kathy wu
)
here is a promise
a parenthetical
obscurer when you shut
until you go
so certain of
in the socket
plug ins
in the pitch
an optic stranger
glass
wishes it
concavity learns
the image
all
is
here is a promise
a parenthetical
obscurer when you shut
until you go
so certain of
in the socket
plug ins
in the pitch
an optic stranger
glass
wishes it
concavity learns
the image
all
is
(
for your gelatin
for your camera
the door hint
can you be
its shape
chiaroscuro
even
it suns
naturally now
virtuality
could be you
to swim
the screen
that
was
for your gelatin
for your camera
the door hint
can you be
its shape
chiaroscuro
even
it suns
naturally now
virtuality
could be you
to swim
the screen
that
was
my lenticulars complete
the particular word is longtimes
in noon shapes fill voids
quietude to elders taking off wigs
if one hopes for receipt vocation
your whole body can be near figs
readingful of sand
it’s no coincidence
sometimes the flare becomes
a plain little green boycott
a salvage perimeter
the particular word is longtimes
in noon shapes fill voids
quietude to elders taking off wigs
if one hopes for receipt vocation
your whole body can be near figs
readingful of sand
it’s no coincidence
sometimes the flare becomes
a plain little green boycott
a salvage perimeter
by definition a bayou
does not have discernable banks
it spreads to include violinists
— teju cole on annea lockwood
it is the case. words make the thing
lonely view of brutalism
against the dance map
tire offers fortune. every city has different
kinds, genre is process glutton
for the sun. we are photropic, guys
less than ideal bundle of language
while palm smooths out the same wrinkle
in stealth mode, the hypotenuse
comes naturally. false dichotomy
of party time, language loser, hard writing
the mathematics will process the gradual
reveal. implicated bouba will exist later
citationally bother people, but not in terms of lines
it is possible. 10,000 clay balls
takes back and moves to front
suddenly hands feel aged. the monograph
i start to expand with her
TONGUES WITH SEEDS
(after Don Mee Choi, translating Kim Hyesoon)
(after Don Mee Choi, translating Kim Hyesoon)
*
sa
* a sym
sim
strawb
rull
lun
(((( ** r r
ed tsa rit
ry ry
taffeta
sa
she / sli / %
p ? / f sh // edde
sh // f f f f len % sa %%
co % ning f f tas % % % shh
SKIN
warm, yarn, gallops understandably. take off and put on like clothing. to clothe the closing. milk is skin, we had brief and lovely skin, skinning the surface, external supplier. a tuber knuckles the bottom of a sink, thin a think and nip the wrinkle of it so-so. only private, only indoors, forget the motion studies, where silver pinks the blur
Biographical Statement
kathy wu is an artist and poet working across language, computation, books, and textile. Her work pulls at fraught histories of science and technology. Their debut book SHE WILL LAST AS LONG AS STONES (Wendy's Subway Press) was the 2024 Passage Book Prize winner selected by Bhanu Kapil. Her works have been published or anthologized by Tilted House Press, Nat Brut, Fonograf Editions, Nightboat Books. They live and work in Providence, RI. Recent dreams take place in bathrooms, train stations, malls.