Some heavily-accented thoughts on transtextual (Orzel) poetry

In the appropriation of fragments of text from their initial context, Orzel poetry allows those fragments to live again, to be reread outside of their original political, social, historic constraints; orzel exploits the innate reflexivity of language events.

Transtext is the pure randomly reflexive postmodern activity, the re-deploying of text as construction material -- as meta-text, as discovery, as skeletal matter, as cross-correspondence, as fossil, as seance, as sediment, as sphynx, as birdsong, as windchimes, as EVP, as the riding of the Loa, as bumps in the night, as handfuls of life-in-dust in the shadow of a red rock -- with no spurious acknowledgement of authorship.

These original texts are no more to be considered 'owned' creations than is a handful of dirt baked into a brick. The completed transtexts are similarly handfuls of dirt to be plundered by anyone who reels with possession and desire. They are only owned at the moment of assembly. Subsequently they are dancing dust in the air.

Orzel-fragments are the chaos-desire sigils of AOS. They exist only until they can be subsumed into the greater unconscious of the resurrected text that never existed, where they begin to work unseen. The act of transtexting is the act of burning sigils, of letting desire metastasize. Orzel is the forgotten never-work of the Zos-Kia Cultus.

Never mind any of that shite, though. Orzel is a shortcut to stark dynamism. Some people have to work very hard to achieve that authenticity of voice.
Orzel delivers it readymade.