Looking for the Transparent, the Colorless Essential, the Unbeginning and Unending of Consommé

Maybe you remember that tomorrow is a year since Barack Obama stomped Sarah Palin to win POTUS, and what good has he done beyond not being President Sarah Palin?

Obama drives the shittiest batshittier. That's all I really asked. See me urge Obama to bait crackers November 3 last year. He's succeeded.

Obama needs drive the shittiest batshittier faster if you ask me, but I never take a long view when a spastic view is funner, and I still bet pints Obama (if alive) will stomp The Whomeverpig in 2012 (and yes, by moving to the shittier as the shittiest get shittier, which is the plan, yo).

Oldsters here can vouch: I never bet on Obama the man, I bet on Obama the gamesplayer.

And while he's not as good a gamesplayer I thought he'd be, that's more a reflection on what I want him to be as a man, so all obamapostasies are roobish and mine alone.

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• True Heh.
• I'm not saying Obama doesn't serve me bankster's shit and call it nourishment.
• But he's still a better gamesplayer than anyone on the other side.
• Your Fucking Washington Post's next Shit-for-Brains! ten columnist nominees! Ezra Klein had nominated blegfriend Henley, and since Jim didn't make the cut, so much for Ezra Klein's schway.
• Cole sums up the ten columns: They’re about what you’d expect: three full-tilt concern trollings, a couple MoDo/Double X style gender pieces, a pointless piece about that college kid who’s hiring a personal assistant, a snoozer about good government (which does make a good point), a predictable rant about cable news, and one thoughtful piece about health care.
• Your Fucking Washington Post.
• Good opportunity to dust off a classic.
• Poop in the Water.
• prOnstache offer Obama advice.
• Dear Anonymous Shaker.
• 400,000 on The List!
• Thoughts on The List!
• Hoarding.
• Artist-Critic. This paragraph:  Under market capitalism, critics and producers are engaged in a curious dance. Each is basically addressing the other at all times and acting as big Other for the other, whilst constantly pretending otherwise. The artist claims to be working for some reified and mystified entity called the Audience, secretly aware that it is the critics' judgment that will more decisively shape their future, and the critic claims to speak for the consumer, the man on the street (this obscure beast, the Audience again), but really longs for recognition by practitioners and prays that their barbed comments will strike the artist to their very marrow, perhaps even encourage them to work differently. For some reason, however, full assumption of this dance - for the dancers to actually look each other in the eye, perhaps even kiss - is strictly taboo, has multiple applications.

• Rave review of Mantel's Wolf Hall in NYTBR.
• I love House of Leaves, feel wussy I can't crack Only Revolutions, as beautiful an object to hold in my hands, if not more, than House of Leaves. It's on my bookstand - I tried - true this - again two weeks ago.
• New Pamuk reviewed, which is good news, but what it better news is that it's reviewed by Maureen Howard, and bioblurb says Maureen Howard’s new book, “The Rags of Time,” will be published this month, completing her cycle of novels based on the four seasons,  which means I've got more rereading to do.
• Pamuk's Museum.
• Bleg Hiatus.
• List time suckitude.
• Shoot me now.
• Remembering The Connells.
• The Foghorns.
• Another one of dozens of my five favorite songs ever.
• Another one of dozens of my five favorite songs ever.
• Another one of dozens of my five favorite songs ever.
• UPDATE! Darkblack's Sunday Overnight.
• Another one of dozens of my five favorite songs ever.
• Another one of dozens of my five favorite songs ever.
• Another one of dozens of my five favorite songs ever.

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ANXIETY'S PROSODY

A.R. Ammons

Anxiety clears meat chunks out of the stew, carrots, takes
the skimmer to floats of greasy globules and with cheesecloth

filters the broth, looking for the transparent, the colorless
essential, the unbeginning and unending of consommé: the

open anxiety breezes through high conceits, surface congestions
(it likes metaphors deep-lying, out of sight, their airs misting

up into, lighting up consciousness, unidentifiable presences),
it distills consonance and assonance, glottal thickets, brush

clusters, it thins the rhythms, rushing into longish gaits, more
distance in less material time: it hates clots, its stump-fires

level fields: patience and calm define borders and boundaries,
hedgerows, and sharp whirls: anxiety burns instrumentation

matterless, assimilates music into motion, sketches the high
suasive turnings, mild natures tangled still in knotted clumps.

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The Connells?