Mama wants to see something else but you know how blood is, tra-la-la, Mama’s driving us to the country ’cause she thinks we need some staid time, tra-la-la, driving by the rural slaughterhouse, tra-la-la. I’m missing the concrete where I wrote: I love me some concrete; miss the teasing traffic lights: go ahead, stop; tight fit of houses, tessellated apartments, looking in Sra. Guzman’s rooms to tell time from her closer clock.

When I began to write, my ideas about narrative were pretty nonexistent. I tried to write prose that was consonant with the work of writers I admired and, later on, tried to extend their techniques when I could. It wasn’t until my first novel was shuttling from trade publisher to trade publisher and later, when the published book was eventually reviewed, that I found out narrative was supposed to be something.

The cancer appeared in my living room sometime between eleven and three on a Thursday. I am not sure exactly when, because I suffer from bouts of migraine, and sometimes I miss things, or see things that aren’t there, flashing shapes like the blades of warrior goddesses, the vanes of transcendental windmills. A little airborne sprig could go unnoticed some while.

The editors asked me to write an essay explaining the evolution of Language poetry. I don’t know how to. I offer instead theory, history, an apology, a reading, a quotation, and a reading list: the usual suspects.