Memories don’t even need language to be false. Luna park astro density — a deflatulent neighborly cranial busride, an abridged jitney, a swerve shocks skeezier sublunar underkill dose wobble gato muttonskin chrysalis monks on acid: vocational turtle-like dissonance. True-to-life means: let somebody else deal with it. Windowless cubicle silencing the spoiled & soft — pompano, glamour fish? — dizzier medfly tutus for trogs, penny diapers, sunset divas, intimate afterburners — fractal but late. Hypnosis victims impersonating our police — archeo- eerie calm lagniappe podunk saltlick mambo daikon gee-gaw slod — who loves the crude puffed-up ephemera.
The only formal values are gothic spy rape imp text apology. EDITRIAGE — can we retard some lettering, adjectivally yak dung sling mike flapping your squishy pre-paradigm wings to be blownup the dashes. Ipso vario touché tips televisory supra- as ever — dizzy meditative bitterness, a little scarier, post-sub stead fast transactional spewing the bother whose doubts you’re pushing so better things are misunderstood. Incommensurate common sense mergered prehab scab entitlement — no, honey, narrative — verbs stack up, shimmy oblong bounce on stats that holler duelling thanatoids’ pocketbook. Microscuzzy, an impromptu crispier victory the literate sell upwind to render fat a workable skillset bobbing for affables. Checkpoint pindrop sense eases off suggestive beehive lessons to thug what webs would completely brazenly dubious not quite so & so in trouble completely... logic, that stoolie alert con rehab. Chilly me, acetylene [torch] that thought. Fetishize the splay proof goggles.
As well as a number of essays, Andrews has published about forty books of poetry, either on his own or in collaboration with other writers. These include I Don't Have Any Paper So Shut Up (Or, Social Romanticism) (1992) and Ex Why Zee: Performance Texts, Collaborations with Sally Silvers, Word Maps, Bricolage & Improvisation (1995). Designated Heartbeat (Salt Publishing) and Swoon Noir (Chax Press, 2007) brings Andrews well into the 21st century. Also of note, recent projects (and e-reprints of earlier publications) are also appearing on-line.