Thursday, February 2, 2023

Lachlan J McDougall, Japanese Grass Script


Lachlan J McDougall, Untitled 

Japanese Grass Script::: a memory of Brion Gysin


my writing i words senseless

meaning cut— i write

in the mode of dreams i

had in the shadow of

a magic moon receding:::

            “read your horoscope?”

            “it’s called Japanese grass script—learned

            it from Gysin the paintings i

            looked and fell into one evening—”

herein lies the grave of words i

write    —cut—

magic moon receding


the words stop writing i

stop writing where the grave

of words i lie still in the long grass flowing

Japanese grass script i fell into words

            stop     —cut—

Gysin with the paintbrush:::

            I am that I am”

and here we see the essence of the word

superimposed meaning senseless stop           —cut—


they call it ‘asemic’ writing:::

the dog snuffling under me for a

bit of old meat i dropped at dinner

with all meaning senseless dribbles down

            on his chin dribbling a long streamer

drool on the floor where my feet kick swift

across the floor senseless i stop


the textual order rearranged to reader

            satisfaction i make a move

to Japanese grass script flowing

like a magic moon receding


Brion Gysin in the painting room Japanese

grass script flowing under

glass like a paintbrush moving back

            and forth like a steamroller:::

“does it seem to be persisting?”

“read your horoscope?”

            “I am that I am”




Japanese Grass Script::: asemic writing[1]


wordless children’s dribbling is left forms

            between their quasi-calligraphy

—wordless asemic writing—


Brion Gysin into asemic piece can

            be rearranged by some people

but not postliterate style in a steamroller:::

            the paintbrush, calligraphic style

writing without it seem to move even

though it words to make a global

            —asemic writing hand on Jim—

preliterate between receding:::

fill in arbitrary movement—

            that i fell in formatting:::


the calligraphic interpret:::

all of writing such are floor where    

            illegible etc.)))

most applied to be “reader time”:::

            asemic writing with no verbal writing—

            asemic writing damaged 21st century!!!

translate expanding art movement

            back and forth like a movement beyond



to be a painting long

            and strong as an artist…

where illegible abstract works

allow for asemic worldwide literate

            rearranged the early part

            is traditional writing

with a pen or have option----

            hoaxes::: the readable:::

            it may be constricting???

here computer image sometimes----


asemic writing—they calligraphic writing

            an artist damaged their suggestions

they to make a pen semantic or

            “with all means”

relative over images

children’s dribble goal and for meaning

            a long grass flow as a

            type of asemic writing


Japanese Grass Script::: Brion Gysin—memories of his own[2]


first great counting under me

            for the same goal:::

thus it seem to piece together

            this was the cut-up///

            the eyes closed to create///

i fell interested technique disappeared

            he kick swift across cut-ups

—his close friend,

            “Brion was the only man i ever respected—”


William Burroughs of 1958…

            Burroughs a pile cut-up technique:::

an artist William Burroughs with the same

idea in the camera—

            glass script and began to Go

            (((Two Cities::: Paris spring under manuscript

and i began superimposed thoughts for turning)))

—cut—           i word

            superimposing calligraphic working----


he is best effort like a bit was

            broadcast by the cure///

while of old meat and later stated through

            a pile cursive Japanese

            grass script…

Burroughs of 1960::: thus it being myself

            of course, who has lived in Minutes:::

the necessity for drawing room No. 15----

            i slipped, as i know, Buckinghamshire…


a friend, the monster stated was more into writings i

            looked Lunch appeared///

it was after publication i make a pamphlet

i began superimposed----

            he kick swift across the beat i////


a friend, the dog snuffling senseless script

            Burroughs a painting under

            rearranged painting///

together the months earlier about the words

i lie still it seem to piece together

            scenes far as i know:::

i had been works inspired by the summer

of what later appeared----


it was after this machine began

to create the cut-up cold Paris spring room

            Japanese create cut-up poet///

papers with all meaning in Taplow///


Japanese Grass Script::: —stop—cut—i writing back


i words i

had in the essence of

            a magic moon receding

Japanese grass like moving lie still

            into one evening—

here the textual order—

            “read your horoscope?”

“I am”


from Gysin the grass flowing


the textual order:::

            me move forth like a paintbrush moving

where we see to rearranged text

persisting under me forth

            like a magic moon receding


Brion Gysin the painting senseless i write

stop     —cut—

it from Gysin in the words i stop

—cut—           i writing?

            “I am”


            they call in the painting under me for a

            bit of dreams i

            had in the flowing

like a moving room Japanese

            grass script—


Gysin all in the words:::

stop write

in the shadow of a dreamer

drool on the flowing

            like a paintbrush:::

“I am that I am that I am that I am that I am that I am”


it from Gysin the paintbrush move

            to Japanese

grass floor where my feet kick swift

across the floor i lie the long grave


Japanese grass script i dropped at dinner

            grass script i dropped and fell into one evening

under me for a

bit of words

            satisfaction i make a steamroller:::

“I am”



in the paintbrush:::


the grass script on the floor senseless

i stop writing room Japanese grave

            of the words

satisfaction Gysin with all meaning

a long senseless i stop


i writing back

Japanese Grass Script::: The Process[3]


magic moon receding

the dog snuffling i writing:::

            “it’s called Japanese grass script—”

Brion on the floor senseless floor senseless flowing


the grass like a posthumous edition

            The Process was a paintbrush:::

“read your horoscope?”


i writing words i story superimposed

            and Mary Cooke a couple financed

Gysin’s 1001 Nights restaurant flowing

            under me for a bit of  



Brion in Tangier:::

            John and Sufi culture:::

The Process i lie the grass script floor

where we seem to be a pilgrimage

across tell words i

stop     —cut—

            magic moon receding


The Process i lie the painting senseless

i writing words i stop 


i words stop writing:::

            “read your horoscope?”

            “I am”

herein lies the grass scribed by the Master

and The Process dribbles down

            on history it ‘asemic’ write


            learned it from Gysin in

the grass script a paintbrush:::


his chin dribbles down on

            his first full-length novel


—Lachlan J McDougall

[1] Additional text from the Wikipedia article of Asemic writing

[2] Additional text excerpted from the Wikipedia entry on Brion Gysin

[3] Additional text taken from the Wikipedia entry on Brion Gysin’s wonderful 1969 novel The Process.

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