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Luke is going to post some choice excerpts from his pamphlets or any other material he deems shows him in his best light. we're going to then all say why it/he is brilliant.


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When I sent my two books to craner he earnestly promised to dedicate a 15,000 word essay to them. Never happened.


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Like my dad nothing is ever good enough for him. Im always driven to try harder. Always searching for ways to improve.


i was gonna read stuff from the heronbone blog and put low synth bubbles under it. "ecco ballad reads the poetry of fluke davies"


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Now a lot of it is transmitted as pressure alone
So weight of it, as force transmitted through it- see it?
Degree of tenderness degree of strength,
as touch, felt at skin receptor site
Maternal to paternal axis
Weights and measures
Where the force locus?
Where generated?
How applied?
Torque inclement
Gale force precipitating
Atmosphere disturbance
Abnormal fluctuations
In instruments
Spatial acoustic dimensions of the
Echo location very advanced sensing equipment
Speaking out of what depth, what extremity torn this utterance/against that cyclonic torque withstood
In that tearing
Lashed that is, to the mast


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the piece works within a recurring framework of luke’s; the human as machine (a very dmt notion as it happens).

he refers to physical and emotional states with terminology more associated with engineering, geometry and machinery than with discussions about the human condition. “transmitted” “receptor” “axis”, “locus”, torque”, etc.

the opening line explains the central notion of the piece; that large swathes of the stimuli of our lives (whether emotional, intellectual or whatever else) are perceived in merely physical terms and as such the poem takes the gestaltist view that we should embrace this paradigm. take an emotion and map it in terms of its physicality. it’s “depth”, it’s anatomical positioning (“chest), it’s velocity (“cyclonic”) and so on. its a rejection of solipsism. the embrace of emotional synesthesia as a psychological tool.

a few cleaver bits:

it begins with the word “now”, its phenomenological.

the poem itself is shaped like a “cave” or “cavern”.

the world “cyclonic” is the focal point of it’s larger shape and to it rhythmically. its infinity point. like the centre of a cyclone.
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So weight of it, as force transmitted through it- see it?

also an important gesture towards the stuff in luke's poetry workshop.

if you employ the word "mountain", the audience will suddenly be situated either in the context of it or as the thing itself.

the reader will either feel dwarfed or giant and imposing.


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Thanks barty although I think it's fair to say there's zero interest in this thread!


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What I had in mind with that passage is how the poem communicates, the weight of its words, the pressure of that against the skin as vibration, as disturbed air (paradoxically, even when not spoken aloud)
registered on an axis I posited as running from maternal to paternal, (degree of tenderness, degree of strength)
(Which I was somewhat uncomfortable with but it seemed real enough at the time to set down, I had enough trust in it to write it)
Where the force locus? So where is this generated from? Physically/emotionally/psychologically/spiritually.

From that point I begin to posit an act of writing which those skin receptor sites, those instruments, register as being of being of unusual force and intensity. Torque and cyclone (same thing in some respect) are repeated themes throughout the poem.

Frame cavern cave etc is quite odd I suppose but again refers to this notion of being able to register through the language just where the voice is coming from. From what depths torn, from the tension in it, from the force of it, so on and so forth.