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cut out Andrew Spragg

The Red Ceilings Press

MMXIII [rcp 49]

cut out Andrew Spragg

cut out was originally published in book form by Deptpress in 2012. Thanks goes to Richard Barrett for his support. Further thanks goes to those who assisted with the project, in particular: Matt Cockshutt, Veronika Wilson, Stephen Mitchell, Alec Newman, Simon Howard, Drew Milne and William Fuller.

For Hattie & my parents

Report #0 of the many books not read or pushed to silence or pages folded to designate margins though incomplete and left in trace though not all of it understood but what’s with the word today you grasp at it any way let the weight polish your tum pinch one’s own to rogue and lacunae the dew and fathom silence by waking there is an agency fierce wept and you who wasn’t fixed as if on a number of times figure running to and fro find a light and push a way in.

Champ parts separate for the slurry lagoon not worried but levels of care wanted to cast for all the notes I know the notes loaned notes or contenders the trumpeter’s lips begin in bruising with practice to the quality is shorn a brass plate a name going unrecognised for serif and slid by the recorded acclaim the clouds grope for one another first knowing and we key text and for all the notes I know the notes.

Report #1 Precisely at two o’clock take up your coat and walk we have a rendezvous secret and to a charm a life has there been anyone seen in the indefinite years of his absence

Classify All seen danger, senses protected and smoothly does it, the distress well – motive questioned opus helping; not trembling, letting on and knowing but found there’s an out. Impressed perfect cry on the open space, wasn’t to him but to the teaching give latinate to the offing, fix all. There’s lingering on or predilection for the mist of the page. Letters set and behind the impression, accumulation of returning vapour and ink, push tougher to make ident last.

Report #2 your anonymous letter was left ticklish and rouge for days stuffed in a cabinet and with its own permafrost of allegation i suppose i and left the moment but slip do not mind that filed under general good tripled in kind the lone work the storks do the rough patches and fixing up the flat buzzes with books and hanging in the awaiting air gold appetites gone behind and always do this and brave always with this gained a basis of self by assume a project the thing in your accusation is that it assumes a self to have begun yesterday was a technicality of things we’ll lock onto like you and you and you and shaping up to the infinite love whose wealth will be taxed

work belt to the mudlark and the burial, though beginning all again fetch me my file and tremorous workings fetch me my gents and better passing to the faint gin traces be away I swear mechanism upon mechanism main measure the wirkd out and world out there be raised on the flats of murk unquestionable seasons flood in

Report #3 there is not a single casual eye in the house but fixed on like riding the night lanes or working to earnest. Let us reword the deserting treasure by the river or what’s been given to a phrase to earnest chance forgetting all else the kind of sign of distemper be my subject for thought transfer extra time and extra aware gripped to ticklish centre in summer treason comes easier that part is a study of your own accord your fixing to and waiting for the trail of another list not lest thou be listed be not begrudging lest thou be begrudged maybe this august will be the one where the carry-all really does carry all

that knack Fraught matter, frame & memory major secretarial work, the clerical stars just vanish under suspicion, though check grossly out. All said – done those who do not do. Forms of devotional art o yeh and easy to chuckle at, scrutinise each act. Our man urgent cut-out just out for a sec; snapping shut all things there’s then to need.

Report #4 well no and forgetting to meet in the middle i waited for you in the park for two hours i ate my lunch and then wondered what matter is cursing you and then again i ate my lunch and then wondered whether there were papers awaiting exchange glancing at the briefcase and waiting then glancing again and this time it was gone i filed this bit by bit under our observations right under the table of all the things you like to eat and how many times i saw you that last season the one where you wore the warmer twice and your gloves only once despite it being cold enough that these would not arouse suspicion later on lying in the bed in the safehouse i thought through your face and tried to recall your jaw so as to pick you out of the footage currently under review it really was the most compelling exercise the footage and i wondered if you too sat and worked your way through the footage of me with such exactitude what this world needs now is more exactitude or to think speculatively of the charges we’ll make.

Generate structures: ON trial shocks and clambering over remarks, throwing clear neon over high scrapes wreathed in the garish light setting the gaps and gross like stones cluttered between the sleepers to the big store – shop practical purchase be in spot the plosive hum containment bouncing down the piano keys diaspora roamed carpark prudence do the pleasantries as programmed or just the politic of a camera wrong to lean to and late to collude remove this application from the balcony then swish pitch a box of papa beard and doctor papa surprise then all by the hell of fine leading features: processing stretch after stretch of interest data atop a white charger mouthing I believe to the sonar measure

compulsion/errors in the information thrown bruising/edge to the gut atmospherics flighten to the environs/bedrock silos with only our method, the future though not many believe fine leading place feature function value attest attempt contemporary concern still asked, asked where is efforts then switched to when and then the pause came when I was in the service I was never in the service should there be the service deposited in the name of the service or fain spare thee.

Report #5

we’re onto you son and abroad writing and talking and signing up all relating nothing trained to start noted nothing kicking–back raw the money and making nothing -- something on a kind of slide tracked figures through aisle streets a companied scorn or let up hell of a frame and all them spinning those for yawning a risk plates or a companion – fray got out and that object’s looking fatigued. the day works its silence right along the skin varieties of tasting measure walk and listen to what’s not forefront

we're onto  you

we're onto  you  son  and  abroad   we're  onto  you  son  and  abroadwriting  and  talk writing  and  talking  and  signing  up   nd   talking  we're   and  soigning   nto  we're   yup ou  son   onto   and   you   abrs kicking  back  twriting   he  money  aand   making   tracked  figures   through  aisle  streets   writing  and   up kicking   ack   h writing   talking  aband   nd  talk stig a  companied  scorn  or  let  up   kicking  back  we're   the  moup oney   nd  son   nto  yaou   up making and  abroad for  a  risk  or  a  companion  fray   kicking   back   kicking   tracked   boney   fack   igures tahe n writing   and  talking   athe   nd  m signing   the  day  works  making its  silence   right  along  the   skin   tracked   figures   aisle  making streets up through   making varieties  of  tasting   m easure   we're   oon   nto   ytou   sfigures   on  and streets kicking   back   the   fsigures   m tracked   a  oney   ompanied   hrough   nd   asis c we're   onto  you   we're   son  oatracked   nto   nd   aybroad ou   acnd   aabroad walk  and  listen  to   writing   a nd   t alking   a nd a  companied   scorn  astreets oar   lset   up streets for   a  rsisk   or  a  co making and  talking   writing   nd   nd   igning   talking   and   igning   what's  not  fwriting   orefront  

up fray for a  risk  or  up a  companion   a  fcigures   ompanied   a  the   csompanied   corn   day   w or  orks   let  sco ui tracked   through   aisle   up kicking   bright   he   m the  day   works   sfor   ilence tahe   streets aa  rnd   isk   r   for   aack    caompanion    rtaisk   or  oney  cfor kicking   back   tkicking   he  its   money   back   the  om oney   along   nd   right   long   tmaking he   skinthe  making we're  onto   you  ason   and   a   caompanied   broad day   scorn   works   the   varieties   or  dits   lay   et  suilence wporks   of  tast it making we're   ofnto   sright   on   and   aisle   igures   hrough varieties   oaf  nd   ttracked   asting   m easure writing  atracked   nd   talking   stigning   right   aylong   walk   tfhe   skin aalong   listen the  s for   a  risk   otracked   r    ou   companion   ftbroad ray figures   hrough   igures   aisle   through   and   writing   a nd   t alking   a nd   s igning   streets walk  and  listen   toay   up ot   the  d varieties   works  its   of  varieties   swhat's   tilence asting  nm oeasur f  ftore asti streets streets up a  tcu ompanied   corn   or  le what's   not   forefront kicking  ba   ack   the  m oney   right   nd  aolong   walk   ahe   nd   skin listen   walk   aosnd   companied   a   scorn   caompanied   r  let   p scorn   or  ltet   uplisten   boofor   ack   afot   nd  foref risk   ooney   r   a  cnompanio making for  a  risk  or  afor   varieties   what's   f  r  tafasting   ot   what's   fm orefront m easure  ckicking   ompanion   a  risk   ray  an ct  he   ompanion   ray making the   diay   orks  its  silenc tracked  fthe   igures   aisle   walk   ailence nd   isten   toswilence day  through   works   the   its   dsay   wlorks   ts   tracked   figures   through   isle   right   long   the  sakin what's   not   ftorefront streets right  along  the   right   skinalong   he  sakin streets of  easure tasting  mea a  companied   scorn   let   upmeasure varieties   of  otr  asting   varieties   ovarieties   f  tasting  m a  tcofompanied   scorn   or  let  tuop atond  listen   for  a  risk  walk   or  a  caompanion   ray nd  listen   walk   and  lwalk   isten   for  a  risk   oforefront r  a  companion   fray not  forefront the  day  wwhat's   orks  its   silence not   forefront what's   not  what's   the  day  works  its  silence right  along  the  skin right  along  the  skin varieties  of  tasting  measure varieties  of  tasting  measure walk  and  listen  to what's  not  forefront walk  and  listen  to what's  not  forefront

Report #6 mixing the blessings of so i sat by the river waiting as duty described weaned off the trial and eventual. Q: what was that coming over the mountain A: more and more mountain

Report #7 then groaning over the horizon there’s such reasons to remain slight if one could rearrange the settings peering over the spectacles like it’s another edge you stepped from what do you change you change something register thought and here’s the photo of the de-facto wedding we underwent what were the methods the grey decades the ghastly few my shirt is stained with lasagne and the world is literally a billion years old scope that

Tense late You and that and those heedy resources – brave anticlimax, found peering in the be-ringed cut. For this gang there is the dance and for the sleep there is not much. Brought violence to knowing halts, no resources with which to contain. Privileged cut, high action and repeater rifle. The drawers full of what really happened in the seventies is you really happened in the seventies.

Report #8 dual set i’m losing it one of kind or one of one or anything possible unpractised taste i enjoyed the flavour and the vibe oh and i was not for much else parallel derailed pardon disarray there will come a point where there is just pure concern pick up and move on.

Report #9 going down the houses allay our finest structural fears impossible deposit be all emergency gift where and how to put these things that light you’re emitting here is also over there

To the Department As per subject to report to climb down. As per status and traction. Be aware that this serving hotfoot and made in tremor. Is that still there. Which mode and start with rain and start with caustic air and start with pavement and start with the feet don’t as much pad as pace as come close to phantom. In the week I interweave our work moving from doorway to doorway connecting strays. I love the city in spring slash summer slash autumn slash winter delete as one may see then fit. Be clear the city is a hot mass of body and strong to bold in measure. I am clear in my run down the department then. Here’s some screeds: # enduring long instances of buzzing energy # throttle the new skill # invited to speak # often to from the context then turning this in.

Report #10 what tried and proofs are acquired but in or by passing of the chance that body anthology holds and by extension what appeal briefly we were making space been meaning to buy it regardless of the feeling the group will be inevitable in their desire to kick your face in or join you up and no more experience will nor more privilege that of the pausing and the dynamic of the genuine and that warm flush of speaking with what authority the one long sigh that hammer will be the death of me there is nothing but a man and a thousand mechanical hammers all waiting to fall what name do we do what with words occasional good or occasional bad brought up short transmit your goodbyes from either side of the glass so wait on then one that redeeming word coming all from afar a touch to work on it or all out again let me whisper in your ear as a capsule or a grown stain be straight now about the number and weight of your every conviction the cold are leaving clues to their questions it is in a manner of speaking

Andrew Spragg is a poet, performer and critic. He was born in London in 1984 and lives there currently. To Blart & Kid is due to be published by Like This Press in early 2013. He has had work appear in Hi Zero, Half Circle and on The Literateur. His writing was also included in Dear World & Everyone In It: New Poetry in the UK(Bloodaxe, 2013). He edits Infinite Editions, a blog that publishes free poetry postcards for download and distribution. Publications include The Fleetingest (Red Ceilings Press, 2011), Notes for Fatty Cakes (Anything Anymore Anywhere, 2011) and cut out (Dept Press 2012/ e-Publication by Red Ceiling Press 2013)

Perhaps it is the lightness of touch with which absences are figured that makes this assemblage feel so inviting. The title brings into play cut-outs and scrapbooks, editing and pasting with scissors real and virtual, but what price the cutty sark of our cut silk idioms? As contemporary fiscal thugs should know, some cuts do not heal, but these reports, divertissements and superimpositions slough of the sloganeering politics of so much contemporary writing. There’s a wit here that reminds me of Tom Raworth, and I can think of no higher praise Drew Milne Andrew Spragg’s cut out requires “enduring long instances of buzzing energy” as its disturbed sentences turn themselves inside out or overlap in perplexity to “allay our finest/structural fears,” in return for which the newly-endowed reader–– cautioned not to be “begrudging lest thou/be begrudged”––takes delivery of “a thousand mechanical hammers” for constructing thought transfers.  This process is recounted in a series of informative reports compiled for our speculative scrutiny.  Portions of “report #5” resemble Ohio.  Scope it. William Fuller

The Red Ceilings Press

MMXIII [rcp 49]

cut out  

by Andrew Spragg

cut out  

by Andrew Spragg