#30 OAKENWOLF

for Dorothea Lasky and Thom Donovan

This exercise needs nine consecutive days. Take nine books of poetry by LIVING POETS ONLY, but choose books of poetry you turn to again and again. Choose the order of the books for the nine days, then place an oak leaf (preferably late Spring leaf) in the first book. Sleep with the book under your pillow. Next day take the oak leaf from the book and bite a chunk off and keep it in your mouth. Find a recording of wolves howling from natural recordings, or even a recording you made yourself of friends howling. But if you make the recording, direct your friends to a Rallying Howl, then a Defensive Howl; let them decide what that means. Listen to the recording on headphones and go outside chewing your leaf, keeping the book on you, in a bag, under your arm, between your ass cheeks, it's up to you. Walk where there are people, walk where you can find THE MOST people. Keep chewing with the howling while studying faces and arms, studying how they move with one another, move around one another. Take notes, take as many notes as you can. When you're tired of chewing your leaf move it between your teeth and gums, but don't spit, swallow, don't spit. Remember that this leaf has been soaked in the book while you were dreaming. This isn't about appropriating text, it's about text absorption, the leaf taking on vibratory elements. Take notes about how the leaf tastes while thinking about how the book made you feel the first time you read it. SUDDENLY look up and find someone you are sure would howl a howl you would recognize as one of your tribe, your pack. Take notes about them to you in your world. Repeat this exercise for the nine days, a different book each day, the same leaf though, it's important to keep the same leaf, the leaf building layers of absorption. Now take all your notes from the nine days to make either one poem from all the notes, or nine different poems, it's up to you. If you use all the notes for one poem choose at least 2 FILTER WORDS, but if you write nine different poems choose at least 2 different FILTER WORDS for each poem, keeping in mind that the filter words are merely filters and guides for shaping. Don't worry about poem length, length is more important in bed than the poem.

Click HERE to read (Soma)tic Poetics Outline
Click HERE to see the book (Soma)tic Midge

OY!

VERY EXCITED that my (Soma)tic Exercises just made it into STEPHANIE & STELLA'S HUMP DAY HUSTLER, I'M HONORED! CAConrad

#29 SHOPPING MALL TREES

Go to a shopping mall parking lot with trees and other landscaping growing between the cars to create this poem. Find a tree you connect with, feel it out, bark, branches, leaves. Sit on it's roots to see if it wants you OFF! These trees are SICK WITH converting car exhaust and shopper exhale all fucking day! Sit with your tree friend. Don't pay attention to the cars coming in and out of the parking lot, you're here to write poetry, not to worry about what a lunatic you appear to be. Remember what our QUEEN poet of merging celestial bodies Mina Loy said, "If you are very frank with yourself and don't mind how ridiculous anything that comes to you may seem, you will have a chance of capturing the symbol of your direct reaction." Public Space is not easy in shopping mall parking lots, but calmly explain yourself to the security guard like I did when creating this exercise. They will train a camera on you, but the sooner you get rid of them the sooner you can train the camera of your brain. Take notes, feverishly at first. Use a magnifying glass to study the dirt, trunk, to look carefully at leaf veins and bark structure. Notes, take notes, writing quickly, as if you've just discovered a sleeping creature that may wake at any moment and ATTACK YOU! Smell your hand, smell a branch. Study then the sky and buildings and people and everything, every detail. Face one direction and stare for a few seconds. Close your eyes and while they're closed imagine what you saw. Open your eyes and notice what you missed when imagining what you saw. Study what was missed and where and how it exists in relation to your tree friend. Take notes. If you are right-handed then touch the tree with your left hand, for your left hand is the hand which absorbs the world. Then walk to other trees in the parking lot and touch them with your right hand, for your right hand is the hand which sends your messages OUT of you. Touching your right hand to the other trees sends OUT of you the message your tree friend put into you through your left hand. Take notes on what was said from tree to tree. What message were you carrying? Take notes while leaving. Later, at home, close your eyes and remember your tree friend, take more notes from this visit with your memory. Now take all your notes, and using THE FILTERS "TRACT" and "INITIATE," shape your poem.

Click HERE to read (Soma)tic Poetics Outline
Click HERE to see the book (Soma)tic Midge

#28 AMERICAN poem, AMERICAN poet, the roots the roots the roots there are roots

Go to a local government building or monument, courthouse, statue or prison, but a government structure, one paid for by all tax payers. This monument or building is something you paid to create, something you pay to upkeep. It stands for the collective stronghold of our nation, as Americans, as America moves and removes our collective fingerprints around the world as a military, as a business, as a structure of faces supplanting trust and empathy with a guise of trust and empathy under the guise of one flag. This is not to say an angry poem must ensue. This is just saying LET'S GET CLEAR. This is not to suggest you read up on American assassinations of leftist governments in South America, this is just saying KNOW what you already know to be true when coming to this poem. We're here as Americans. It's an American poem in a way that has roots, literally roots. Study the plants if there are plants. Study the grass around this government building or monument. Smell samples of the soil. What's around? See everything as best as you can, sit very still and look closely at the world as it always is around this structure you have come to today. DO NOT ENGAGE IN COVERSATION WITH OTHERS. You're here for how you see it, how you see this structure, how you see our country. This is personal. The date presently is April, 2009. We are at war on more than one front, millions of lives have been lost, and who knows how many more are at stake as our tax dollars purchase bullets and bombs, prisons and worse. Look at this structure you have come to, and know you are paying for its upkeep. You have a claim to it today. Take a list of notes about the structure, but these will be the notes you glean from later, as these are not the real notes for the poem. Take another list of notes while investigating the plant life, the soil, the natural surroundings. Take yet another list of notes about the government structure, only this time take notes about WHAT it is made from. Is there wood? Is there metal? Write in your notes about trees and rocks, iron and oil. Write about the elements all these parts of the structure originated from, and how they arrived here by boat and truck. Take the notes of the government structure broken down into the finer notes of the natural elements the structure originated from, and combine those notes with the notes of the natural world surrounding the structure today. Weave these notes, as this is an exercise in weaving notes. Now with the FEELINGS you have of being an American TODAY, whose tax dollars continue to pay for the cost TRUE HUMAN COST of two wars, form these final notes into a poem BUT WITHOUT EVER mentioning the government structure. And without directly involving America by name. Write a poem as a poet of the world with feelings for our collective human costs of war. Write this poem through THE GRASS AND TREES you see around you. Now take all your notes, and using THE FILTERS "ALERT" and "EXILE" shape your poem.

#27 IRON AND SOAP! a collaborative exercise by CAConrad & Maria Mirabal

Take a square foot of white fabric and iron it on an ironing board until it's HOT and perfectly smooth. Make a fold and iron the fold into place. Put the warm fabric to your cheek and hold it there with your eyes closed. What are you thinking about? How does this make you feel? Lightly rub the freshly made crease against your nose and cheek and neck and forehead with your eyes closed. Take notes about how you are feeling. Make another crease over the first crease and iron that into place, then repeat the meditation of holding and lightly rubbing against your face. Take more notes, take notes, take even more notes. Make more creases over the other creases, iron, repeat, take notes, repeat, take notes AND DO NOT ANSWER THE PHONE or the door, ignore everyone. Take more notes. When you are finished taking notes, open your eyes. Take 7 steps to your left (if you can.) Now go wash your hands. Go to the nearest sink, or water fountain, or fire hydrant, or fountain. Use soap. Liquid soap: something that moisturizes. If you don’t have soap, go buy it and return to your found source of water. Good. Now wash your hands 7 times with the soap. If you are in a public place and people look at you, offer them some soap so they can wash their hands too. After the 7th wash, shake your hands as fast and as hard as you can. Count to 70 then stop. Take more notes and remember to NOT answer the phone! Now take all your notes, and using THE FILTERS "LINES" and "SMOKE" get to work shaping your poem.

#26 CRYSTAL MAPS

Do you have a favorite gemstone? Do you know its properties for healing? Do you know its mythology, how it received its name and properties? Amethyst, Rose Quartz, Emerald, Ruby, Hematite, Garnet, Tiger's Eye, and hundreds of others are easily found in jewelry shops and New Age shops these days. You can find gemstone guide books, or even search online to learn about your favorite stone's properties. It's important to educate yourself and know this information in order to be able to do this particular (Soma)tic Poetry Exercise. Once you have a stone you want to work with, and know enough about, take a sheet of blank white paper. Draw a map of the streets or roads surrounding your home. Once your map is drawn, sit very quietly with your stone, the map in front of you. Close your eyes and meditate on your stone, thinking about the healing properties and other legends pertaining to your stone's world history. When you feel ready, open your eyes AND WITHOUT THINKING throw the stone onto the map. Now, go to that location with the stone. When you arrive at the location drink in the landscape. Be quiet, be invisible. Stand there, or sit there and be quiet, the stone in your hand. In your notebook take notes about what you see, feel, hear, smell, take it all in and write it all down. Then IMAGINE how the properties of your stone FIT into the world before you. For instance, if your stone is Garnet, this stone is known for the ability to maintain psychic protection, so, how would psychic protection be useful for what you see in front of you and around you? Take notes, LOTS OF NOTES! Now take all your notes, and using THE FILTERS "SOFTEN" and "VICTOR" get to work shaping your poem.

#25 legs do it all!

legs do
it all
head bobbing
a free ride

it's no
telephone she
holds a dying
bird to her
ear as legs
get them
there the
whispered
names of
you 'n' me


This poem from my book DEVIANT PROPULSION inspired our new exercise. First put pen and paper in four locations around your home. Make sure you do this when you are completely alone, and ignore the doorbell, ignore the phone. In fact unplug the phone. Now get naked and position your upper body in a pose, HOWEVER YOU WANT, limbs above your head, our out to the side, head tilted if you want, but find a pose, and make certain it's a pose which is unusual for your body. Then STIFFEN into place! All muscles above your waist should be stiff and frozen into place. Let you legs walk you around your home like this. Your legs can skip, run, or slowly, slowly move your body through the rooms. Your eyes can move in your skull, but don't move your neck at all. Have your legs and waist bend you into things like lamps and shelves, have your body touch things by the strength of legs and waist. Go over to your first set of pen and paper. Walk around the pen and paper, touch it with a foot, or knee. Then relax your upper body, sit down and WRITE NOTES! Sit there and write and write and write! Then find a new pose and dance through the house again. Go through this process untill you have taken notes at all four locations with four different, stiffened poses. Now take all of your notes, and using THE FILTERS "CLENCH" and "VANTAGE" get to work shaping your poem.

for (Soma)tic Poetics OUTLINE click HERE
for details on the book (Soma)tic Midge click HERE

#24 THROUGH THE REMAINS

(Dedicated to Dodie Bellamy for her essay, "Digging Through Kathy Acker's Stuff"). Read this interview with Dodie Bellamy for an introduction to the exercise. Choose an article of clothing that holds special meaning to you, especially if it's something someone you love gave to you. Wear it all day the day before the exercise, infusing the article of clothing with your body by living your day EXACTLY how you want to live. Give the clothes a full day of LIVING with your body, eating, drinking, loving how you want to. The next day take the clothes out into the world with you wherever you go with your notebook. Drape them on a tree, or bench, keep them near you like a doppelganger, like an old friend, like someone you need to know better. Take notes about how you're feeling about the clothes being in your life. What are all of these feelings? Was it given to you by someone you love? If so, when did you last see them? What were you talking about? Take notes, lots of notes. Place the clothes in a bag, keep the bag near you. Meditate on the bag. Then have just a portion of the clothes poke out of the bag. What can you see about them like this that you hadn't noticed before? Study the textures, and, what is it made from? Leather, wool, silk, what is it? Imagine the animals or plants it was made from. Can you see these animals and plants in the world before they were your clothes? Trains, boats, trucks, imagine these forms of transportation bringing the raw materials into the hands or machines that made these clothes you love. Take note, lots of notes. Wrap the clothes on you in a way you don't usually wear them. Take notes while they are on you. Wrap them around your head, and take many more notes. Hold them in your hands, close your eyes, imagine where they will go when you die. Imagine them in the world without you. Take notes, and if anyone interrupts you SHOO THEM AWAY, politely if you want, but get rid of them, YOU'RE BUSY! Now take all of your notes, and using THE FILTERS "FRICTION" and "HALLUCINATION" get to work shaping your poem.

for (Soma)tic Poetics OUTLINE click HERE
for details on the book (Soma)tic Midge click HERE

#23 DEATH as DIRT as POETRY is

Go to your local graveyard, spend some time searching for a spot to sit. Find a spot where no one will pester you, you're busy, you're here to write poetry, not to be pestered with small talk! When you have found your spot sit down on the ground. Take time to look closely at ALL OBJECTS at your feet, in the trees, etc. Find three objects, one of them on the ground, or at least touching the ground: your feet, a grave marker, tree trunk or roots, etc. The other two off the ground in a tree, a building, but make them things which are stationary so you can stay focused on them. Draw a triangle between these three objects. Focus hard on the contents of your triangle, keeping in mind that the ground object you have chosen connects to the dead. Imagine your triangle in different forms of light, darkness, weather, and seasons. Imagine someone you love inside the triangle dying. Imagine yourself inside it dying. Gather notes in this process, take notes, as many notes as you can about how you feel and what you feel. Then PAUSE from these notes to focus again on your triangle, THEN write QUICKLY AND WITHOUT THINKING for as much time as you can manage. Often it's these spontaneous notes which dislodge important information for us. DO NOT HESITATE to write the most brutal things that come to mind, HESITATE at nothing for that matter. Take some deep breaths and think about death by murder, war, cancer, suicide, accidents, knives, fire, drowning, crushing, decapitation, torture, plagues, animal attacks, dehydration, guns, stones, tanks, bombs, genocide, strokes, explosions, electrocutions, guillotine, firing squads, parasites, suffocation, flash floods, tornadoes, earthquakes, cyanide, poison, capital punishment, falling, stampedes, strangulation, freezing, baseball bats, overdose, plane crashes, fist fights, choking, etc., imagine every possible form of death. Take notes on your feelings for death at this point, DO NOT HESITATE. Now, TAKE ALL YOUR NOTES, and using THE FILTERS "QUICKEN" and "EMBLEM" shape your poem.

#22 FROM YOUR STORM-SOAKED BREAD

(This exercise was created when Hurricane Hanna arrived in Philadelphia in the form of a tropical storm. This is dedicated to the hundreds of people and animals who lost their lives in Haiti and elsewhere when Hanna had been a full-blown hurricane. My joy and pleasure for the remnants of Hanna's warm, windblown rains refuses to ignore the danger and suffering it brought days before arriving in my city.)

Sit outside under shelter of a doorway, or pavilion, or umbrella on a park bench, but SOMEWHERE outside where you can easily touch, smell, taste, FEEL the storm. Lean your face into the weather, face pointed UP into the storm, stay there for a bit with eyes closed while water fills the wells of your eyes. Come back into the shelter properly baptized in the beauty of pure elements and be quiet and still for a few minutes. Take some preliminary notes about your surroundings. Try not to engage with others who might run to your shelter for cover. If they insist on talking MOVE somewhere else, you are a poet with a storm to digest, this isn't time for small talk! You are not running from the storm, you are opening to it, you are IN IT! Stick a bare arm or foot into the storm, let your skin take in a meditative measure of wind and rain. If you are someone who RAN from storms in the past take time to examine the joys of the experience. Remind yourself you are a human being who is 80% water SO WHAT'S THE HARM OF A FEW DROPS ON THE OUTSIDE ON YOUR SKIN AND HAIR!? Right? YES! Pause, hold your breath for a count of 4, then write with FURY and without thinking, just let it FLOW OUT OF YOU, write, write, WRITE! Set an empty cup in the storm, hold a slice of bread in the storm. Then put a little salt and pepper on your storm-soaked bread, maybe some oregano and garlic. With deliberate SLOOOOOOOOOWNESS chew your storm bread and drink the storm captured in your cup. Slowly. So slowly please. With a slowness which is foreign to you. THINK the whole slow time of chewing and drinking how this water has been in a cycle for MILLIONS OF YEARS, falling to Earth, being drunk, quenching horses, lizards, dinosaurs, humans. They pissed, they died, their water evaporated and gathered again into clouds to pour down STORM DOWN into rivers, puddles, aqueducts and ancient cupped hands. Humans who have LOVED who are long dead, humans who thieved, raped, murdered, were musicians, generous, playful, disappointed, fearful, each of them dying in their own way, their water coming to your bread, to your lips, to your stomach, to feed your sinew, your brain, your living, beautiful day. Take your notes POET, IT IS YOUR DAY to be totally aware, completely awake! Now, take ALL YOUR NOTES, and using THE FILTERS "PILGRIM" and "STAINED" shape your poem.

#21 LET YOUR TOES KNOW THE TRUTH!

Take account of how many times you're not saying or doing EXACTLY what you want to say or do in a day. How many times do you use a tone in your voice which is not honest? How many times are you polite when you want TO SCREAM? How much compromise does your day comprise? Take CLOSE account of this. DON'T LIE ABOUT IT EITHER! This is for you, no one else will know SO BE TOTALLY HONEST! What is your body like when you're not being who you are? How does it feel? Are your hands doing something in particular each time? Your feet? Your groin, your stomach, how does your body react when you are not REALLY you? At the end of the day take notes about this. These notes will be the formal outline for this exercise. After that, EVERY DAY FOR THE NEXT 7 days you will pay attention to the SIGNS OF DISHONESTY in your voice and your body, and whenever you are not who you REALLY WANT TO BE at any moment in the day. Each time you are being polite to your boss, or the baby-sitter, or don't say FUCK because there's a child in the room, EACH TIME you are not you, CLENCH YOUR TOES! CLENCH THEM! Every time, CLENCH THEM! At the end of the day are your toes tired of this? Are they feeling BETTER maybe? Soak your feet in hot salt water and WRITE WRITE WRITE as quickly as you can, EACH NIGHT for 7 nights after a day of TOE CLENCHING DISHONESTY soak them in hot salt water and WRITE with the pace only a FURIOUS YOU would know how to do! OPEN YOUR EYES wider than they're used to being open and WRITE, WRITE WITHOUT BLINKING if you can. WRITE! At the end of 7 days take a long time staring at your feet, your toes, look at them. Stick them in your face if you can, right up to your face and look at them. Take a magnifying glass and look at your feet. For 7 days your toes have been taking the brunt of your dishonest actions. How does that look? Take notes. How does that feel? Take many notes. STICK YOUR TOES IN YOUR MOUTH if you can. How does that taste? Now, take ALL YOUR NOTES, and using THE FILTERS "ARREST" and "BASE" shape your poem.

#20 BETWEEN GENDERS THE ROSEMARY

(Rosemary is a foundation herb used in many different magic spells.) Pick a destination outside. Be OUT in the world for this one. Bring FRESH rosemary with you (if you can only find dried rosemary, please soak it in water overnight). While walking to your destination rub the leaves between your fingers, then sniff your fingers, then rub a leaf into the center of your forehead. Take notes whenever thoughts come to you. When you arrive, sit down if you can. It's best to sit, and be out of the way of traffic where no one will bother you, you're a poet with poems in mind, this is not time for socializing. After you have spent some time relaxing at your destination then sniff deeply on the rosemary and imagine you are the opposite sex. Imagine a different body, a different societal gender conditioning. Get inside this Other. Look at the traffic, the buildings, or trees, or whatever's around you, and imagine how angles and speed, how color, and textures might be different to you. Choose a name for your Other, take a deep sniff of rosemary, then SAY the name of your Other out loud. How would your writing be different? Sniff the herbs on your fingers often while thinking and writing from your Other. Write carefully and slowly, then QUICKLY, slow, QUICK, then write very very slowly, take 30 seconds to write a single word, THEN QUICKLY, the SPEED, the slow, is everything. These notes might also contain something you feel is NOT discussed, or NOT discussed enough concerning gender. When you have taken all the notes you feel you can take, let the notes rest for a few days, MAYBE EVEN a week. At the end of that time take ALL THE NOTES, sit down with them in a quiet place and make a poem from them with THE FILTERS "INCUBATE" and "HAZARD" or ("HAZARDOUS").

#19 your garbage SPEAKS!

(for Ish Klein who sees art in garbage)

SAVE YOUR garbage for a week, every wrapper, every box, carton, save it all. Rinse it out if you must, but it's better if you don't, better to SMELL it. At the end of the week go through each item, slowly, carefully, do it in a closed room, don't let anyone bother you. Don't answer the door or the phone, IGNORE THEM, you're busy looking at garbage to build a poem! Take some notes, write down interesting facts from labels, or the size of things, how they look, how you remember them before discarding them. Imagine where this packaging came from, factories, and before that fields and trucks and many many hands picking them, grinding them, printing with color and black ink. Take notes when thinking about these things. SMELL them one at a time with eyes closed, eyes opened, eyes closed again SMELLING, deeply SMELLING. Notes, take your notes. NOW GET NAKED AND GET IN THE BATHTUB, and go under water, blow bubbles. Go under again and stay under a little longer. DO THIS several more times then COME UP, dry your hands on the side of the tub and grab your notes, and grab your pen and paper and WRITE about drowning, pull your notes together to write a poem about drowning and you're about to die drowning BUT THIS IS what you want to share at the end. GO BACK UNDER the water again, then COME UP AGAIN and WRITE!

#18 WOLF RECORDING

Don't be afraid this one is too difficult, just do it! Wolf recordings are available from different nature recording companies. OR, have your friends get together and howlHOWL around a recorder. People sound like wolves when we want to. Take your wolf recordings howlingHOWLING out onto the streets. If you live in a city BUSY CITY it's especially disturbing. Turn the volume up a bit to hear howls at lunch carts and subway stairs. Turn the volume down a bit to hear background howls, the everyday howls. Bring something to chew. Lunge at doorways. Don't worry, no one will bother you, you're a poet, just say you're a poet writing a poem, they will understand. Have some coffee beans to smell once in awhile so you can break your nose open. Get your nose OPEN. Then SNIFF everything, SNIFF yourself! Did you bathe before leaving? Well if so SNIFF others SNIFF your pencil SNIFF your books SNIFF metal SNIFF grass! Sit where you can drift out of view to watch everyone in the howling frame. How do you fit into the world you see? How you do not fit into the world? Wolves worry about such things all the time, making certain to understand where they fit. Do you eat meat? You don't need to eat meat, but if you do, eat your meat. I'm a vegetarian wolf myself, but eat my carrots like they're legs of soft, jerking, gentle fawn! NOW WRITE, and WRITE for as long as you can, an automatic response to your time with the HOWLINGhowling ON THE streets, POET, you are a POET, a howling one! Now, take a DEEP SNIFF of coffee grounds, again, and loosen yourself, and listen again to the howlingHOWLING while you read through the writing, and find what is true, and remove it, and live with it, add to it, remove more if need be. Listen to the howlingHOWLING again, in the dark, let it lead you through the words by flashlight or candle! BE DRAMATIC, don't be afraid to BE DRAMATIC, poet, writing, poet writing!

#17 a collaborative exercise created by Kendall Grady, CAConrad, and Monica McClure

Open a closet or bureau or drawer or glove compartment or hidden shoe box. Pick out an old item of clothing. Maybe it looks like another decade. Maybe it's a childhood relic. At least one year must have passed since you have seriously engaged this item. Now wear it. Accommodate this item on your body even if you can no longer wear it as intended due to changes in the item's condition, your physical self, the weather, etc. Now grate one large carrot. Put the carrot in a new, clean nylon stocking and tie it around your head with the bulge of carrots against your upper lip where you can smell the carrots, and drops of their juice trickle into your mouth. Sit down in the sunlight, facing the sun with your eyes closed for fifteen minutes. Meditate on something you used to eat as a child. Think of the first thing you ever wanted to eat. Was it dirt, Styrofoam, play dough? Eat it slowly and in small doses. What is it like to believe that what you are eating is food? Pretend it is nourishment. Think about the material making changes in your body. What is it like to chew something into something else? What is that thing you eat when there is nothing else around? A tortilla and peanut butter? Now eat that thing and think about making something of nothing. While eating, move the carrot bulge to your forehead. The old item of clothing you found should now be tied around the arm you use to write with. Keep chewing while you write your poem!

#16 (your BANANA WORD MACHINE!)

(This is primarily for poets living outside tropical regions) LOCK THE DOOR AND UNPLUG THE PHONE, KILL all outside interference, you must NOT be interrupted because YOU are about to build and ignite your BANANA WORD MACHINE, and once it gets started it doesn't like to stop, for anyone, for any reason! You need: a banana, and pictures of: parrots, boa constrictors, leopards, jaguars, banana trees, men and women carrying bananas to trucks for export, OR anything else which has to do with banana production, or wildlife or anything else native to where bananas grow. No music. No noise. If there is noise use ear plugs. Strip down naked and sit on the floor with your pictures, your banana, pen and paper. Smell the unpeeled banana while looking at each of the pictures you have chosen to build your BANANA WORD MACHINE. When you settle on your favorite picture slowly open the banana, staring at the picture. Imagine this picture ALIVE at the moment it was taken and BE THERE, slowly opening the banana skin, smelling, taking small tastes. When you have absorbed the picture thoroughly, and feel sufficiently transported mentally, get comfortable on your back, then slowly rub banana into your skin wherever you most want to, but make certain to coat your solar plexus, throat, and THOROUGHLY coat your forehead. Feet, genitals, ass, and wherever else you most want to of course since this is YOUR OWN PERSONAL BANANA WORD MACHINE! Slowly chew a little of the banana, and put the skin on your chest as you stretch out on your back with your eyes closed and FILL YOUR BODY with the LOWEST possible HUM you can muster! SUSTAIN THAT HUM! Then relax in your quiet, hum again, keeping eyes closed. Slowly chew a little more, smell, then just relax in your BRAND NEW BANANA WORD MACHINE! When you feel quiet, and your muscles quite limber, slowly massage the banana into your forehead, slowly, softly at first, then deeper and FASTER in a circular, clock-wise motion. THEN SUDDENLY SIT UP inside your BANANA WORD MACHINE and write write write write write WRITE! HUM and massage your forehead again to keep your BANANA WORD MACHINE fully in gear and energized! Write, hum, massage, relax, repeat, repeat, keep going, keep going, you, are, writing, in, your BANANA WORD MACHINE! You will write some of the BEST poems of your life TODAY! YOUR BANANA WORD MACHINE! LOVE YOUR BANANA WORD MACHINE! Yellow splendor!

#15

If you are Right Handed write two words on your right arm that you will say to someone today (if you are Left Handed write on your left arm). Write these words where no one can see them. Your energy leaves your body through this arm, you point with it, you throw with it, this is the arm you use when the world receives from you. Keep these two words in mind all day, touch the words on your arm from time to time when no one is looking. Ask people questions using the two words. Don't ask them about the words, but use the words in your question. Remember what they answer and write it down later. Alone at night place the sheet of paper with answers from people where you can clearly read it. If you are Right Handed your left hand is where energy enters. (Or right if you are Left Handed). Hold your left hand overhead while you write on another sheet of paper. Rotate the hand overhead, and flex its muscles, open and close it, move it, constantly move it, and with the other hand WRITE! WRITE! WRITE! Pause from writing (but keep the other hand flexing and moving overhead) to read the answers from people again, then write, let whatever needs to come COME! This is going to be beautiful. Relax with it, see what you've made. See what poem or poems wait inside the writing. PLUCK THEM OUT!

#14

Wear a shirt with a breast pocket over your heart. Put a dark chocolate candy bar in the pocket. Walk to a tree, study the bark, and branches, give it a proper hello. Press your left palm against the trunk for a little while, looking at the world around you. You are radar. Put your back against the tree, resting your body into its strength. With your right hand find your pulse in your left wrist. Keep a steady thought on the pulse and imagine your blood moving up to your heart, pumping beneath the chocolate bar in your breast pocket. Your blood, it's your blood, your heart, and they're saying hello to the chocolate bar, Hello Chocolate Bar, because they are saying Hello to themselves ahead of time. After a little while remove the chocolate bar from your pocket, break it in half. Drop one half at the foot of the tree, and let the other half slowly dissolve in your mouth. Don't be shy about the world of chocolate and all it wants of you once it's inside you. Your pen and paper GET YOUR PEN AND PAPER your blood your chocolate blood is ready! Write your poem RIGHT NOW!