Stephen Butler

5 extracts from the work épîträtşeliñes (2017)

34

. . . and now sche’s paedigris de pigamy, chladni from hood to apsisteen in chapielethe . . . and perverzàne; sche vlees aal about the bäcks; then rhezüst cries, “are you conjuring salamanqué devilles again, thetsa?”, taking the neumnost in iggs; ugh and agh; and down there is arist, illuscente on the horisorientale sea; it could be tripkey, it could be ealantic, it could be youling sop; i sort sy ny sisa myca bruu mid bruissements . . . and tack halley’s colt on tautolycus; though i did not pick up on cassini . . . or skhoeliosis and tinea . . . or the -ings and -ousts of the labourynthe; sehrie’s outh to seethe the pasithees; keep breathing and blurring the verbs til the crows come home; this styrannosaurness törichts the ideal of desidabras riuse, which is not golide; euró the bête, európa the verse . . . just teal piazzi’s blancsmyth in neprats and nepenthe . . . arantcha piton in necothe . . .

 

35

. . . o noxush me; alona’s in elsinore salveto; lost in poëzique jungulars; it beseems me to pang su furnerius; yr bombeau joust et al eternehale; how right as snapping oneys you are about the poissable troubleafooteries that manifester in taini croax . . . in tiny chings and crags; and seemingly trite and testate axions spreach lleuader than woords; so, keep yr eye on the bull textosterrene and a weiss-lake greip on reality . . . fyssh for slab crappie and bull reds and stripers . . . with shads, and curlies in chartreuse glitter . . . on a slip’ry jighead troll’d in the flats. . .

 

36

. . . in schickardt hitteight fyuchars i will be godunov; and stiborius will be avanezra garde; the neo-rex prounns hear yr chemistory as mouche as occull’d simps or las trail grunge . . . but ho! it’s everis lacus and i’m carrington in galen vainwaves . . . emblèmes de theaetetus e’erlines . . . and mekong malo sens along the way; there’s half-a-beam mhorr of hér since i pinx’d that inkelvintion and trounced ketololangue; it’s a mere firthnight til halpernod’s staurme; o minä en tiedä . . . weir to päratús . . . the bygning, or the binuang? hästiràn’s calyppus is a tid mid mysterie . . . and yet, straitforwarnedly, zønden, a furr’d aperikota, a pastro eigg jay mid kwa relizheodetic unternouanze; i have to shrive these komëtes in triple jack-be-quinkity becauze there are sottisewerks and genii in the pipette; i hope this capuanusts you, pitchuring veils in kaskuh zömes . . . and sabenautre n’yorchid . . .

 

37

. . . ah! the battle rejoinder’d in vainest terms; do we think this is millgåte city? an aproxynation or the barántúlacht of boguslawski? or caucasatus? or causalitie and misapprehensile dubbing? are you dubhianca? ah! spurning ac tanong, ac fanontaniana, ac tachyonic depletions; yeah, this is yr fiendlisch autoratatua sprachticayley calling over dës eyra quaiverings; it was an aberration of delight to see nama and damu, and shake hands mitt hans égedé . . . then half-chauntes for babbelingue with two peòints of yr beast oil lambdalaud; did the tower speak ‘mies kuu’ to eukelade in rebarb’d overtomes? paardonally, it’s an abeatis monster room sblash . . . the verrey motus of the mone . . .

 

38

. . . i ain’t sure about sally o’hubbledewhorrrse; sche’s a minor kultaur schlock . . . serenitatis with stiffstaffs and yellow warbelows; when sche unrapp’d her reedy cincnatyre tuin in senzitivolae guartens, lamèch, or lamarck, went fer de nandt and lost his tunglyph; vergeven verguilt? no! i’m gonna steal yr svarturyal interpoles; as lequel matas apsätze the héliocopyrite’s schip; as loucuraent daubürgs cannon jr. theooligians (after chacornac and daniell); k/s and danube en famille; there are stern und drag clones milling in the lobby, recalling cageus horpus and wredde coypuscle kristin, the one with cruzifixations and a euphemiasmata complex; which trainspots us, neapolightly, to a vámpyrenaeus of signapses (harpa, like an ackney’d zit.com), unresting hysterreo, épîtraces, dynamies and shew un . . .

 

 

BIO

Stephen Butler is an artist and writer who lives and works in Nottingham, UK. He  graduated in  Fine Art in  1982 and has exhibited widely. Originally a painter with an interest in surrealism, he has, for many years, been making collages and assemblages using found materials. He uses similar techniques of layering and assemblage  to create  text pieces.

 

|Contents|