Les Lettres Tristes - Foxy Production

Jas
...Les Lettres Tristes...
Ajemian & Bismuth December, Twelve, Two Thousand and Eight Foxy Production, New York, New York
Tract Throw, May 1963 Isidore Isou and Maurice Lamaître

An amazing finish in the
women’s 1500m at the
North South Games as
Dickie was able to come
from behind to clinch the
prize from Buttry, whom
she had hounded all season.
She tried but Buttry couldn’t
hold Dickie off as she
slipped through the crack in
the final turn, successfully
implementing a plan that
she had mounted without
success in previous events.
In an interview with
North South Times Buttry
said: “I knew I had to
throw down when I saw
her making a move at the
first bell. I decided to wait
and wear down her resolve
until the last turn. You can
see her running scared in
this photo, knowing that
I am going to fuck her up
if she ever comes near my
boyfriend again. In fact
right then I had just finished
saying
‘I can run over to your
house so fast, you won’t
know what hit you!’”
We can only assume
that Buttry sealed her own
fate by giving Dickie the
added motivation needed
to defeat the overheard
uttering archaic Coptic
infertility curses against
other female opponents
in the Berlin, London,
Chicago, and New York
marathons. In the 2005
NY marathon Ejigayihu
Dibaba was famously heard
pronouncing the kostre
tayu death curse against
Meselech Melkamu for
laughing too loudly at one
of her husband’s jokes.
Melkamu dropped out at
Text to Shit performance 2006
mile 17 and Dibaba
went on to win the
race.
Trash talking is
commonplace in
most sports, and
one of the hallmarks
of an accomplished
competitor is the
ability to ignore
it and focus on
the task at hand.
Additionally, the
public perception
of Women’s
running events is
that of a small and
somewhat tightly
knit community
of niche athletes
who support one
another on and off
the field. However,
the fact that these athletes
exist in a relatively cloistered
community means that
the availability of sexual
partners is likewise limited,
since runners most often
pair with other runners,
and it is not uncommon
to see the realignment of
sexual partners within the
group, causing emotional
disturbances that are often
amplified when rivals come
together on the track or
trail.
Surprising as it may seem,
animosity between female
runners can be traced
through antiquity, as far
back as bronze age statuary.
There exist several Turkic
and Macedonian clay figures
clearly showing a female
runner with her foot upon
the prone figure of another
female figure.
In the Balkan
December, Twelve, Two Thousand and Eight
Text to Shit
By Marie Sochor
texte à chier
Ingrédients : feuille azyme, encre alimentaire noire
Fabriqué par Marie Sochor en septembre 2006
À consommer avant fin 2008
Dickie Slides Past Babcock & Buttry to Clinch It!
By Sebastian Clough Grudge match in women’s running nothing new
material we encounter
the figure of ‘Red Vespa’
who was recorded in the
Krantijecks Codex as “the
greatest of the courtesan
runners who would run
to seek out prizes placed
in the field by the wazir
Szerkmedis”, and that her
method for thinning the
pack was “ a high legged
shrieking stampede of her
rivals”. Below is a recreation
of her probable dress and
style of stampede.
A l t h o u g h
stampede techniques are
relatively unheard of in
today’s competitive events,
there is no doubt that the
‘fury of a woman scorned’
has not diminished. Is it
healthy for the sport? That
would depend entirely on
your point of view and how
you feel about the efficacy
of death curses.
If I were Buttry, I’d make
sure the door was locked,
because Dickie can run
really, really fast.
RedVespa
collection of
the Quai Branly,
Paris
CIGAR
By Robert Wilhite & Guy de Cointet
Presented : 80 Langton Street, San Francisco, California,
1977.
CIGAR was a collaborative performance artwork by Guy
de Cointet and Robert Wilhite. The piece was an interplay
of three distinct sections. The first and third sections were
dramatic monologues delivered by Marianne Duganne. The
individual scripts were playful, oblique stories that linked the
simple abstraction of the props to the familiar, everyday world
of ordinary objects and experiences. These sections framed
the central portion in which hypnosis and the spoken word
were intended to manipulate the subliminal consciousness of
the audience and affect their experience.
Two oddly shaped paintings were the focus of the
first performance section. Random printed letters, organized
and arranged on white backgrounds, filled the design space
of the paintings.
Each painting
was similarly
encased in thin,
colorful painted
frames. The story
line linked bothe
paintings and
brought order
and meaning to
the seemingly
r a n d o m
placement of the
Prop for Cigar
alphabet letters and color details. For this section, Marianne
wore a bright red dress with matching red shoes.
The second section was a hypnotic induction designed
to influence the perception of the final monologue. A 36 “
diameter black and white spiral « hypno-disc » was the central
object that spun before the audience for the second section of
the performance. The audience was instructed to focus their
on the spinning disc while this single image was coordinated
with a taped hypnotic induction and hypnotic suggestion. The
suggestion was simple : the solor of the clothes Marianne
would wear for the final section of CIGAR would be perceived
by the audience as being in the complimentary hue of their
actual colors.
The last portion of CIGAR was a monologue relating
a saga entitled « My Father’s Diary. » This large book with its
green painted wooden binding and thick matte board pages,
chronicled the life and wartime adventures of the performer’s
father. Each page was very different and abstract, and as it was
turned, each illustrated an episode or scene in the emotionally
dense narrative. For this section, Marianne wore the same
model of dress and shoes that she had worn in the first part,
but in emerald green.
The entire piece lasted a little more than an hour and
was performed only once.
The profiles of the props and their order of
appearance are represented on the CIGAR flyer.
Looking Up Window
By Kirsten Mosher
The right back passenger window acts like a skylight. I see sky.
It’s over my head because the car is turned over. I turn the
crank without the guidance of gravity on the down swing. The
glass barrier slides out of my way. Nobody else is in the car. I
am a passenger and I have to get out. I hoist, scraping myself
up through the open square rectangle. Through the hatch I sit
myself on the tabled door roof. Nothing is happening. It must
have already happened. The engine is off. The wheels aren’t
spinning. The car is fairly stable if not on all fours. I slip jump
down the belly of the car. Now it’s a wall backing me up as I
get my footing on the desert floor, a sandy white room as far as
the eye can see.

December, Twelve, Two Thousand and Eight
By Jon Pestoni
A Distracting Melody for Les Tristes
By Jason Ajemian
CHECK AND CZECH
By Lisa Williamson
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CHECK AND CZECH

A Transcription
of an Interview
with Dr. Jeffrey
K, Zeig, Ph.D.,
Director of the
Milton H. Erickson
Foundation,
Phoenix, AZ
For more information on Dr. Zeig and
the Foundation, see:
www.erickson-foundation.org
Q: Could you maybe start by telling
us a bit about Dr. Erickson, his
life, his schooling, how he started
working as a therapist?
A: Dr. Erickson was born in a
three-walled log cabin in Aurum,
Nevada. The fourth wall of the
cabin was the mountain; he went
East in a covered wagon, which
may have been a metaphor for his
life, that is, doing things differently.
And he then grew up on a farm
in rural Wisconsin. His schooling
was very simple—he had to walk a
great distance to go to high school.
Eventually he went to college.
Erickson was the third of nine
children born to his mother; she
had eleven pregnancies, only nine
surviving. I think only Erickson
and one sister finished high school
and went on to college. Erickson,
of course, got his medical degree
and then a master’s degree.
Erickson developed polio when
he was about 17; he was a good
high school athlete and then spent
about a year confined to his home
where he hovered over death.
Eventually he had to teach himself
how to walk, and learn how to
negotiate three-dimensional space
again. As he recalled, he was very
impressed by his family physician
and said that when he grew up,
he wanted to become a doctor. I
don’t know why he wanted to work
as a therapist but certainly it was
his biological disposition to be a
psychotherapist.
Q: What is the Ericksonian
approach to psychotherapy? How
does it work and what would you
define as its fundamental aspects?
A: An Ericksonian approach to
psychotherapy is one in which we
conceive psychotherapy to be the
problem: The problem is being
in psychotherapy; the solution to
the problem is getting the person
out of psychotherapy, living life
independently of psychotherapy
as soon as possible. Ericksonian
psychotherapy is basically a
structural approach, and by that
I mean that we don’t spend a lot
of time analyzing the roots of the
problem; we deal more with the
present structure, helping people
to live more effectively in the now
and develop that effectiveness
into their future. It’s a short-term
psychotherapy, so the patients, for
example, that I see in my practice I
try to see as few times as possible.
Bu, like an internal medicine doctor,
I’m there for them over the course
of a lifetime, and they can come back
to me for sessions when they need
to. One of the fundamental aspects
of Ericksonian psychotherapy
is eliciting resources: You take
the position that patients have
u n r e c o g n i z e d
resources. For example, depressed
patients have experience in their
history about changing their
mood; smokers know how to be
comfortable without a ;cigarette;
schizophrenic patients even know
how to speak in a clear and cogent
way, but somehow people are
out of touch with the essential
resources that they have. Part
of the paradox of Ericksonian
therapy, which is based in hypnosis,
is that we work to stimulate into
play previously dormant resources.
The idea is to wake people up to
their potentialities, not to put
them to sleep, and a fundamental
approach that’s used is one called,
“utilization,” which is a philosophy
that says that whatever exists in
the greater therapy situation can
be harnessed and utilized. Rather
than analyzing, the approach is
based in utilizing. It’s hard to find
a simple example of this utilization
approach but all of Erickson’s cases
are based in this idea, so if the
patient was small, Erickson would
find a way of utilizing that. If the
patient was intellectual, he’d find a
way of utilizing that. If the patient
was resistant, Erickson would find
a way of utilizing that. I’d advise
readers to look at any of Erickson’s
cases. You would find that the
fulcrum of change is utilization;
it’s how Erickson helps the person
utilize previously unrecognized
potentialities, and from this vantage
point there are no problems, just
opportunities for utilization.
Q: A substantial part of Ericksonian
therapy involves form of clinical
hypnosis and trance induction.
Could you start by telling us a bit
more of what a trance state is, how
it is different from a waking state,
and how hypnosis works?
A: I could do that, but it would
probably take an encyclopedia to
be able to answer that question.
Basically, we could think of trance
as being a “state.” but I use that
term in a very loose sense because
we could describe intensity as
being a state, or curiosity as being
a state, or interest as being a state,
or love as being a state, and we
would know that love was different
from curiosity, but it would be
pretty hard to define what the
difference was in clear, intellectual
terms. Phenomenologically we
would know the difference, so if
I try to deconstruct trance into its
phenomenological components, I
would say it’s some combination
of changing the focus of
attention, changing the intensity
of experience, experiencing
dissociation, and responding to
the implication of communication,
all of which happen in a context
that’s defined as hypnosis, either
implicitly or explicitly. So for
some people, if they just focus
their attention internally, they say
I’m in a trance. For others, if the
intensity of relaxation increases
they say I’m in a trance. Or if they
don’t feel their body or the passage
of the time in the way that they
normally do; or if their arm starts
moving in a dissociative way; or
if memories suddenly happen in
a dissociated way; then they say
“I’m in a trance,” Or if people
start to respond without realizing
the cues that caused the response,
they characterize that as being in
a trance. So, for any given person
I don’t know exactly what criteria
that would indicate this person
is in a trance, but when people in
a situation defined as hypnosis
experience some part of those
components, they can be said
to be in a trance… A trance is a
physiological/contextual/psycho/
social combination of components,
and when people access this state,
they are more capable of accessing
those previously dormant capacities
that I was talking about before.
Q: How does Erickson’s approach
to hypnotherapy differ from
that of other practitioners? How
would you describe his interest in
hypnotism and hypnotherapy, what
did he think such methods achieved
or made possible? Why?
A: Well, in modern psychotherapy,
there are many different
approaches, some that are based
in psychoanalysis, others that are
based in a humanistic tradition,
and others still that are based
in a behavioral tradition, or in
a cognitive behavior tradition.
Erickson’s therapy was considered
uncommon therapy. As a matter
of fact, one of definitive books
written about Erickson, written by
Jay Haley, is called “Uncommon
Therapy.” Erickson used hypnosis
as the foundation of his work, but
he didn’t necessarily use formal
trance, so his was a therapy that was
guided by hypnosis, if we think of
hypnosis as a technique of impact
and as a state in which people
can more readily access resources.
Erickson would take techniques
from hypnosis and apply them.
We call that “hypnotherapy
without trance.” Erickson called it
“naturalistic hypnosis.” The essence
of the approach is that it is a brief,
solution-focused approach—
solution-focused meaning that it
builds on strengths.
We could consider hypnosis to
be the mother of psychotherapy.
Many great practitioners, for
example Sigmund Freud, started
with hypnosis, Joseph Wolpe in the
behaviorist tradition, started with
hypnosis, but many of these experts
diverged from hypnosis and found
other methods of eliciting change
that were more suited to their
personality. Erickson stayed with
hypnosis and made that a mainstay.
If you were to study the history of
hypnosis, in the 18 th century you’d
study about Mesmer, in the 19 th
century you’d study about Braid and
Charcot and Bernheim, but in the
20 th century you would study about
Erickson; he really dominated the
field of hypnosis.
Q: An important part of Erickson’s
practice seems to involve not just
language or dialogue, but a very
sophisticated use of language. In
the “February Man,” Ernest Rossi
writes that he was often surprised
by the complex and sophisticated
motivations behind each and every
one of Erickson’s phrases. Could
you talk a little bit about this aspect
of his practice, and more specifically
about his use of language games
such as punning, metaphors, and
analogies?
A: Well, this gets in to the area
of art. If you want to increase
impact, one of the things that you
use is precision. If you want to
increase impact, one of the things
that you use is discontinuity. If
you want to increase impact, one
of the things that you do is use
unusual communication such as
punning, metaphors, and analogies.
Think about a poet, when a poet
communicates something, for
example Carl Sandburg wrote a
very short poem:
The fog comes/ on little cat feet.
/ It sits looking/ over harbor and
city/ on silent haunches/ and then
moves on.
Now that’s unusual communication.
Artists, poets, dramatists know that
when you’re using a lot of precision,
a lot of subtlety, when you’re using
discontinuities and unusual forms
of communication, it elicits a
change in mood and perspective. If
you just want a person to learn facts,
then you can give them didactic
information. But if you want to
change their mood and perspective,
you need to use techniques from
art. And so I think that it’s easier
to describe Erickson from the
perspective of Art than it is to
describe him from the perspective
of psychotherapy, especially
contemporary psychotherapy, much
of contemporary psychotherapy is
based on providing information.
Q: Erickson and Rossi often speak
of their approach as a two-level
communication with the patient?
What does this mean? How does
this work?
A: Well, really all communication is
multiple-level, because there’s both
a psychological aspect and a social
aspect. The great linguist, Noam
Chomsky, talked about the fact that
there’s a surface structure and a deep
structure. Gregory Bateson, the
great anthropologist, talked about
the fact that every communication
has a report and a command. So,
every communication has content
but also there’s a message that
frames the content and says what
to do about it. You could say, “Hi!”
and mean on the level of command,
“Let’s spend some time together.”
You could say, “Hi!” and on the
level of command, mean, “Let’s
just have a brief social encounter.”
So, every communication is
multiple level, and in hypnosis, we
try to get the person to respond
not to the indicative level, the social
level, but to the injunctive level, or
the psychological level, which is
also essential in influence. If you
want to have impact, then you
increase the multi-level nature of
the communication. Again, think
about poetry. Poetry uses multilevel
communication because it’s
designed to influence mood and
perspective, and in the same way,
Erickson would use multi-level
communication because he really
wanted to have impact in changing
mood and perspective.
Q: One of the aspects of
Erickson’s dialogues that we found
to be of greatest interest to us were
the breaks, departures, and other
ruptures of sense or of trains of
thought that he staged throughout
his conversation with his patients.
He seems to want to continually
distract his patient, to direct their
attentions to one thing, only to jar
it away towards something else.
Could you discuss this aspect of
his technique a bit more? What was
its purpose? What does it allow him
to do with the patient?
A: If you watch a movie, you
know that the movie is based in
discontinuity, and the discontinuities
are a way of modulating tension,
which then captures attention,
which then has an effect on mood

So Erickson’s use of discontinuities, again,
was similar to the poet’s, because poets
would use these discontinuities in their
composition, and certainly moviemakers
and dramatists use this kind of discontinuity.
When one normally thinks about hypnosis,
one thinks of it as a gradual slide into a
soporific state. When Erickson started an
induction he often started by increasing
the tension and then decrease the tension,
and then introduce discontinuities, and
then he would increase, and decrease,
and increase and decrease the tension
over the course of the induction, also
during the utilization period of trance.
That is exactly as the dramatist does. The
purpose of destabilizaiton is to have impact
because if you’re talking in a monotone
and your communication is completely
symmetrical, it’s not going to have as much
impact as communication that contains
discontintuities, especially when the impact
that you want to have is to alter mood and
perspective.
Q: In conclusion, as you know, we are
both artists, and thus are approaching this
from a very different angle. In our previous
conversations, you spoke of how you often
looked to art and literature for inspiration in
your practice. What do you think are some
aspects of Ericksonian psychotherapy that
could be of use to artists, and conversely,
could you tell us a bit more about the type
of things in the arts that have inspired you
in your own practice?
A: Well, ironically, it’s curious that you
contact me to include aspects of Ericksonian
therapy to inform the arts because the
project that most interests me now is what
psychotherapists can learn from commercial
filmmakers, and…social psychologists, The
ellipsis is there because I think therapists
can learn more from filmmakers than they
can from social psychologists. When we
study the structure of impact, we can look
at the way that, for example, a moviemaker
stages a particular frame, or sets up a
dramatic moment in a series of small steps,
or foreshadows a future event earlier in the
movie. Well, these were things that Erickson
did. I think that Erickson, who was very
well-read, took a lot of his models from
literature, so that the kinds of techniques
that Thomas Mann would use, where for
example Mann would bring a character in
against an emotional background. Then
some fifty or a hundred pages later against
the same emotional background, that
character would reemerge suddenly. That
was a way of setting up dramatic impact.
A lot of my work is teaching therapists
around the world, but when I try to explain
to therapists the idea of being strategic and
setting up a future event; and the idea of
using multi-level communication; and the
idea of using discontinuities, their eyes start
to glaze over. But when I can appeal to their
media literacy and I can show them a small
section of a movie, and demonstrate to
them how the moviemaker uses those same
techniques to have impact, then, because
of people’s media literacy, they can more
easily understand Erickson. So I can show
my students a segment of a movie, and then
I can tell them of a case of Erickson’s and
rather than looking at traditional psychology
as the foundation or the lens through which
to understand Erickson, looking at Erickson
through the lens of the filmmaker makes it
easier to understand and integrate Erickson’s
techniques. So in my workshops I’ll have
exercises where my students will practice,
for example, setting up a future event,
foreshadowing, or using discontinuities,
and learning how to have better impact by
taking models from art. Now, the project of
using commercial filmmakers, really that’s
only a metaphor, because I’m interested in
poets and dramatists and visual artists of all
persuasions, including architects, because
these are people who work to subtly influence
mood and perspective. But, commercial
filmmakers, because their medium combines
music and visual composition—they turn
out to be very useful in the way that I train
psychotherapists, because there work is
so multi-dimensional, and I can illustrate
so much about impact by looking at the
structural aspects of film. The viewer of
the film and the artist create a moment of
interpersonal impact. The viewer is having
a relationship with the movie. The movie
is about interpersonal impact. I hope that
when the cinematographer and editor and
the costume designer and set designer,
etc. get together, they are thinking with
intent about having an impact. I try to
deconstruct those techniques and try to
help therapists understand how to improve
their communication by using those
techniques. For therapists, communication
is an underused medium; therapists don’t
use all of the potentialities that are inherent
in the medium of communication. I try to
get therapists to explore the outer edges of
communication, and how to better use their
medium to have constructive impact on
their patients. Art is provides a model from
which influence can be studied.
The Day’s
Colors
By Marie de Brugerolle
Blue Monday
Orange Tuesday
Black Wednesday
Yellow Thursday
Green Friday
Red and White Saturday
Gray Sunday
Blue as an orange
Red as a peony
Emerald yellow
Scarlet rose
Salmon blue
Venetian green
Indigo brown
Ink orange
Italic yellow
Petroleum carmine
Charcoal gray, like a tomato
Seeing everything double
Seeing everything gold
Seeing everything Naple’s
yellow
Blond smoke
Where does the white go
when the snow melts ?
SURVIVOR:
REAL HOUSEWIVES ALL-STARS
By Erik Ajemian
On an Island: say Martinque
5 weeks in a beautiful mansion, all the alcohol one can drink. One week,
‘on safari’, tents and provisions provided w/o instructions.
6 weeks total (+ Reunion Show)
One rule: no hitting/ initiator of fight is kicked off island.
Show is a competition, America votes via text message only (within
continental United States)
Winner receives $500,000 shopping spree
THURSDAYS: 9pm NBC Must Watch T.V.
ALL-STARS:
1) NeNe (Atlanta)�
2) Kim (Atlanta)
3) Contess De Lesseps (New York)
4) Jill Zarin (New York)
5),6) The two Younger-ish Hot Blonds (Orange County)*
7) New York (I Love New York) **
* not the one that married the rich guy and changed her face
** Special Entry—not a orignal member of the Bravo Series
spnsors t.b.d.
Sculpture
By Bob Wilhite
Los Angeles Institute of Contemporary Art LA CA Stept 27-Oct 5 th 1977, duration 20 min
The performance was given to ten or less people per night for one week. The audiences were
seated in front of a rotating spiral disc where they heard the following hypnotic induction spoken
in a soothing monotone.
Would everyone please be seated if you have not already done so. Make yourself as comfortable
as possible. It would be best if you sat up in your chair and placed both feet on the floor in
front of you. Make yourself as relaxed as possible. Give attention to the disc rotating in front of
you. Breathe deeply and relax. Watch the spiral and relax. Watch the spiral. Watch it very closely.
Don’t take your eyes off the spiral even for a moment. Concentrate all your attention on it.
Spinning round and round, round and round. Watch it carefully. Breathe deeply and relax. You
are feeling warm and comfortable. Relax and think only of sleep. Breathe deeply, very deeply.
Soon your eyes will become very tired. Your eyelids so very heavy. You will hardly be able to
keep them open. You will have to shut your eyes. When you shut them you will be in deep sound
restful sleep. A deep sound restful sleep. Breathe very deeply and relax. Do not take your eyes
away from the spiral even for a moment. Strain your eyes just a little to see the spiral. Soon your
eyes will become very tired. They are beginning to water. Your eyelids are heavy, very heavy.
Keep watching the spiral. Watch it. Watch it. Your arms and legs feel relaxed. You are so tired,
you want to go to sleep. Think only of sleep. You are going into relaxed and restful sleep. With
every breath you take your eyes are more and more tired. So very tired, keep them open. You
must shut your eyes. Do not resist it. You have to shut your eyes. Shut your eyes. Shut them…
shut them…shut them right now. Breathe deeply, very deeply. With every breath you are falling
deeper and deeper into sleep. So very tired. You cannot keep them open. You must shut your
eyes. Do not resist it. You have to shut your eyes. Shut your eyes. Shut them…shut them…shut
them right now. Breathe deeply, very deeply. With every breath you are falling deeper and deeper
into sleep. A peaceful sleep.You are paying attention only to my voice. Nothing else seems to
matter. Nothing will disturb you. Let yourself relax competely now. It is very pleasant to feel so
relaxed, so relaxed. As though all your cares have gone away. As though nothing else matters at
all. You are so listless now. Give way to this feeling. Let yourself go. Drifting deeper and deeper.
Deeper with every breath you take.
You are listening only to my voice. Nothing else matters. You noice a feeling of heaviness in
your arms and legs. Your breathing is slow and easy… slow and easy. Give way to this drowsy
listlessness. Let all of your muscles relax. Relax them completely. Do not mind if your head falls
forward or to the side... it will be perfectly comfortable. You are giving my voice your complete
attention. The art of memory is the art of attention and retention. You must pay attention in
order to remember. People who do not pay attention do not remember. Relax, breathe deeply,
and pay attention only to my voice…only to my voice. You have always been able to picture
objects in your mind. From a simple description you have been able to see crystal clear images.
Using your ability to concentrate and see objects in your mind, I am going to show you a piece
of sculpture I have made.
The sculpture is a saucer-shaped object with a white opaque glass bubble on the top. It is four
feet in diameter and is hovering in one spot about two feet off the ground in the open area
in front of you. As you look closer at the sculpture you notice that it is spinning and has a
wonderful satin appearance. The spinning action is what keeps the object in the air. It is secure
and stable as it gently bobs up and down in one spot…suspended on a cushion of air. The
sculpture is totally silent except for a slight whir of the air as it spins. You can hear it if you
listen closely. It is a pleasant experience seeing the object. The sculpture I;ve made for you. You
cannot help smiling because the experience is so enjoyable. I will soon count from 1 to 10. When
I reach 7 you will be wide awake and you will feel comfortable and relaxed… with a warm glow
of health and well-being. You will remember having seen the saucer-shaped object I have shown
you. It will be a clear memory. The actual object however will not be present in front of you
because I have taken it away. I will now start counting from 1 to 10. When I reach 7 you will be
wide awake and feeling fine…1…2…3…4…5…6…7…8…9…10
An auditory description of the new letteric
alphabet.
( where learning to pronounce, without vowels, becomes the
new sound for each new letter)
or
N dtry dscrptn f th nw lttrc lphbt
(whr lrnng t prnnc, wtht vwls, bcms th nw snd fr ch nw lttr)
By Jon Pestoni
alpha / nhltn (hrd)
beta / xhltn (hrd)
gamma / hssng (whstlng btwn th tth lke snd f nke)
delta/ rttlng n th thrt
epsilon/ grwlng (lk dg bt t brk)
eta/ grspng (hrs snd) md wth th wndpp by pffng p th blly
theta/ sgh (md smltnsly by th wndppe, mth, nd, ns
kappa/ snrng
lamda/ grglng (wth th r vbrtng btw nth tng nd th plt)
mu/ whmprng
nu/ hccgh
omicron/ cgh, clrng th thrt
pi/ blch
ro/ clckng th tng
sigma/ frtng snd (wth th lps)
tau/ crcklng ( s f mttng th nse f n t)
upsilon/ spttng snd ( srt f p-ph-pty tgthr)
phi/ kssng (nsly)
psi/ whstlng ( smpl, nt mldc)

Distractions for Men
By Michael Bouchet
1 In The Pink 1 In The
Stink
100 Percent Natural
Wonders
110 Percent Natural
12 Nasty Black Girls
Masturbating
13 Cum Hungry
Cocksuckers
18 And Asian
18 Legal And Latin
18 Yesterday
6 Black Sticks 1 White Trick
A Group Thing
About Face
About Face POV
Absolute Ass
Adult Movie
All About Ass
All Natural
Almost Jailbait
Almost Virgins
Alone In The Dark
Amateur Angels
Amateur Cream Pies
Amateur Hardcore
Amateur Hood Humpin
Amazing POV Sluts
American Ass
American Ccksucking
Championship
American Cream Pie
American Nymphette
American Pornstar
Anal Addicts
Anal Angels
Anal Annihilation
Anal Assault
Anal Athletes
Anal Cumsumption
Anal Divas In Latex
Anal Driller
Anal Excursions
Anal Expedition
Anal Fever
Anal Hazard
Anal Intruder
Anal Life
Anal Nurses
Anal POV
Anal Rage
Anal Romance
Anal Teen Tryouts
Anal Thrills
Anal Violation
Analgeddon
Analogy
Ancient Amateurs
Appetite For Ass
Destruction
Apple Bottomz
Army Of Ass
Ashtons Auditions
Asian Assault
Asian Divas
Asian Erotica File
Asian Insemination
Asian Lollipops
Asian Lust
Asian Mouth Club
Asian POV
Asian Prostitutes
Asian Street Hookers
Asian Thighs Creampies
Ass 2 Mouth
Ass 4 Cash
Ass Brand New
Ass Breeder
Ass Busters
Ass Cleavage
Ass Cream
Ass Deep
Ass Driven
Ass Eaters Unanimous
Ass Feast
Ass Fuck
Ass Fucked
Ass Fun
Ass Holes
Ass Intake
Ass Pounders
Ass Quest
Ass Slaves
Ass Stretchers
Assassin
Assault That Ass
Assed Out
Asses Galore
Assfensive
Assploitaitons
Asswhole
ATM City
Babes In Pornland
Babewatch
Baby Doll
Baby Fat
Back Seat Bangers
Backyard Boogie
Bait
Bakers Dozen
Bang My White Tight Ass
Bangin Beaver On The Bus
Bangin In Da Hood
Bangin It Out
Bangin The Girl Next Door
Bangin Whitey
Banzai
Barefoot And Pregnant
Barely 18
Beach Bunnies With Big
Brown Eyes
Beautiful Couples
Beef Eaters
Bell Bottoms
Bellas Perversions
Bend Over And Sah Ahh
Bend Over And Say Ahh
Beverly Hills 9021 Ho
Beyond Reality
Big Babies In Budapest
Big Black Beast
Big Black Beef
Big Black Beef Stretches
Little Pink Meat
Big Black POV
Big Black Wet Asses
Big Bodacious Knockers
Big Boob Heaven
Big Boob Teachers
Big Breasts Of The West
Big Butt Brotha Lovers
Big Butt Smash Down
Big Cock Seductions
Big Fucking Titties
Big Shots
Big Tit Anal Whores
Big Tit Brotha Lovers
Big Tit Paradise
Big Titties Of Europe
Big Titty MILFs
Big Toys No Boys
Big Wet Asses
Big Wet Butts
Big Wet Tits
Biggz And The Beauties
Billion Dollar Booties
Bitches In Heat
Black Bad Girls
Black Bros Bangin White
Hos
Black Bubble Butt Hunt
Black Cheerleader
Gangbang
Black Cheerleader Search
Black Dick For The White
Chick
Black Dick In Me POV
Black Dicks In White
Chicks
Black In The Crack
Black Inside Me
Black Juizz In New White
Cooze
Black On Black
Black On Black Crime
Black On White Crime
Black Street Hookers
Black Thai Affair
Black Up That White Ass
Black White Wet All Over
Blackballed
Blacks In Blondes
Blind Sex Dates
Blow Me
Blow Me Sandwich
Blowjob Adventures Of Dr
Fellatio
Blue Jean Blondes
Bombshells
Boob Exam Scam
Boobsville
Booty Climax
Booty Duty
Booty Full Babes
Booty Hunter
Border Hoppers
Boss Bitches
Bottomless
Bound To Cum
Boy Fucks Girl
Brand New
Breakin Em In
British Teen Girls
Bros And Blondes
Bubble Butts Drive Brothas
Nutz
Buckets Of Cum
Built For Sex
Buried In Tits
Butt Busters
Butt Gallery
Butt Junkies
Butt Quest
Butts 2 Nuts
Buttwoman
California Calendar Girls
Camel Hoes
Camel Toe Obsessions
Cameltoe Perversions
Candy Girls
Candy Stripers
Casting Couch Confessions
Casting Couch Cuties
Central Anal
Chasing White Booty
Cheating Housewifes
Cheating Housewives
Cherry Bomb
Cherry Bustin
Chicas
Chick Flick
Chicks And Salsa
Chicks Gone Wild
Chocolate Cream Pies
Chocolate Vanilla Cum
Eaters
Christoph Clarks Euro
Domination
Chubby Chasers
Chubby Chicks
Chunky School Girls
Cindys Way
Clean My Crack
Cluster Bang
Clusterfuck
Coming Of Age
Confessions Of A
Cooter Pie
Coxxx And Soxxx
Crack Addict
Crazy Big Booty
Cream Filled
Cream Filled Asses
Cream Filled Holes
Cream Of The Crop
Cream On My Camel Toe
Cream Pie For The Straight
Girl
Cream Pie For The Straight
Guy
Cream Pie Housewife
Cream Pie Initiations
Cream Pie POV
Creamed Cuties
Creampie Cuties
Crow In The Snow
Crude Oil
Cum Beggars
Cum Catchers
Cum Craving Teens
Cum Drenched Tits
Cum Drinkers
Cum Drippers
Cum Guzzlers
Cum Hungry Leave Full
Cum In My Gaping
Butthole
Cum On In
Cum On My Hairy Pussy
Cum Stoppers
Cum Swallowing Whores
Cum Swapping And
Lollipops
Cum Swapping Fuck Dolls
Cum Swapping Sluts
Cumback Pussy
Cumplexxx
Curry Cream Pie
Daddys Girl Is A Bad Girl
Daddys Little Princess
Dark Meat
Darker Side Of Sin
Debbie Class Of
Decadent Divas
Deep Throat This
Dementia
Deviant Behavior
Devil Girl
Direct Deposit
Dirrty
Dirty Dans POV
Dirty Girl Gangbang
Dirty Little Secrets
Dirty Newcummers
Disturbed
Dont Tell Mommy
Double Anal Climax
Double Cum Cocktails
Double D Dolls
Double Decker Sandwich
Double Dip Er
Double Filled Cream Teens
Double Impact
Double Parked
Double Teamed
Double Teamed And
Creamed
Double The Fun 2 On 1
Down And Dirty
Down Your Throat
Dp Me Baby
DP The Hole DP And
Nuttin Butt DP
DPs And Orgies
Dreamgirls - Casting Couch
Cuties
Dreamgirls - Girlfun
Dripping Fucking Wet
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Drive Thru
Early Entries
Eight Teen Cum Swallowing
Tryouts
Eight Teen Gang Bang
Tryouts
Eight Teen Tryouts
Eighteen And
Interracial
Everybody Wants
Some
Exquisite Lesbians
Extreme Penetrations
Extreme Teen
Exxxtasy Island
F Ing Teens
FABs
Face Sitting Fanatics
Facial Deposits
Fantastic 40s
Farmers Daughters Do
Fast Times At Deep Crack
High
Femdom Violations
Fetish Desires
Fill Er Up
Fill Her Up
Filth And Fury
Filthy Anal POV
Filthy First Timers
Filthy Talkin Cocksuckers
Finger Licking Good
First Offense
Fishnets
Flash Flood
Flashflood
Flesh Fest
Flowers Squirt Shower
Foot Traffic
For Your Eyes Only
Freakazoids
Fresh Asses
Fresh Euro Flesh
Fresh Jugs
Fresh New Faces
Fresh Pink
Fresh Porn Babes
Fresh Young Meat
Frosted Faces
Fuck Em Young
Fuck Me Good
Fuck Me Please
December, Twelve, Two Thousand and Eight
Fuck My White Ass
Fuckin Foreigners
Fucking Hot Chics
Fuel Injected
Full Anal Access
Full Service
Gag Me Then Fuck Me
Gag On This
Gallery Of Sin
Gang Bang Angels
Gang Bang Squad
Gangland
Gaper Maker
Get Naked
Getting Stoned
Girls Gone Bukkake
Girls Home Alone
Girls Of The OC
Girls Suck
Give Me Gape
Glazed And Confused
Go Fuck Yerself
God Daughter
Gonzomania
Goo 4 Two
Good Whores Take It In
The Ass
Grand Theft Anal
Grandmother Fuckers
Great Big Asses
Gringo Dicks In Latin
Chicks
Group Therapy
Gumadas
Hand Jobs
Hand To Mouth
Handjob Addiction
Handjobs
Happy 18th Birthday To Me
Hard To Swallow
Hardcore Innocence
Hardcore Training
Havens Magic Touch
Heavy Handfulls
Heavy Handfuls
Heavy Hitters
Hell On High Heels
Her First Anal Sex
Hey Boys Im Legal
Hit Dat Shit
Hollywood Harlots
Home Schooled
Home Wreckers
Honey And MILF
Hood Hoppin
Hos Bags
Hot Bods And Tail Pipe
Hot Indian Pussy
Hot Latin Pussy Adventures
House Party
I Cream On Genie
I Dig Em In Pigtails
I Got Banged
I Like Em Young
I Love Em Asian
I Love Em Latin
I Love Em Natural
I Love It Black
I Love It Rough
I Scored A Soccer Mom
I Touch Myself
I Wanna Cum Inside Your
Mom
I Was Tight
Yesterday
If It
Aint
B l a c k
Take It
Back
Illegal Ass
Im A Sure Thing
Inside Job
Inside Shooters
Intensities In 10 Cities
Intensitivity
Internal Cumbustion
Internal Explosions
Internally Yours
International Booty
International Butt Babes
Interracial Addiction
Interracial Anal Cream Pie
Interracial Anal Teens N
Toys
Interracial Cream Pies
Interracial Fuck Club
Interracial Hole Stretchers
Interracial Nation
Interracial POV
Interracial Sperm
Swallowing
Interracial Tag Team
Ballerina
Interracial Virgins
Its All About The Ass
Its My Party
Its The Chicks
Itz A Black Thang
Ive Never Done That
Before
Ivy Manor
Jack Does Brazil
Jam It All The Way Up My
Ass
Japanese Erotica File
Jerkoffs
JKP Hardcore
Jon Doughs Butt Cream Pie
Juggernauts
Juggies
Juicy Creampies
Just Another Porn Movie
Just Busted
Just My Ass Please
Just Over Eighteen
Just Turned 18
Kelly The Coed
Killer Grip
Killer Grip Handjobs
King Dong
Kittens
Lactamania
Large Luscious Pussy Lips
Latin Amore
Latin Extreme
Latin Eye Candy
Latin Fever
Latin Holes
Latin Hoochies
Latin Lickers
Latin Mother Fuckers
Latin Obsession
Latina Fever
Latina Girlz Going Crazy
Legal At Last
Legal Skin
Legal Skin Euro
Legal Tender
Lesbian Heaven
Lethal Injections
Lethal Latinas
Lick It Up
Limelight Girls
Lip Lickers
Lip Lock My Cock
Lips That Lie
Liquid Assets
Liquid Diet
Little Cream Puffs
Little Lace Panties
Little White Slave Girls
Lock Load And Swallow
Lollipop Honies
London Shaggers
Lone Star Virgins
Look Im Hairy
Look Whats Up My Ass
Loose Morals
Love Chunks
Lower Extremities
Lusty Legs
Luv Dat Asian Azz
Mad At Daddy
Malibus Most Latin
Manila Exposed
Marked For Anal
Mature Women With
Younger Girls
Maximum Thrust
Me Luv U Long Time
Me So Asian
Meat My
Ass
M e a t
Pushin In
The Seat Cushion
Meet The Fuckers
Meet The Twins
Mexicunts
Miami Maidens
MILF And Cookies
MILF Fever
MILF Jaculation
MILF Legends
MILF Money
MILF POV
MILF Seeker
MILF Slammers
MILF Worship
MILTF
MILTF Gone Wild
Mini Van Moms
Miss Behaven
Mixed Company
Models Wanted
Mommy Is A MILF
Mother Fuckers
Mother Load
Mothers I Like To Fuck
Multiple Chicks On One
Dick
My Dirty Angels
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My Perfect 10s
My Sex Tour
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My Virtual
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Nasty Jacks Gang Bang
Party
Natural Knockers
Natural Newbies
Natural Teen Nymphs
Naughty Amateurs
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Naughty Little Nymphos
New Flavors
New Nymphos
New Releases
New Trix
New Whores
Nikita Denise Aka Filthy
Whore
Nineteen Video Magazine
No Cocks Allowed
No Cum Spitting
No Holes Barred
North Pole
Not Far From Heaven
Not Just Another 8 Teen
Movie
Not Milk
Not Too Young For Cum
Nymph Fever
Oh Me So Horny
Oh Thats Tight
Older Women And Younger
Women
Older Women With Younger
Girls
Older Women Younger
Men
On The Prowl
Open For Anal
Open Up Slut
Oral Hygiene
Oral Intake
Oral Junkies
Otto And Audrey Destroy
The World
Out Of Control
Paste My Face
Pearls Of The Orient
Peeping Tom
Perfect Pink
Phat Ass Tits
Photographic Mammaries
Pick Up Babes
Pick Up Lines
Pimp My Ass
Pink Eye
Planet Silver
Play With Me
Please Drill My Ass
Point Of View
Pop That Cherry
Porking With Pride
POV Casting Couch
POV Centerfolds
POV Squirt Alert
POVerted
Pretty Pussies Please
Prom Team
Pure Filth
Pure Sextacy
Puritan Video Magazine
Pussy Play
Pussyman Auditions
Pussymans Asian Assault
Pussymans Big Boob
Heaven
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Paradise
Pussymans Bikini Butt
Babes
Pussymans Face Sitting
Fanatics
Pussymans International
Butt Babes
Pussymans Large Luscious
Pussy Lips
Pussymans Shaving Starlets
Pussymans Spectacular Butt
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Pussymans Teen Land
Rack Em Up
Rain Coaters Point Of View
Rainwoman
Rake And Ho Em
Rated T For Teen
Raw White Meat
Ready To Drop
Ready Wet Go
Real Amateur Porn
Real Racks
Real Sex
Real Squirters
Reign Of Tera
Reverse Interracial Gang
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Ride Em And Wreck Em
Riveted Rectums
Rock Hard
Role Models
Romancing The Ass
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Rub My Muff
Runaways
Scale Bustin Bimbos
Scandalous Sluts
School Bus Girls
Screamin For Semen
Screw My Husband Please
Screw My Wife Please
Scum Bags
Secret Passions
Secrets
Semen Demons
Semen Shots
Sex Hungry Couples
Sexxx
Sexy Chocolate
Shake It
Share My Cock
Share The Load
Shaving Starlets
Shes A Team Player
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Shock Pussy
Shove It In My Ass
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Six In One
Size Matters
Skys Perversions
Slant Eye For The Straight
Guy
Sloppy Seconds
Slut Woman
Sluts Of The Nyle
Slutwoman
Small Sluts Nice Butts
Smokin Crack
Snatch Boxxx
Sodomania
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Sodomize This
Sopornos
Sorority Splash
South American Pie
Spanish Fly Pussy Search
Sperm Drippers
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Sperm Splattered
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Squirt Factor
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Squirt Queens
Squirting Illustrated
Squirtwoman
Steve Holmes Amazing Pov
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Stinkers
Stocking Secrets
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Street Walkers
Strip Tease Then Fuck
Suck Fuck Swallow
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Suitcase Pimp
Super Freaks
Super Size My Snatch
Supersquirt
Swallow Every Drop
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Swallow Sluts
Swallow The Leader
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Swallowing Anal Whores
Swap The Pop
Sweet Cream Pies
Taboo
Taco Shop
Tag Teamed
Tails Of Perversity
Talk Dirty To Me
Taped College Confessions
Taxi Cab Confessions
Teachers Pet
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Teanna Kais
Tear Me A New One
Tearing It Up
Teen Anal Virgins
Teen Angel
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Teen Handjobs
Teen Idol
Teen Land
Teen Latin Dolls
Teen Meat
Teen Philippine
Teen Pink And 18
Teen Spirit
Teen Tryouts
Teenage Brotha Lovers
Teenage Jizz Junkies
Teens Cumming Of Age
Teens For Cash
Teens Goin Wild
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Teens Never Say No
Tera Patrick Aka Filthy
Whore
Terrible Teens
The Adventures Of Shorty
Mac
The Anal Supremacy
The Art Of Ass
The Ass Watcher
The Babysitter
The Bang Van
The Best Of Briana Banks
The Blacker The Meat The
Sweeter The Honies
The Blowjob Adventures
Of Dr Fellatio
The Bottom Dweller
The Exhibitionist
The Fans Have Spoken
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The Girl Next Door
The Incredible Gulp
The Many Shades Of
Mayhem
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The Oral Adventures Of
Craven Moorehead
The Passion Of The Ass
The Shiofuki
The Wetter The Better
The Word Man Does
The Young And The
Damaged
Three Way Whores
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Tonys Amateur Tapes
Too Hot 2 Handle
Train My White Ass
Training Academy
Transsexual POV
Transsexual Prostitutes
Transsexual Road Trip
Triple Threat
Trombone Blown
Try A Teen
Twisted
Two Dicks For Ever Chick
Two In The Seat
Two Timers
Ty Endicotts Smokin POV
Ultimate Asses
Ultimate DP Gangbang
Unbelievable Sex
University Coeds
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Exams
Up R Class
Vaginal Neglect
Valley Girls
Video Virgins
Violated Beauties
Virgin Surgeon
Virgins Of The Screen
Voracious
Wang Bang Gang Bang
Warning I Fuck On The
First Date
Watch Me Eat My
Creampie
We Love Black Dicks
Welcome To The Valley
Welcum To Chloeville
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Whale Tail
What Daddy Doesnt Know
What Gets You Off
When The Boyz Are Away
Where The Girls Sweat
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White Boy Stomp Super
Gang Bang
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Chocolate Nuts
White Chicks Gettin Black
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White Chocolate
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Biggest Black Girth On
Earth
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White Wife Black Cock
Who Let The Whores Out
Whore Gaggers
Whores In Heat
Whoriental Sex Academy
Whos Next In Porn
Whos Your Daddy
Wild On These
World Class Ass
Worship This Bitch
Wrap Da Boobs
Wrecked Em
X-Tra Edition
Xtra Large Amateurs
XXX Rated
XXX Road Trip
Yellow Tail
Young And Tight
Young As They Cum
Young Blonde Voyeurs
Young Bung
Young Chicks First Dicks
Young Chicks Who Drink
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Young Cummers
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With Chocolate Cum
Young Luscious Latinas
Young Natural Breasts
Young Pink
Young Ripe Mellons
Young Sluts
Young Stand Up Titties
Young Stuff
Young Tight Latinas
Your Ass Is Mine

By Tan Lin
B 1 2007
I read a story about people who, because they
died of wounds inflicted any number of years
earlier, are known as reclassified homicides.
There were thirty-five such homicides in New
York in the past year and they are a matter of
public interest. Often they lead to upgraded
criminal charges and new trials. The NYPD
releases the information throughout the year,
based on rulings made by New York City’s
medical examiner and information that passes
through New York City’s Office of Public
Records, which is the conduit for all deaths that
occur after 1949. The number of reclassified
homicides was unusually high for 2006 and
it lead to an uptick in the number of total
homicides for the year, which was also greater
than in 2005. No explanation for either of
December, Twelve, Two Thousand and Eight
these increases has been found. During 2006,
neither forensic methods nor the manner of
reporting deaths changed within the office
of the medical examiner, and Raymond
Kelly, New York’s Police Commissioner, said,
“They’re what we have to live with. It is a bit
of a fluke.” Sirkime Stevenson died today
(January 2006) though he was killed in 1991
when bullets fired by a stranger in a passing
car shattered his spine, eventually causing
infections that resulted in the amputation of a
leg (1997). Until that point, he had dreamed of
walking again. The killer was never identified.
B 4 1997
I read a story of an older woman on the
subway who offers her seat to a woman with
a young child, both of whom get off the IRT
No. 2 train at 72nd Street. A reporter in the car
inquires after the older woman, learns that her
name is Drane Shyti, an Albanian, fifty-seven
years old, that she has been in America for two
years and misses her own children, a son in
England and a daughter in Greece. Ms. Shyti
“works in a hotel laundry.” “Her husband is
a porter.” Before coming to America, he had
been a math teacher and she an elementary
school teacher. On the same page, beneath
the fold, an article documents a website that
allows users to compare aerial shots of the
same areas of New York taken at two points in
time. The years, like most items in such public
inventories, is arbitrary: 1996 and 2004. The
site, oasisnyc.com is funded by government
and private agencies and provides information
on property ownership and land use. An aerial
photo, one of three that are reprinted, shows
a section of Coney Island with shadows cast
OX to A to Z Journal, Like a Nocturne By Dave Miko
by the Parachute Jump ride in 1996; in 2004,
the shot of the same ground reveals different
or conflicting information produced by the
passage of time, which appears to be manually
rendered: a green ball field that is used by the
Brooklyn Cyclones.
A 1 2005
My head is bent over the obit of Frank Stanton,
the understated, reserved CBS executive who
was William S. Paley’s right hand man but never
socialized with his boss, and who helped shape
television as a medium “for the majority of
Americans.” Stanton was so sure Paley would
offer him the chairmanship of CBS that he
refused President Johnson’s offer to become
the next Secretary of Health, Education and
Welfare. But in the end, Paley held onto his
job, and Stanton was forced to retire without
becoming chairman. He left CBS disillusioned,
referring to the institution as “just another
company with dirty carpets.” On his last day,
he declined to attend a party that Paley had
thrown for him and simply left the office as if
it were another work day. He told Lillian Ross
of the New Yorker: “I think I’ll make it home
in time for the 7 o’clock news.” He left no
survivors and asked that there be no memorial
service and that no donations be made in his
honor.
A3 2008
And then, as I read his obit, I think of a
room that is ambient and incapable of being
distressed by objects. Such a room of the most
minor of anxieties (such as yours or mine)
might be assembled by a computer in the same
way that an airport might “use computers to
schedule flights.” 1
D2 1987
Such a room might include a refrigerator
produced in Korea by one company and
marketed in China under a different brand to
less or more stringent energy configurations
that are consistent with terms set forth by the
Kyoto Protocol.
D12
Such protocols, like the room, might include
the sound of the rain, with which has picked
up sulfur dioxides in the form of stack gasses,
turning the leaves of a fern in southeastern
Ohio yellow. And then, the rain will be heavy
at times and will cause local flooding in low
lying areas.
C 3 1975
As a rule of description, it may be necessary to
“cause the parable to rain” or the crust of the
earth to become a cigarette.
C5
And because it is early, such a room might
also include the sound of the rain turning
into something that looks like snow or a
bottle of Bordeaux. Bordeaux is a novel or a
newspaper.
What is the minor anxiety of a novel? I believe
it was something you were reading yesterday
or the day before because the novel is a brand
that is no longer made by hand.
C9
The newspaper is so plainly like all our other
feelings. I remember plainly a lesson from
1 Mark Wigley, “Network Fever” Grey
Room 4, p 12-61

Backwards Honking
By Kirsten Mosher
I was talking with a friend about the frustration of being honked
at, when the driver behind doesn’t understand or see the risks
involved in taking a particular right hand turn on the red light at
the off ramp exit from the Newburgh Bridge to 9-D. The fence
that prevents bridge suicides also prevents drivers at that junction
from seeing around the left corner. So I have to be pretty sure
no one is going to speed up onto me as I take the right red. The
driver behind can’t see it at all. That driver can either wait for
the green light or wait for me to take the right on red when it’s
safe to go. This is when I get the occasional honk. The driver
behind thinks I’m dilly dallying, missing opportunities on this
red and isn’t satisfied to let me wait for the green. Honk-Honk.
As I said, I explained this whole situation to a friend
and she said, “Well, that’s when I honk back.”
“You mean backwards honking? How do you do that? Honks go
forward, not backward. Then traffic in front of me is going to
think I’m honking at them. Of course, the sound radiates in every
direction so the sound of
the honk will reach the car
in back of me. So, how
does the driver behind
know the honk is for him?
It’s like turning your back
on someone and yelling at
them. That’s unclear. You
can’t bawl someone out
facing the other way. You
can’t backwards honk!”
“Well, I do backwards
honk,” she said. As she
walked away from me she
added a loud verbal “Honk”
apparently in my direction.
December, Twelve, Two Thousand and Eight
New York Stories...............................by Aurélie Godard
HOROSCOPES 2009
By Virginie Yassef
G.DeBord
an incomprehensible stab at describing their
shared journey towards an equally shared goal.
Both are becoming hoarse. Meanwhile, someone
turns up the music, just as J starts to look
for a better place to sit (he has been perched
on the armrest of the rocking chair that M
is sitting on). M, having spent quite a bit of
time trying to listen to A and B and maintain
eye contact with both, has now removed his
glasses and is rubbing his temples as if to dispel
a headache or a growing sense of frustration.
A stops talking and draws a C with his
finger on the glass tabletop. B falls silent as
well, watching A as he carefully draws the arc
of the letter. A has now sat down and is staring
intently at J. With an unexpected blush,
and a visible onrush of embarrassed sweat, B
calmly walks over to M, gently lays his head
on his tricep, and leads him out of the room,
onto the balcony. This scene looks like an A,
a B, a J, and an M (all lower case) drawn onto
of one another.A taxi sidles up to a building.
The building is a four-story apartment building.
There’s a small cement “yard” on the side
of the building, separated from the street by a
low wrought-iron fence. A Hassid man dressed
in a black top hat, black skullcap, long black
satin coat, black suit, and white shirt, paces in
the enclosed area, at a regular pace, pausing
at the end of each cycle to warm his hands
in his sleeves, or take off his hat and warm
them in his hat. He looks behind him, looks
around. It seems he’s waiting for something. A
school bus pulls up, a yellow school bus, with
Hebrew characters written on the side of it.
A young Hassid boy runs out, into his father’s
arms, who stops him, removes his scarf, places
it on the boy, warms his hands again in his hat,
then takes his son’s hand, and walks quickly,
briskly into the building. The bus doors have
closed, the bus has taken off, it rounds a corner,
drives under the overpass, down a wide
street lined with warehouses and small brownstones.
A gang of umbrella wielding thugs
enter the organic grocery noisily laughing,
opening and closing their umbrellas and falling
down the aisles causing one young man to
drop a 5lb bag of basmati rice. They carried on
so because they were malcontents. They did so
because they were drunkards or having some
unruly celebration that was better kept private,
away from the uninitiated and unsuspect
C is for Column
ing. Whatever the reason, their behavior put
everyone in the vicinity on guard as they slid
and scuffled over the now rice laden floor. 3
aisles over, a handsome middle-aged woman
returned her gaze away from the direction
of the ruckus to the package of frozen spinach
she had been inspecting prior to the outbreak.
The circled K; keep refrigerated. Her
eyes wander further over the logo of a bird
and she begins to imagine herself floating over
a patchwork landscape of tree lines, pastures
and lakes. The wobbly lines of country road
as they begin to widen and split, occasionally
dotted by a rooftop – she must be on her way
home on an airliner. The roads breaks to the
right, to the left and continue on ahead as if
winning a race. Speckled with more rooftops
which accumulate into clusters, pastures become
smaller yards. Grassy passes turn gray.
Just then she feels a violent poke in her lower
back. She spins around to come face to face
to with a dazed and wavering man of 41 holding
a ragged umbrella. She clinches the cold
brick in her right hand and, as hard as she can,
strikes the man on his left temple. She turns
back to the refrigerated shelf and replace the
dented package for a fresh undamaged one
and proceeded to the checkout line. Our protagonist
walks out of the supermarket through
a scatter of rice grains, in which one could
read a potentially infinite array of signs, numerals,
or symbols. The sun outside has just
been dimmed by a cloud, a grayish cloud which
she seemingly interprets as the approach of a
storm, she flips up the collar of her raincoat,
and checks to see that her umbrella is still
in her handbag. A young couple are holding
hands and kissing at a bus stop. Perhaps one
of them is leaving, or perhaps has just arrived.
As she passes them, a bus stops, and when it’s
left, so have the couple. They have scampered
into an alleyway, their interaction growing
more heated, but just then a door opens up
in the alleyway and a thick set man drags an
oversized double-walled bag of trash out towards
the dumpster. He mumbles as they make
their exit, laughing, and seeking refuge in the
gangway of a building, leading to a courtyard,
in which they are once again interrupted by
the arrival of a moped and the departure of
a mother and her two children, each of them
carrying five large decorated cardboard letters.
They slink deeper into the courtyard, finding
refuge in a doorway leading to the basement,
at which point their interaction, after a brief
moment of awkward reprise, heats up once
more. Just then a retired translator and amateur
cryptographer on the fifth floor waters
his plants, the run-off splashing down along
the wall, part of it dripping down the shirt of
the young woman in question who jumps with
a shriek, just as a car enters and proceeds to
park alongside the two of them. It is 4 o’clock
in the afternoon. The sky is filled with clouds.
A flock of sparrows flies low over the city,
first in a “V,” then in a “W.” The weather is
mild, and the spirits of the nation (according
to a radio broadcast blaring from the
amateur cryptographer’s apartment) are high.