ECCOLINGUISTICS exists to give to Mars what happened. It must consider itself a/n historical log. Otherwise the mere sic art of the ear. It seeks one thing—hoary labor in “Elegy / Churchyard” (impersonal pastorals, Wordsworth’s bone-headed “language used by real men”), D’s unwritten frame in frequent, drafty headaches, and too many Ds—”he had the longest day compeusing in the orchard”—Howe’s thickets of Kim’s colonizing “english” like Iijima’s dirt shake or Doller’s “full jar of heroines,” rambunctious as hell seems Schelling’s and Richardson’s neon mud-caked coyote skin, a bug through the stream of some mountain town, mined shaft Halpern’s future perfect tense toward Williams in a Detroit apartment (forthcoming?) what does it matter—Chirot’s scratched site—”the most extreme consciousness of doom” ASS Adorno’s “idle chatter”—to locate and record and perhaps create the end of whose planet changes where ECCOLINGUISTICS meant catalyst, complexity’s angled, sparks, industrial semiosis a generation’d echo, as if the one new void generations of stalled time, unto blooming Techne
in bloated old samizdat style, in reproduction, its meteoric paradigm its fecundity, possibly free too in the interwebs as though we weren’t paranoid ECCOLINGUISTICS seeks to pursue all politikal affiliations through the woods, piddling in the PANTS of Benjamin, in order that the frightful polar bear adrift makes it to her Lingis on shore. His aviary—the muzic’s background. The swim too long now confusing a maze. Stupid thing. Cruel seals.To such ends, art is a means. It’s pathetic, I know.The fields have already lost shape. It came from the 80s. Of course it did on to Mars.ECCOLINGUISTICS is beyond the field, surrounding it. Its practitioners, soon to be claimed not by these pages, abide by the chance of flooding their own rooms—residents—they are children again, who will miss the libraries. Alexandria.We are not old. They wait. We are not good people.
What says love if it comes from need. Sounds like the “good”much meant “not”—that is, “unmarked” linguistic, read away—unsystemic (strangely) objectives in the west
a poemy clearing that you go
“good” makes “growth”
in one dimension altern OFFICIAL Xulturea proposition passive aggression consumptive
“do less” pretentious behavyrprecise pronouns for past and futureLee and Lum give a distance and the people somewhere, perhaps Nacirema and such. To walk with Skinner’s plan or Tedlock’s “ethno” meant “self-poetics,” even “language” and whooda thought, no structure ‘are ‘are percussion on a disinhibitor’s blog before college kids have parked and now piss in certainty out the window “the lunatic is” seems “on the grass” again
st meoldy intending to medicatetime it with the producer’s third roar it’s Disney (public educationa pastime like newts’ eggs) (early forms of lysergic acids inserted in the eyes) send your work along to ECCOLINGUISTICS. This is a seed. A moving beginning. It’s nothing new. The battery’s charged; the sky doesn’t work. It’s initial-stage phenotype will be a mailing. It will communicate with you as to what that means. From the outside looking in, it could evolve into something more, perhaps morph—it could be programmed already. It is perhaps a point in its favor. Something organic, bio-logic and chemically based, autotrophic, creating its first meal. The first mailing, and all subsequent mailings, will be free. On paper. To anyone who will have you—if you would like to be included on its list, send us your contact data, and it will find you. It makes no promises except this one.Please direct your germ at:
eccolinguistics [at] hotmail [dot] com
130 Middle St. apt. #3
Farmington, ME 04938
In other words, if you would like to receive ECCOLINGUISTICS at your home, it will be free, and we will need your address. We can’t say what it will contain, which seams thrilling. If you would like to send material, please do. Contributors to each issue, or at least this first issue, should be willing to allow that material to be selectively used as these pieces come together. Contributors will have the opportunity to decline the page’s use of the work and everything will be credited to the authors. Because this thing is free, the editor(s) will do their best to respond to everything, and will do their best to keep every single promise. We are also hoping that the price of nothing will encourage many subscriptions. That is, if you trust us.
Or still another way to put it—what we’re up to will more recognizably find shape as materials arrive—it’s an operative principle of ECCOLINGUISTICS—we advocate no mission or school. We will distribute through the mail free thought and art to at least 200 readers. Each issue will be small, necessarily so, and no frills, pleasure and readable, equally necessary, digestible in an hour with a tight conceptual arc. The approach is to wallow in the basics—words on the page. We are looking for work that isn’t stifled, that has actually opened it’s mouth. There will be an attentive, inclusive, and imaginative selection process that will invite, though in no way require, collaboration.We are here for you, the reader. Please send your work, genre is not an issue (polemics and criticism will be welcome), subscribe (did I say it’s FREE?), and pass along to anyone potentially interested the good or bad news. Its price and tangibility (it can be held in the hand) will mean the work of contributors will be read by more readers than happens with many, though by no means all, other costly print publications.In some ways, ECCOLINGUISTICS is an experiment, and certainly one that’s been tried before, and is currently happening elsewhere, in the viral distribution of engaging writing that is not possible with costly production. It will arrive unannounced at your home; you will have done hardly nothing. It will hang around your home and, for a while, probably not be drowned out. It will spread your writing. This is our gimmick.
Michael Leong is the author of the poetry books e.s.p., Cutting Time with a Knife, Who Unfolded My Origami Brain?, and Words on Edge. His creative work has been anthologized in THE &NOW AWARDS 2: The Best Innovative Writing, Best American Experimental Writing 2018, and Bettering American Poetry, Volume 3. His co-translation, with Ignacio Infante, of Vicente Huidobro’s long poem Sky-Quake: Tremor of Heaven is forthcoming from co•im•press in late 2019. His critical monograph Contested Records: The Turn to Documents in Contemporary North American Poetry is forthcoming from the University of Iowa Press in May 2020. He has received grants from the Council of Literary Magazines and Presses and the National Endowment for the Arts. He teaches in the School of Critical Studies at CalArts.