'd like to add to that reading, which is of course Time & Language & the Face & the Ear and beds and chairs and waiting rooms and trains and basically time-travel, or Memory.

The only true subjects are Time & Language & Reading.

Bennett: "The words on the right page do indeed make us peculiarly aware of our face. It is our face? Is it? Well?"

Nakayasu: "i want a very animal claim . . . i think that some people just never stop writing . . . history is a cube in the foreground i prick my ears to the back[.]"

--What it means to collage Conceptualist methods & Lyric methods (thanks to Toby Altman for sending me this a long time ago: Lyric Conceptualism, A Manifesto In Progress | The Poetry Foundation) in service of REFUSAL . . .

Or: I like those things together. How when public and private language intermingle, you've produced a kind of refusal of syntax.

And I think that Collage & Refusal are more of a holding the line tactic: "refusal to participate in [someone's] version of understanding" is a "geometry of affect" . . . 

and the tactic of collage (isn't Nakayasu's book also so much like "Lord Randall"????? Or maybe ballads are also riding the waves of influence/inflection) is TIME & LANGUAGE.