Editions MSS
Editions MSS
Publications
To Reek Evocatively Uncouth

M. S. Strickland
A yazdehanity of diligent textwork
Beulah, Gertrude, Agua Prieta, Lutèce, Owlstain | 1984–1994
First published 1995 | Book Map |

Charting the diligent textwork engaged in by its author M. S. Strickland, textworker, over the course of eleven years during the circum-, para-, and pan-Arathu ramblings embarked on by its author, M. S. Strickland, as well as the cis-Appalachian avolations and trans-Atlantic travesties accomplished under the auspices of sundry argo- and aeronautical contrivances and handmaidens in a train or at sea, by aerostat, dirigible, sloop, schooner, man o’war, montgolfier, haywain, travois, or dogcart during the course of eleven years of diligent textwork which would see him sojourn in places as distal as Beulah, Tex., as proximal as Paris, France, and as fulcral as Owlstain, Flouz., all the while undismayed by the minatory prospects of the furious deserts of inelegance, the satirical swamps of solecism, and the hyperborean heights of impropriety bristling with tautophonous thorns and swarming with the vipers of incongruity whose sought-after sting in the textual alchemy of the textworker’s blood catalyses trauma’s venom into the intoxicating nectar of the fabulist’s rare art and the glairy ambrosia of the agile rimer’s gimmal’d lyrics under the tumefying influence of which alone can textwork discharge itself of those, as its author’s “yazdehanity of diligent textwork,” To Reek Evocatively Uncouth, more than adequately puts it, “ludict lucubrations demanded of all diligent textworkers, whether they be attached to ISOCPHYS or bound to IMSSOC, whether one bed (yek yatax) or eleven (yazdehan) rook beds is or are sufficient to launch their lyrical récits and acrimonious mémoires and sordid recueils of the gray envenomed nights that characterize the promiscuous isolation of Lutece and Agua Prieta, whether they be heterolexical recluses in Gertrude, intertextual pariahs in Beulah, or translexical exiles in Owlstain, let us all hoist high our graphomaniacal fists and make ardent promiscuous text as if we were blowing into our very last tarte aux abricots by skillfully putting the typography of theory to the foolscap of practice in such a way that the seams remain artfully concealed on the inside of the fabric and yet miraculously, it seems, chafe neither the inguinalii of ritual nor the axillæ of myth!”
To Recoup Evasively Unconscious

M. S. Strickland
A yazdehanity of incipient textwork
Tulpuyauor (Port Uluyau (Tlaour Yuˀup)), Tixpu (Agua Prieta), Gertrude, Beulah | 1974–1984
First published 1996 | Book Map |

Chanting the incipient textwork enfettered by, with, to, and for its author M. S. Strickland, textworker, via the coupling of the elegiac yang of his patriline with the elitist yin of his matriline during the zoopraxiscopic, pantomimetic, and archaeo-ammine raison d’être emanating from its author’s, that is, M. S. Strickland’s circumambient automatisms and tragicomic traumatisms accessed under and by all means of various species of earthy augury involving sultry areo- and asterocentric conjunctivisms on the one hand, and suggestive schism and exile of and from his lares familiares de Tulpuyauor on the other during the dulcet cusp of his eleventh year which would secrete him snugly in a distaff “place of dreams unbroken” in Gertrude en WY while concomitantly thrusting him precariously into a lanceolate landscape of impassive men “on high” in the Aristonian Woiwodeship of North Texas between and within the mental medoid of which he would have to undertake, on the one hand, the disjointed migratory prospectus of, and, on the other, the fungible desertion of, thus perhaps (in)effectually sashaying the Proustian swag of textual sodomy and the hymeneal heft of authorial impregnation, all the while bridling with tansy-phasic quill-thews and surging with the vellophilic vinagaroons of ink-splotched incoherence whose sororal stilettos in the schizomythic albedo of the textworker’s chirographic bliss clitalyze transvestism’s vengeance into the intestinal necessity of the fustianist’s sere art and the girlish ambivalence de l’affilée rigmaroliste’s gibbeted ludict par delà the truth-defying inflammation of which textwork is more than able to disbelieve or disburden itself of, as its author’s “yazdehanity of incipient textwork,” To Recoup Evasively Unconscious, purports to adaptably admit, “since said deliciously texticulating southpaw produced the following wörterisches Nachleben of the long since destroyed incipit of what my delirious and redolently ichor-drenched mano diestra must have deemed a supreme fiction, viz.: ‘Nadir approaches zenith. Out of the distance crawl the new Gods, insouciant...’”
Street Acts

M. S. Strickland
A yazdehanity of incontinent textwork
Barcelona | Spring 1997
First published 1997 | Book Map |

Checking the incontinent textwork enmeshed with its author M. S. Strickland’s indecently itinerant travestissement in the company of D. I. Swopes during the latter’s indigent, impertinent, inexpedient, and ultimately, no matter how diffidently penitent or crapulently grandiloquent her wiles, ruses, displays, scenes, and outbursts became during those onze jours of pungent posing in la Ciutat Comtal, impotent courting of the resplendently effulgent and turbulently irreverent performance artist Moéu Noäu Nin throughout the various backdrops and tableaux vivants of couleur locale her natal bailiwick can rightfully be said to boast of sometime in the spring following the preceding autumn’s instaurational INTEC we thereupon debarked from the LUBE at the appropriate estació therein, by all means of which aberrant textwork I was able to supplement a tintone imitatio to chronicle the deviant days of sedentary spectacle and errant nights of ambulant ebriety that came to form our own extemporaneous quest for the latter subject’s prominent padre’s opulent palacio on the Rambla de Catalunya in which we’d, insolvent, vagrant, innocent of the indigenous epithets of the lieux-dits que nous cherchions, heard she be resident following her expedient divastigation from the flagrant clutches of the middle subject’s esurient pedipalps thus transpiring as recounted in our author (OA) M. S. Strickland’s intoxicated travelogue of vagrant Street Acts with, in, by, through, and for which are promiscuously portrayed on the very proscenium of the vibrant boards of incontinent textwork of these churlish portraits of a city whose emollient façades of effervescent indolence and insouciant indulgence are shot through with the phantasmal wens of preterite conflict, the sordid caruncles of struggles past, and various other purulent excrescences symptomatic of the omnipresent persistence of pain and the memory of pain no matter how many canyas one consumes in the bars of, viz., the affluent passeigs of Eixample, for example, as well as the pestilent ramblas of La Llacuna and Poble Sec, the insurgent plaças of Gràcia and Guinardó, the quiescent carrers of Sarrià and Sant Martí, the belligerent barri del Born, the prurient platges of Sant Sebastià, Barceloneta, Bogatell, Mar Bella, and so on, the tumescent jardins of Montjuïc, Horta, Güell, Monterols, und so weiter before wending our ebullient ways à sens inverse to the appropriate gare in the locus rei sitae.
The Compass of That Sea

Michael Sean Strickland
Towards a Schizomythology of Ritual | Volume One
Austin, New York, Paris, Philadelphia | 1989–1998
First published 2001 | Book Map |

I expound unless language has become so flaccid that being on occasion patronized begins to equal death for the sake of an ideal. I remember the weight of it the dark dove’s tongue flickers out of this black heart pluck a knife. At first a last resort to some shifts and expedients a finger flicked it into convulsive space shimmer here that line there intern the constipated research tantalizingly infamous. I was lured without it. Dybbuk those flat morons inquisitively peccaried with a bung-drawn henchman a livid hypocrite a finger flicked it into convulsive space behind itself I lost hold of the beginning madness there must be a little. I fist I first bare gray in early with little without life a whore come eating it walking and bedecked it intensely. Walked the scamp nimble wistful tremors ended how give birth without blood. | Book Two, § 3.3 |

“The world, for each of us, is constrained by our conceiving it. Through the unique rhythms of experience and perception, we are each our own bold author of season and tide that turn and pivot beneath purple vaults of sky. So implied Hamlet; and so passes today for common sociophysiological sense. Dado Udidi’s unique contribution to the field, however, (and one hopes this initiatory sally bodes an extended campaign) is to have invented, in the medium of his be(com)ing epileptic modernism, The Compass of That Sea, a set of constraints allowing us to apprehend a world typically beyond conception; to have invented an author, Michael Sean Strickland, possessing rhythmic and perceptual talents uniquely attuned to the expression of the peculiar world of his character’s experience.” | K. Devi et al., A Finnegans Wake for the common man: Appreciating Dado Udidi (Hamiltonian)’s absolute book entwining schizomythia and taboo in be(com)ing ludict, JSocPhys 00903, March 2002 |

The Safely Waking Loam

M. S. Strickland
First put out in the Summer-Fall 2002 issue of Esther Esmans The Meaner Side | Book Map |

Though staid compared to what you readers of Hester Esmans The Meaner Side typically excoriate your senses upon in that organ, said editrice thereof deemed this nourishing stromal patchwork quilt of diligent textwork enveloping a schizomythic oospore of a nixed preterite tercet of incipient ditto — “On a hill I stood; overlooking: Observing: / Past present future spread out before me: / Not separate but one” — suitable enough to put out for in the issue following hard upon our author’s (OA’s) trente-cinquième anniversaire, to celebrate which he, steeped in and with a recent, select, and very intense reading of the Appalachian conjunctivists, wrote the stuff, as well as feeling that it was high time he tamed by means of the shimmering versality of diligent textwork — in the chimeric medoid of the tetradic structure of the iterative litany of which the eternally vernal imposture of self may be imagined to frisk and prance and chub about like a fully masked and costumed ritualist indomitably pursuing, through the fancy-footwork and taboo-defying rhythms of the dance, the cathartic colature of be(com)ing — various of his oral speculations anent the emergence and embodiment of time from and in the organic (precisely, in other words, what Lamarck dubbed the orgasmic) resistance to entropy, not to mention bringing to fruition the lexical ecological pépins and the heteroclitical noyaux of rhesophrenic dissociation as well as the savage sociophysiological baies gleaned here and there, in Lutèce and Owlstain, primarily, but also I should emphasize that my brother, alias Victor K. Strigil, is no stand-in, despite the insistence of malevolent wags (soient frîtes ces langues ennuyeuses!), for either me or my nom de plume, M. S. Litarn, under which it is very likely I saw the thing through from proof to press.
Divastigations

Michael Sean Strickland
Towards a Schizomythology of Ritual | Volume Two
Austin, Monteverde, New York, Nice, Paris, Philadelphia, Vancouver | 1986–2009
First published 2010 | Book Map |

“Consisting substantially of 286 gnomic articulations of vivacious quiddity plus 13 ontological inquisitions into myth’s affinity to mind and body, Divastigations, minus its prolusory avant-propos (§ 0), totals, in short, 299 of what your thrilling narratrix Ouida Willoughby Johnson calls ludicts: ‘tragiplayful stagings of [an] inability to mark with my will this blank world.’ Individually, all 286 of said gnomic articulations — topically ranging within a narrow stylistic compass from a laconic triphrasal invocation of childhood’s conclusion (§ 1) to a lyrical plagiary of sapphic lust (§ 195) to a trio of loquacious divagations on a fusty translation of a lost Ural-Altaic chanson by a Poldavian ambassador to Babur’s court in Kabul (§ 251, § 267, and § 273) — start out with what you’ll soon affirm as our prodigal protagonist’s signal flailing away at possibility’s construction: And should I...? By contrast, Ouida’s 13 ontological stabs at a ‘schizomythology of ritual’ vary significantly in both aim and form. That is, if our majority of 286 liminal ludicts constrains, by way of discontiguous, loxodromic cuts through sin and symptom, a rhythmically soulful pursuit of a nautch girl’s transformation from child to woman, our minority of 13 insular ludicts prosaically charts various bouts of cortical dissociation that stun Ouida into rhapsodic fabulation during actual acts of promiscuous carnality, a prototypical triad of which follows: sociolinguistic contribution to a scholarly publication (§ 120); pornographic film production of a lost ‘sociophysiological’ play (§ 191); boarding-school instar of a ‘small tri-monthly multilingual journal of arts, writing, philosophy, natural history, and sundry cultural stuff’ (§ 249). Such manifold ludicts, without a doubt, will focus your mind on Ouida’s bawdy transactions; indubitably, too, a handy bookmap is bound to assist your ocular roving of Ouida’s wanton labyrinth. And if at last you find your way out at Ouida’s caustic swansong to things forlorn (§ 299), a synoptic atlas (§ 300) should charm you back in again via an orismological unspooling of topics, authors, locations, works, and whatnot hiving panmictically within and throughout this ovular body of words known as Divastigations.” | C. Kidjaki and A. Raymond, That trauma’s plot may sing: A short account of Ouida’s Ludicts, JSocPhys 01703, March 2010 |
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