New Writing by Shelby Matthews

*Title of a play by Jan Fabre. There are other reference to titles of Fabre's work.

dull thud of dusk and Hard Ember merges pushing tree backward in slow-flow-muscle-velcro-virility-flex for ionic bonding body bristle slicking down the blades of grass covert operation big-brush-wide-sweep over vacant kicking idling fought picking at bark in fickle diffusion fumes sifting gas what gas between short bursts of touring wild morsels simulating sepia in split digit lick-strip binary centrifugal attraction deep pit imminent arrival knowing grateful reception

xiting flick-light scar-city & vital bite of liver swelling expansion set but to know thy thugs slit-shit litter-bin preying dead crapaud Combo Curd feet in dog smiling unpeturbed intense blinds of black crow slewing protective jeer in flight flagellation arms billowing holster hips and ten bulbous hammer & nails pulping sweat under grasp of plastic tongue lashed by cord spiking forty-two eye-holes twisting transverse turns round silver spurs (to cusp mortar from bitch) splaying to jaw to

thin-skirt rim-skirt leaning loitering loins in pert askance dreaming rupture and ripe pear re-erection non-apparel malaxing high-rise thighs and gloriously puffed balls purple hemp wild vermouth
in percussion


	Shelby Matthews Working Note One of my aims is to break out of categories, particularly those I use to order my world. The use of largely Dutch in “Eeen doodnormale wrouw” was not to write in another language but to use it to bring something fresh to English. EEN DOODNORMALE VROUW BODY FLARE Een doodnormale vrouw* scene is reel echt risi-cosi situatie tragi-plank en kneefast in personages voices parked hinterland in dipped night identitot an no precissy garden playing in a room smaller than a podium towers rising either side vormloos putt-like align yer self before the door dans beginnen watt is een watt is een watt is een how skin you the face of each how shine you your. watt . in sweet Temptatie clinking jassy loo'sing cherries but don't in the first Snowfall deep vinegar broken door en heer comes de eerste invulling live normaliseerde wereld sterk en sociaal raising skips rolling rol slapping vanderville te market impelling goal sourcing steed rund-lippen en tip-like in de grip van tide notes half-pealing half-balming half-binnding met cast belovende I van vader Vigour vingers lingering veri moment so licklamp like a Champ and de Wand 'the very seat of Honour' kring loop smart lap rowing motion testbar en toonbar centraal van handling in three containers Parade Paride Paradise or estatic bonding needlelost in core obligatie universie copious rights sliming film sudsing loop leaving word in liminal ajar yer mild head re-porting rapporteur mit van de might bald blabbing tear-jerker plunging sinkline mouthing balled chain in thanks of thanks mirror feel underlook possibility bliving within sit swivel screwed neck and await impalation head placed over (lngwys) tenser slot slotte or not dat fooft doof slag en luv luft outspucken and is skin underworming a moraal true font riddled through door into stillstand serial illusion retorting in stunned pores Shift-Two Tip-Toe de toneel debuut in relatie tot de tekst suptiler unter-tittles nippling bron juice met hope for a teeter trilogie and mee so navel bonded with story licking my normaal too quickly SO DANS SOLO stick-self in salvo seek & zen esprit esperanto shining erotish wondering wit without puur blaaz petaal froth off a frozen wave mouthing memory flow of doves slipping sinless wake scene in a dull momentopnaamlos 'le fin coming a bit early this siècle' Flip Flow Deerde Shiftum dramatiek dialetike hoofing dust twixt transparenter muren outpull van Seksuella giving suckle feel gripping grip grip grip for a positief indefineerde centraal in chaotica met long inspiratie stream van de franse filosoof grasping grip flowing Kijkon knowing mirror to get a grip wanting to get a grip hier en nu bare en glazen wanting extreem flexi gripping functie gripping en fysiek wanting to get a grip slipping to get a grip grip grip grip and lips parti partitura parturition oh cruddy earth you is absolutely breaking into tilth or is the garden free prikk en over te edge te plekken dood normale Title of a play by Jan Fabre. There are other reference to titles of Fabre's work. Body Flare*
		dull thud of dusk and Hard Ember merges pushing tree backward in slow-flow-muscle-velcro-virility-flex for ionic bonding body bristle slicking down the blades of grass covert operation big-brush-wide-sweep over vacant kicking idling fought picking at bark in fickle diffusion fumes sifting gas what gas between short bursts of touring wild morsels simulating sepia in split digit lick-strip binary centrifugal attraction deep pit imminent arrival knowing grateful reception
		*beyond the dark portal*
		xiting flick-light scar-city & vital bite of liver swelling expansion set but to know thy thugs slit-shit litter-bin preying dead crapaud Combo Curd feet in dog smiling unpeturbed intense blinds of black crow slewing protective jeer in flight flagellation arms billowing holster hips and ten bulbous hammer & nails pulping sweat under grasp of plastic tongue lashed by cord spiking forty-two eye-holes twisting transverse turns round silver spurs (to cusp mortar from bitch) splaying to jaw to
		thin-skirt rim-skirt leaning loitering loins in pert askance dreaming rupture and ripe pear re-erection non-apparel malaxing high-rise thighs and gloriously puffed balls purple hemp wild vermouth in percussion
		I big boy
		(lovver diadems)
	Bio: Shelby Matthews was born in England. Trained as an economist, she now lives and works in Belgium. Previous work has been published in 4packs No. 3: New Tonal Language (Reality Street Editions 1999). “Een doodnormale vrouw” was first published in Foil: Defining Poetry 1985-2000 ed. Nicholas Johnson (Etruscan Books, 2000) New Writing table of contents