FATBERG 001 by Dan Pounds

A version of this text appeared in Coven Poetry Issue 1 on 1 March 2021. Thank you E.P. Jenkins.

FATBERG 001

CONGEALED THICKEN CLOT SOLIDY CAKE GEL COAGULATE MASS
HARDEN INSPISSATE CURDLE DENSE babywipes SUNFLOWEROIL PIZZAVOMIT CONDOMSMICROPLASTICS
LARD VEGETABLE OIL DIAPERS TWIX polypropylene HARD PLASTIC CARTONS fossillised HELLOMAGAZIN WATERCITRICACID PEG-40HYDROGENATED CASTOROIL SODIUMCITRATESORBITANCAPRYLATESODIUMBENZOATEDISODIUMEDT BENZOCAINE CASEIN SPISSUS
DRYDUSTING POWDER DRUG HYPOC DENSAS uncoatedgroundwoodpaper GLYCERIN LARGININE LATEX LIDOCAINE NITRSAMINES NONOXYNOL-9PARABENS SILICONE CRASSUStriacylglycerolsdiacylglycerolstocopherolstocotrienols Pramoxine hydrochloride polysorbate20 cocoamphodiacetate polypropylene polyethylene polyester fluffedwoodpulp super absorbent polymers elastic SPISSUS CRASSUS DENSAS CONGEALED CLOT CAKE COAGULATE SOLIDiFY GEL THICKEN MASSHARDEN CURDLE DENSE THICK babywipes SUNFLOWEROIL PIZZAVOMITCONDOMS MICROPLASTICS
LARD VEGETABLE OIL DIAPERS TWIX polypropylene HARDPLASTICCARTONS fossillised HELLOMAGAZIN WATERCITRICACIDPEG-40HYDROGENATED CASTOROIL SODIUMCITRATE SORBITANCAPRYLATESODIUMBENZOATEDISODIUMEDT BENZOCAINE CASEINSPISSUS DRYDUSTING POWDER DRUG HYPOC DENSAS uncoatedgroundwoodpaper GLYCERIN LARGININE LATEX LIDOCAINE NITRSAMINES NONOXYNOL-9PARABENS SILICONE CRASSUS triacylglycerolsdiacylglycerolstocopherolstocotrienols Pramoxine hydrochloride polysorbate20 cocoamphodiacetate polypropylene polyethylene polyester fluffedwoodpulp super absorbent polymers elastic
SPISSUS CRASSUS DENSAS CONGEALED CLOT CAKE COAGULATE SOLIDiFY GEL THICKEN MASS HARDEN INSPISSATE CURDLE DENSE THICK babywipes SUNFLOWEROIL PIZZAVOMIT CONDOMSMICROPLASTICS LARD VEGETABLE OIL DIAPERS TWIX polypropylene HARDPLASTICCARTONS fossillised HELLOMAGAZIN WATERCITRICACID PEG-40HYDROGENATEDCASTOROIL SODIUMCITRATE SORBITANCAPRYLATESODIUMBENZOATEDISODIUMEDT BENZOCAINE CASEIN SPISSUS DRYDUSTING POWDER DRUG HYPOC DENSAS uncoatedgroundwoodpaper GLYCERIN LARGININE LATEX LIDOCAINE NITRSAMINES NONOXYNOL-9PARABENS SILICONE CRASSUS triacylglycerolsdiacylglycerolstocopherolstocotrienols Pramoxine hydrochloride polysorbate20 cocoamphodiacetatepolypropylenepolyethylene polyester fluffedwoodpulp super absorbent polymers elastic SPISSUS CRASSUS DENSAS

The Grey Wall Cafe by Dan Pounds

The narcissist tends to re-write history

you said

smiling at the surface

of your flat white.

They’re also threatened by people who challenge them in any way.

Their defence mechanism is contempt

I said.

You put your hand quickly across your face

before lightly stroking your cheeks

beneath tightening eyes.

The narcissist is extremely sensitive

and reacts badly to the slightest criticisim

you said.

Reality doesn’t support their grandiose view of themselves,

so narcissists live in a fantasy world

a fortress of distortion and self-deception

I said.

You put on your Batman mask and walked angrily to the door

your black cloak swinging behind.

The dismantling of the whole narcissistic world view

has to be done VERY slowly and CAREFULLY!

you said

before slamming the door.

[This poem was published in glove #7 (November, 2020) in a version lightly edited by Ian Cusack. ]

James Joyce on Finnegans Wake

James Joyce Describes Finnegans Wake

‘We are both somewhat dazed by the heavy heat here. I work every day at my big long wide high deep dense prosework.’ 

Joyce to Giorgio and Helen Joyce, 1 June 1934. Letters III p.306

Joyce loved talking about ‘Work in Progress’, as it was known until publication. The best single source of these conversations is Portraits of the Artist in Exile, edited by Willard Potts, which every Wake lover should seek out.

From that book, here’s Ole Vinding, who interviewed Joyce in Copenhagen in 1936:

‘I haven’t lived a normal life since 1922, when I began ‘Work in Progress’. It demands an enormous amount of concentration. I want to describe the night itself.Ulysses is related to this book as day is to night. Otherwise there is no connection between the two books. Ulysses did not require the same amount of concentration. Since 1922 my book has become more real to me than reality, and everything has led to it; all other things have been insurmountable difficulties, even the smallest realities such as, for instance, having to shave in the morning. There are, so to say, no individual people in the book – it is as in a dream, the style gliding and unreal as the way it is in dreams. If one were to speak of a person in the book, it would have to be of an old man, but even his relationship with reality is doubtful.’

Ole Vinding, ‘James Joyce in Copenhagen’,  in Portraits of the Artist in Exile (ed Willard Potts), pp 149