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| John Constable Landscape Study - Cottage and Rainbow ca. 1808-1816 oil on paper, mounted on board Royal Academy of Arts, London |
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| John Constable Cottage in Cornfield ca. 1815-17 oil on canvas National Museum Cardiff, Wales |
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| John Sell Cotman Buildings on a River ca. 1807-1810 oil on canvas Scottish National Gallery, Edinburgh |
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| Auguste Anastasi Cabaret Maurice at Bougival ca. 1865 oil on panel Bowes Museum, Barnard Castle, County Durham |
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| Camille Pissarro Festival at L'Hermitage ca. 1876-78 oil on canvas Courtauld Gallery, London |
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| Walter Sickert Twilight ca. 1881-87 oil on panel York Art Gallery |
from The Book of Non-Writing
It came. Words smashed out of the sky and from the mouths and off the pages and from the flesh and blood of the bodies and the words hit the readers and were destroyed like more bodies and the fields of the nation were littered with bodies and dead. Carcass love, they called it. Carcass economy, they called it. And the readers found the carcasses strewn across the pages and the readers came and stripped their innards and twirled intestines above their heads like lassos. The carcasses fell onto the pages and were taken away in wagons and trucks and they were replaced with new carcasses that were sold for words before the flies laid eggs and the wounds had time to fester. FALSE CARCASS ECONOMY! Will the souls of the carcasses miss themselves when they die? Will the bodies whose lips slurp out the souls of the carcasses miss themselves when they die? Will the words from the bodies who slurp out the souls of the carcasses case to exist when the bodies themselves die? The readers grovel in the pages and find themselves in ditches with the carcasses but they do not know the rules of the false carcass economy. In this book the readers can feel their feet being removed. In this book the readers can feel the splash of the abattoir blood that sprinkles the page with poems. How do you know if the poems have too many bubbles? That is, how do you know if the blood of the poems has too many bubbles? When we speak of our own lives, says the collective voice of the readers, we certainly don't mean human life. . . .
– Daniel Borzutzky (2011)
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| Blandford Fletcher Part of the Old Tithe Barn, Abingdon, Oxfordshire ca. 1919-26 oil on board Oxfordshire Museum, Woodstock |
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| Roger Fry A Surrey House 1927-28 oil on board Birmingham Museum and Art Gallery |
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| Wilson Bassett Boulevard Saint-Germain, Paris 1930 oil on canvas National Trust, Coleton Fishacre, Devon |
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| Stanley Spencer Villas at Cookham ca. 1932 oil on canvas Walker Art Gallery, Liverpool |
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| Charles Ginner Church Farm, Shipley ca. 1933 oil on canvas Bristol Museum and Art Gallery |
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| Gilbert Spencer Summer Evening - Hook End Farm 1957 oil on canvas Bristol Museum and Art Gallery |
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| John Aldridge The Clock House, Little Samford, Essex 1964 oil on board Aberdeen Art Gallery, Scotland |
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| David Ross Warrillow Croft on the Isle of Jura ca. 1990 oil on canvas Fleming Collection, London |
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| Norman Stevens Clapboard House 1972 oil on canvas Cartwright Hall Art Gallery, Bradford, Yorkshire |