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Giles Goodland

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1919

Brooding music, faint and far-off, like the mood of the moonlight made audible/ the phenomena of sleep walking and moon walking must be acknowledged almost entirely as/ the skill which made the Lewis machine gun the wonderful weapon it turned out to be/ eyes vacuum-cleaned of every speck of matter not germane to the functioning of pure, unmetamorphosed sight/ Lenin stood there quite calmly, gripping the desk with both hands, his little eyes thoughtfully surveying the tumult beneath/ might have doped out a corking yarn about how the Phantom made everybody believe that the explosion killed him/ the destruction of original junctions and the shearing-down of the more tractable material until it functions as a schistose matrix in which the fragments of the more obdurate rocks float as isolated lenticles or/ these old gentlemen with hardly a quaverous note to mark their years, valiantly voicing/ the faint and regular pulsating of her heart, firm and quick/ exclusively composed of contents repressed from the unconscious/ to create a neutral strip or zone between their territory and Estonia, and would declare this/ My Adventures in Picture Land/ which may be conceived as a flat or homaloid locus in our present auxiliary five-fold continuum/ largely in vain; the border-line is too vague and wavering to be adequately mapped; words and phrases constantly cross it.

 

E O’Neill Moon of Caribbees 32; Psychoanalytical Review VI 159; Outing March 326/1 (advt.); W Lewis ‘Prevalent Design’ in Essays on Art, Literature and Society (1989) 55; J Reed 10 Days That Shook the World (1926) 268; Detective Story Magazine XXVIII 6; E Greenly Geology of Anglesey I 193; J Bridge Westminster Pilgrim 146; J Conrad Arrow of Gold 5; M Bradby Psycho-Analysis 34; Manchester Guardian 21 October 3/1; Photoplay November 72, in Film Index (1941); Proceedings of Royal Society 96 355; H Mencken American Language 305

Page(s) 69

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