Haven't Written That I Eat Trash

Most who know me: well enough? met me young enough?
Most who've been in my company long enough (?)(in public, or at nights, or for long stretches?) know already that I eat trash.
[I'd like to carry forward from this moment the form of limbs of the distribution (leopard spots sparkles! coral!) of the clusters that knew. for future study maybe, or just to look at in the specimen case.]
It's hidden by me, ?disgust politely acquiesced to. perhaps.
but why should I hide? and why Never mentioned?
(I matching with Never, when hiding a tonality makes the losing of one)

THERE ARE MANY MANY things to say here. which way to go first - may erase the other possibilities, as sometimes when composing music.
no direction for now is enough

just recently reading Samuel Delany interviews and literary criticism, I could see some shape of his coming to write a bit closer his own once-hidden things. and recalled wondering about his interpolation of a disgust-at-trash-eating into all The Mad Man's tasting, wondering if it was 'merely' a device, or somehow a revelation of personal world-limiting utterity ('absolution'), (and barely/nearly/lightly thinking 'what could you know about that then?' echoed in his glance at LeGuin's nail-biting in To Read The Dispossessed's "those of us...").

"she always understood all the things we told her about..." (Screeching Weasel's Kathy Isn't Right)
"so serious about the stuff we like!" (Minor Threat, Salad Days, but perhaps he actually says "stuff we lack"! so I'll be the first to say it: "so serious about the stuff we like!" Has been a favorite line of mine since I heard it, and conjures an attractive cognition. for example a mom approaching a fusilli display at trader joe's with her 8 or so year old kid, asking "him should we try this kind?". silence of course, but also soft faced (not sad) down staring. The meaning of GRIM. mom says "ok, we'll just get bowties ok? we'll get the bowties you like")

Font times (recurrent/surfacing)

Using Optima a lot these days, in mind because (as far as I know): my 1968 best of SIMULATION magazine compilation is set in it, so is A˙BACUS #80 (Feb, 1984)- Rosemary Waldrop's Cornered Stones Split Infinities. (sometimes have to push it away from drifting towards Papyrus, or some 'native american' idea)
The A˙BACUS flag is set in Face Photosetting's Stack, which was surely available as Letraset dry transfers by the time they started. Michel Waxman's Oxford, another Face Photosetting font that made it to Letraset, I think at the same time, I know from Nyman's Experimental Music: but probably wasn't rubbed-on the dust-jacket films.
[Aliki Liacouras Brandenberg's How A Book Is Made written in that phototypesetting era !] [rubylith PCBs/ ships' curves]


considering as

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