another blurb

pimping further, another blurb for forthcoming forever Emma from the awesome Misti Rainwater:

“I love your word choices. “I prefer the fang.” Now the song from “Lost Boys” is playing, “Cry Little Sister” Your love for Emma really comes through. The dark god awful eviscerating truth of real erotic, romantic love in all its complexity.”

Misti Rainwater, author of Bullshit Rodeo

Buy it at the link by the way, it’s a great book.

three advance blurbs

These apply to the book forever Emma forthcoming from Craig Podmore’s Antiseptic Press at the end of this godforsaken summer. Check the link out, you can see Craig’s films & order books too.

Forever Emma is easily McLean’s best endeavor so far: while encapsulating the atheistic manifestations in his prior works (ghost death blood corpse absence distance) these elements are breathed to life, as to living characters, through valid love for his Emma. Love is not a neutral topic, and David makes certain that it stays that way. Emma is alive, yet full of resplendent contradiction, conflict, confusion. Time is beaten down, means nothing at all except something that the love David writes of destroys. There is nothing past touch, the poet writes, & i say, in an avid follower of David’s work, that to beat time down, to make love immortal, is the poet’s endgame.

Carolyn Srygley-Moore, author of Ode to Horatio and other saviors and Miracles of the Blog: a series

In this collection, David McLean has hit the full maturity of his poetry: a deep skin awareness/memory of every touch of mind and body. Love in the desperate chaos/shit surrounding McLean and his Emma. He/It swallows us and spits us out again, ever-questioning and re-reading. I love this collection.

Reuben Woolley, author of skins & dying notes, editor of I am not a silent poet and The Curly Mind

David McLean’s words rip through nerve collage unleashing hoodoo whispers as well as unpredictable outbursts that crush linear glide. brace yourself for a wild ride through heaven and hell collapsing in on themselves. it’s more than worth the price of the ticket.

Mark Hartenbach – author of the lost bastard chronicles and bring me the head of Marko X

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a sample from “of desire & the desert”

here are five poems from of desire & the desert. they happen to be mostly prose poems; the book is a mix of poems with & without more or less arbitrary line breaks. the book is reviewed in the post below by Dom Gabrielli & is on sale here at Black Editions Press.

the adequate silence of all the melancholy angels

night becomes timeless & the adequate silence of all the melancholy angels – here the children have died their paltry eternities & become obsolescent gods dancing & lighting the nothing with their hairy stars becoming mourning as it gets over melancholia & acknowledges the empty where no gods have ever been nor been needed except in the bizarre fantasies of shepherds & demons/

here we have lived forever, since Radio Caroline was a ghost in a threadbare cupboard on the worst transistors like a word stolen from nowhere or a broken guitar not playing in a graveyard/

we have lived forever already & eternity is here if we wake tomorrow, we have all this incessant madness to share, a radically empty world

lie & the face

a lie deploys the overall motoricity of the face,
a bizarre & subtle weapon;
with sexual potential like leaves falling from trees
as dreams//

it falls through history its inexorable apposition;
all the supple lumber
we have left scattered under the holy wind
everywhere, drops of water

& some antiquated resurrection/
the impotence of expressive potential
is a broken tower, a hanged man,
swords & the impossibility of murder//

we have every memory to reiterate patient
before the heart goes, also broken,
no longer working, a worthless motor,
subtle dead engine//

lies like becoming/
here we are nothing

temple destroyed

the temple is destroyed today, left us is the nasty ark of pornography not carrying many words worth mentioning but the sublime semiotics of flesh & the empty// words are no longer over any still waters, they drown in the mouths of morons & the world is always already forgotten

we have become the creature that both eats & is eaten, a night forever completely devoid of dreams worth having or any conceivable meaning// gormless Godot is drunk again & snoozing somewhere in the worthless heart of being

the nihilistic machine

& what we uncreate is a nothing machine ticking over nicely its voiding values its stretching out new lacks, vaster absences. there is time & space & all this empty content saying so little, nothing moral anywhere better than the neck of a priest or a policeman opening itself as the most perfect & decorous target ever. (he had a hard time at school, poor dear) & here is his worst enemy, words, & an unforgiving world//

there are many flags here waiting to burn

language messing around

language is not messing around being implausible freedom the play of the text intent upon enchaining everything else. the telephone is not talking itself, it is the ghost in it, uncanny & homely psychosis/

there is obviously nothing outside the text in a very specific sense, apart from that there are plenty of things, in the sense most idiots are thinking the dead man meant, there is everything else. the gods of the hearth are dismal dancers they are not Drogba running his perfection they are symptoms that are decaying of an empty that is ending & has always tended to want to end whenever a child played with a kitten or got down to some serious living/

 

Dom Gabrielli reviews “of desire & the desert”

Hugely grateful to Dom Gabrielli for this review of of desire & the desert, on sale here here at Black Editions Press.

Deleuze and Mclean, unlikely bed partners, A Thousand Plateaux and of desire and the desert.

it is not tools but the horrid state of masturbatory technology & intellectual impotence that makes us such scum//

The ‘Deleuzian’ century closed and its successor brought a dramatic return of the repressed as the scared masses took fright and clamoured not ‘with’ the tremors of Being but rather ‘for’ the One and its demonized Opposites, all the dreaded identities. Because as all of us know, closet Deleuzians or not, we are never one nor another, but certainly many, a mass, a crowd, a bunch and no one is supposed to win this life-game which only despots take seriously. With this return of Identity came necessarily the society of control. Deleuze had correctly predicted whose model was the motorway where freedom becomes solely an illusion, where everything one does is visioned, catalogued and potential to be used against us at any time. All that ensues is clockwork orange, and we as citizens are all decidedly lemons!

A Thousand Plateaux written with Guattari was probably the most overwhelming non-poetic reading experience I had as a student and many evenings were spent reading it aloud with my fellow students at NYU in my ground floor flat in the East Village, 3rd and 7th to be precise. Certain plateaux were read with a fine tooth comb, others were ignored and returned to at a later date. Deleuze and Guattari had after all encouraged artist-readers, non-philosophers, to take what they could when they could, to create their own machines, their own assemblages with whatever was at hand because after all the question was always: how to get out, how to let fresh air in, how to evacuate the suffocation of despotic institutions like universities which already back then (1990) were fabricating professor-business men-vendors with theories for sale and ideologies in suitcases to spread over willing student minds for pricey diplomas.

Deleuze and Guattari were unteachable in those days and any mention of them provoked chaos in the lecture rooms. Frequent adjectives were ‘unreadable,’ ‘incomprehensible,’ ‘dangerous’… That is when you could have real fun with concepts such as ‘deterritorialization.’ Much laughter was had at the expense of the advocates of the fashionable doxas of Lacarne, Derridar and Barrethes…

McLean I imagine had many a roar of laughter reading ‘A Thousand Plateaux’ and as good poets will, his readings and impressions made their ways into notebooks and pads. Lucky are those today who can read these immensely enjoyable vignettes which not only play freely with the spirits of the glorious nomad thinkers but place their concepts firmly in the society of control, 2016.

It is the destiny of thinker poets to be overlooked and ignored because they fall between categories, foul of classifications and ideologies. Are they really poets, these folk who cite Hegel and Heidegger? Can thoughts be expressed into poetic form anyway? Let’s face it, the same arguments have been raised against many an illustrious predecessor. No need to mention names. But today, I am told, we are all poets. We all have little secrets to share. We have emotions to dress in romantic script. We can take up poetry, like a gardener picks up his spade to dig his first vegetable patch. Deleuze himself hated French literature for its psycho-analytical bent, for its obsessions and perversions. The superiority of Anglo-American (and he forgot to mention Irish) literature being its lines of flight…. its becomings…. But language is a recalcitrant field. The act of writing reminiscent of Sisyphus, push a frosty boulder upward, ever upward, to the unattainable star. He probably won’t enjoy me saying this, but in this regard McLean is a traditional poet, as much as any today. He perfects his craft in solitude. Book by book, the idiom improves, singing, laughing, thinking. “One must have chaos in one to give birth to a dancing star.”

McLean’s diagnosis is spot on.

we have become the creature that both eats & is eaten, a night
forever completely devoid of ideas worth having or any
conceivable meaning/ / gormless Godot is drink again &
snoozing somewhere in the worthless heart of being
(temple destroyed)

here there echoes the cretinous giggle of the pornographer
priest with his active camera, his hymns to null & the absent…
there are no honest warriors left today
(face of the despot)

What perhaps even Deleuze in his aristocratic brilliance could not presage was the rise of the pornopticon which from priest to bureaucrat, from the Kremlin to the Pharmahouse, enable the States of the world, all together and without exception, to re-territorialize desires and ‘pervertize’ the young, tying their memories and developments to a morbid technology which handicaps sexuality and puts resistance to sleep in a nihilistic heaven where even the worst fanatics with furious machetes cannot escape their immediate return as cartoons. ‘the men who police thought are not actual policemen who/would hesitate to think, were this so much as possible in their/ debilitated condition, preferring to the lick the sweaty nipples of/ evil & devote themselves to a smarmy fascism//‘

In his most recent tome, McLean comes to terms with Deleuzian concepts in a 21st world. The parabola of the boomerang of perversion is minutely plotted by McLean using the concepts and assemblages of Deleuze and Guattari as tool boxes. This is no mean feat and we must applaud vociferously, just as often laughing at the flippant tangles which the poet inextricably ties the reader into.

let’s axiomatize indeterminism
to make the crazies go away
& keep the right white faces in mental
heaven; there are shapes to show
maybe, we do not want to know them
mostly, forever sounds so lonely
you know, like nightmares
with nowhere to go
(of axioms & other monsters)

If Outside is Desire. If the Open is constantly recaptured by ‘answers provoked’ and twisted into a ‘smarmy fascism,’ leaving poetry the only right to destroy the ideology of the Inside and resist against the grotesque State machine, folding onto imbecility a simulacrum of a poem which can be read as both flippant self-indulgence and fulgurance and illumination, because both low and high culture, pornography and art, co-exist like the evil and the good sister in Bluebeard’s cave. The simulacrum so good, you tire to distinguish one from the other.

If all of the above, the desert? If Desire is the adolescence of thought, its necessary madness, its rites of possession, its myriad becomings, then the Desert is wisdom, becoming imperceptible, the right to breathe in words. Finally amid the One which is everything. Here is the Desert.

& it is the futile Peyote Dance resurrected again for all the
madmen hanging like bats from the rafters in some
disingenuous midnight temple. they have torn the scabs from
their arms to wall up the seven devils dead & eternally
protected accordingly, they are losing all their memories to be;
they are forgetting memory & learning to be // they want to be
everything but no body wants to be free

Rarely has such lucidity pinpointed the hypocrisies of Self and glorified selves in Collectives clamouring for Freedom and needing corpses and morals, when they haven’t been mad enough yet to see the futility in their madness, when they haven’t collected enough matter to find the Desert in themselves, in the cold North, where ingenuous temples grow for the night amid dunes of Nothing.

Who speaks desert speaks Nomad. But who knows society knows that ‘eyes are for spying with not seeing’ and that collective hope is an alias for suffering and ‘they are watching the children the prisoners the madmen in the distorting mirrors of this disgusting cunting panopticon’ and we are probably not ready to be nomad and we are probably not ready for Deleuze or Guattari or any of his one thousand distorted plateaux. Society is not worthy. It is just killing and destruction because the State ensure ‘they are born crippled,’ and ‘death is better than labour.’

Who reads this book knows hope is extraneous to matter. The physics of poetry, the immanence of the dissecting pen, imply the end of all forms of transcendence and a mockery of all their avatars. Difference and repetition of the whole history of poetry. ‘Structure is for vermin.’

I looked in vain for the Desert. I saw some animals passing the dunes. I spotted Artaud. I will keep an eye out for the nomads as i keep reading, backwards, inside out, dancing and laughing. There really is no need to be sad in this hell, because ‘the outsider comes undone.’

I heard some echoes.
I saw some footsteps.
I know the desert will burn again one day.

too much human

There’s a new chapbook now out at Black Editions Press, too much human, with an intro & 30 poems by me, poems that for once are consistently about a particular theme: the decline in human intelligence consequent upon dysgenic fertility & the necessity for radical depopulation & antinatalism in order to preserve the ecology.

Here’s the blurb from A.D. Hitchin.

A beautiful hand grenade of a book that would probably serve as effective population control for the hysterically reactive and weak of heart. Throw into a crowd of SJWs and watch them die.

//A.D. Hitchin, author of CONSENSUAL

The book is available at this link.

desire & the desert

140 odd poems “inspired” by Deleuze & Guattari’s  Mille plateaux are now on sale here at Black Editions Press. Following is the blurb that Carolyn Srygley-Moore wrote for it:

“Despite the innate rationalism of the traditional philosopher ..something I’ve never excelled at … David McLean’s poetry does not fall flat into any sort of rigidity. An atheist, David, when asked, says that principles, & secular humanism, are not obligatory tenets of atheism, indeed, are counterproductive. Humanism presupposes a higher notion of the human, a reverence for it, yet David & his work retain and glitter with an irreverent & delightful disdain for humanity, the devolution of the human race. A scholar of and practitioner of ancient, modern & postmodern philosophies, the “body without organs” trembles in his poetry, inviting the reader though millions of conduits into a sensibility of ghost death love childhood in a voice original such as few modern voices I’ve confronted in my reading. Vistas open.”

It’s not very expensive for its size, so get one if you like.