Moving Mass (Liftersinger) (Performance Text)

May I read to you?  Excuse me, it would be my pleasure to read to you now.  Not silently or in a whisper, not yelling either.  May I read aloud to you?  Read to you like the children’s book you once had memorized.  Or the love poem once read to you by he or she dearest.  You may want to rest your head on a shoulder while looking beautifully.  I would really like to read to you.  You look beautifully.  Observe me read.  I am learning how to read from the gut.  I am learning how to read from the world.

In front of us we have this table made of pollen and around the table we have and jilt.  Just as around the table he runs it and for it.  Day into day without interval shes and hes lift something lift nothing.  You could please pass me something in the form of light.

All this food and all these mouths.  A line of holes meets another longer line of shallower holes.  Raw war and the innermost fray.  All this food for all these mouths the marvelous rather than verisimilitude as suitable ingredient.

When the objective is determining power, we will use the following values.

She gave her her book.  Her words red and read.  Her her-book drips in a line to her sock.  Often she and she can share shoes.  Another line red extends from her to her from the ground up from above and up from behind and down.  From the ground up is regarded as the least technical greatest measure while behind and down is the most technical greatest pleasure.   Hes and shes lie knotted in the undoing of  the state of undergoing.   The drawing illustrates with maximum muscular efficiency the down and out furrowed down transference of suffering.  What she can do with her she can move with her one foot forward one foot back to the tune of love in the hot afternoon.  Three three-letter words all typically large bodies of no definite weight such as well might happen to be moved.

(Performance audio and stills available here.)