• 1. SET-UP
The object is set before the mind,
either in reality. as in sketching (before a landscape or teacup or old face)
or is set in the memory wherein it becomes the sketching from memory of a
definite image-object.
• 2.
PROCEDURE
Time being of the essence in the
purity of speech, sketching language is undisturbed flow from the mind of
personal secret idea-words, blowing (as per jazz musician) on subject of image.
• 3.
METHOD
No periods separating
sentence-structures already arbitrarily riddled by false colons and timid
usually needless commas-but the vigorous space dash separating rhetorical
breathing (as jazz musician drawing breath between outblown
phrases)--"measured pauses which are the essentials of our
speech"--"divisions of the sounds we hear"-"time and how to
note it down." (William Carlos Williams)
• 4.
SCOPING
Not "selectivity' of expression
but following free deviation (association) of mind into limitless
blow-on-subject seas of thought, swimming in sea of English with no discipline
other than rhythms of rhetorical exhalation and expostulated statement, like a
fist coming down on a table with each complete utterance, bang! (the space
dash)-Blow as deep as you want-write as deeply, fish as far down as you want,
satisfy yourself first, then reader cannot fail to receive telepathic shock and
meaning-excitement by same laws operating in his own human mind.
• 5. LAG IN PROCEDURE
No pause to think of proper word but
the infantile pileup of scatological buildup words till satisfaction is gained,
which will turn out to be a great appending rhythm to a thought and be in
accordance with Great Law of timing.
• 6.
TIMING
Nothing is muddy that runs in time and
to laws of time-Shakespearian stress of dramatic need to speak now in own
unalterable way or forever hold tongue-no revisions (except obvious rational
mistakes, such as names or calculated insertions in act of not writing but
inserting).
• 7. CENTER OF INTEREST
Begin not from preconceived idea of
what to say about image but from jewel center of interest in subject of image
at moment of writing, and write outwards swimming in sea of language to
peripheral release and exhaustion-Do not afterthink except for poetic or P. S.
reasons. Never afterthink to "improve" or defray impressions, as, the
best writing is always the most painful personal wrung-out tossed from cradle
warm protective mind-tap from yourself the song of yourself, blow!-now!-your
way is your only way-"good"-or "bad"-always honest
("ludi- crous"), spontaneous, "confessionals' interesting,
because not "crafted." Craft is craft.
• 8.
STRUCTURE OF WORK
Modern bizarre structures (science
fiction, etc.) arise from language being dead, "different" themes
give illusion of "new" life. Follow roughly outlines in outfanning
movement over subject, as river rock, so mindflow over jewel-center need (run
your mind over it, once) arriving at pivot, where what was dim-formed
"beginning" becomes sharp-necessitating "ending" and
language shortens in race to wire of time-race of work, following laws of Deep
Form, to conclusion, last words, last trickle-Night is The End.
• 9. MENTAL STATE
If possible write "without
consciousness" in semi-trance (as Yeats' later "trance writing")
allowing subconscious to admit in own uninhibited interesting necessary and so
"modern" language what conscious art would censor, and write
excitedly, swiftly, with writing-or-typing-cramps, in accordance (as from
center to periphery) with laws of orgasm, Reich's "beclouding of
consciousness." Come from within, out-to relaxed and said.
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