“Internal Monologue” (Virno)

“Thoughts constituted by non-uttered wordsThis monologue always – ‘I speak’”

Paolo Virno – Word Became Flesh

“its thisness, then, cannot be fully articulable since any such articulation would require the articulation of a complete context, which in all cases is the world…often the experience includes an awareness of not being able to give an account of the this

Jan Zwicky – Wisdom & Metaphor

“457. Yes: meaning something is like going up to someone”

Ludwig Wittgenstein – Philosophical Investigations

“…I wept up to a great age, never having really evolved in the fields of affection and passion, in spite of my experiences”

Samuel Beckett – Malone Dies

“to frame the unsayable, & mute the sayable… he was the singing and the no one there…”

Larry Levis – The Darkening Trapeze

“All this must be considered as if spoken by a character in a novel – or rather by several characters”

Roland Barthes – Roland Barthes

*****************

– I believe I told them that “all language was like a metaphor” in several characters.

I heard nothing, I said to myself, as if nothing were something that might be heard.

Still I stroked her ankle, index-finger-pad to delicate-bird-bone.  And lip.  Finding textures and surfaces with lips and tongue.  Precarious…it never lasts.  Taste and touch are like that [metaphor] immediate.

Am I speaking when I write?  What is happening now?

Several characters.

– “often the experience…includes an awareness of not being able…” (J. Zwicky)

She tasted of…

“…to give an account of the this…” (Zwicky)

…coffee grounds, sandalwood, humidity, and turquoise…

I left off my exploring.

What is it like [metaphor] to…?

I told them that ‘I speak’ is a metaphor…as is indeed all the rest having to do with language.

(consolations of philosophy)

I hear nothing when I talk with myself. [metaphors].

The sounds of flying a kite.

It’s rare that I am naked.  But “yes: meaning is like going up to someone” (L.W.)…some sort of connection is made (some convergent affect) and a resolution leaks open…resonance…endlessly (perhaps).

“I wept up to a great age”…by which we always mean the aggregate…which seems quite less than my ‘great age’, if ever there was one.

What is ‘great’ like? [metaphor]

Once I was younger…

– Always wished you’d known –

Are photographs metaphors?

I said that ‘nothing made is like.’

(“in spite of my experience”)

“Did I say I only say a small proportion of the things that come into my head?” (ontology of perception) (Samuel Beckett)

I intended to quote: “It is a pretty little object, like a – no, it is like nothing” (Samuel Beckett)

But what is ‘nothing’ like?  A “pretty little object”?

We know what he means (“like going up to someone”) … I was naked, I tasted.

You know the story… “I wept up to a great age.”  I touched, I tried, I felt.

What do you see?

Hardly ever the point.  Perception + Reflection = Imagination (perhaps) I told them – it’s a metaphor – a “crossing-over,” some traversal.  The trace of sweat behind her knee just above the calf.

Once I was alive.

I crossed over.

Several characters: ‘I speak.’

“Affection.  Passion.” I said.  (what I had thought it was ‘to learn’ [metaphor]).

– “in spite of my experience” –

Perhaps language wasn’t made for speaking.

Someone.  Somewhere.  Maybe.  Here.  Now.

That thing that words do [metaphor].

The “experience of this”…”non-uttered words.”  Non-utterable?  Perhaps, this.  (I traced the swerve of her, its curvature, hair-smell and sounding…’I speak,’ non-uttering…)

What is writing?

I believe I was speaking of metaphor

Something crossed-over.

Nothing.

“Yes,” I said, “yes…” “it’s always alright to weep.”

Hyphen & Hymen, Pt. 2

“Philosophy is the hyphen and the hymen of Being, and difference is the trait that cuts across and unites the twofold side of Being [mathematic-genetic / poematic-epiphanic; or in-itself / for-us-in-it]”

– Michel de Beistegui, Truth & Genesis –

“each word, need no more words, we don’t need words about words, each word enough with its excess and insufficiency, proliferation and paucity, problematics and production, each term inevitable blunder and surprise, miscarriage and gratuity”

– N Filbert, journal entry –

Everything that is not linguistic is absurd

– Vilem Flusser, Philosophy of Language –

I have no story.

Wherever I occur in the tangled, incalculable threading we might call “existing” or “being” or “living” I can make out no beginnings nor endings, only enigmatic, complicated “is.”  Slight, partial, imperfect.

I have trouble with memory.

But we needn’t any other words.  Or more words.  Or words about words.  Any word is enough.

There’s no story not made of inadequate and superfluous words.  These words that might tremble any direction of the webbed and indecipherable, indeterminate and knotted operations that co-construct now, or whatever happens to be (for-us, with-us, in-us, with-out).

Stories like struck and resounding tones.

A vibration might seem harmonic or cacophonic, dull or brash.  Violent, vanishing, or barely perceptible in the noise.

There’s no story in this.  But many words, perhaps.

Wiggling, vague, offensive, bold, hardly visible, ephemeral words.  Terms (demands?), language (lingual?), weaving darts between – inventive, fabulating, reductive, constraining – unknown syllables, shapes, referents (irreverent) toward and away from…

Vocables of happening.  In-script-ions.  Tyrannical and uncertain.

Accidents and rules.

My body of words.  Limbs, organs, “hyphen and hymen” of being. My body of words – taste, touch.  What passes un-sign-if-i-cant?

Accidents and rules.

Birdsong.  Heard.  “Bird” “song” “to hear.”  This body of words.  No note without notation.  No recognition without cognition.  Any one word enough enigma.

Grass, caress, event: embodying words, wording embodied.  Tapestries or electrons – flood, immersion, surround within.  Languaging: gesture, groan, gelatinous.  Language.

Say “in-term-in-able.”  Say “de-term-in-ed.”

Hyphen.  Hymen.  Accident.  Rule.  Deceptive measurements.  Siphons, conduits, ex-press-in-g im-press-ions. 

One is enough to sense there’s no story here.

Always more-than-one.  All ways.

Perhaps what is called “experience” [what is it called “experience”? – one word is enough – think “love” or “fact,” “me” or “real,” even “tomato” to be made well aware of difference, ambiguity – of wobbling kinds pressed toward inauthentic and inaccurate generalities.  Uniformity.  Accidents and rules that hardly, so slightly, pertain].

Experience: inexpressible?  In-term-in-able?

What is the story here?  The trial and always (all ways) error.  Errant words.  Insufficient to their purposes (supposed).  Perhaps.

Purpose being?

The questioning.

Our voices and gestures.

Enigma.

Irresolvable, over-determined.  Language.

Systems like molds, scopes of lenses, structuring grids, abstract proofs and theorems:  rules and measures, melodies, diagrams – not mirroring, mirage.

I have no story to tell.

Untelling.  Moving back against the words with a “not.”  Unworking.  Unravel.  Erase.

Toward?

Experience: to test, try; to feel, to undergo.  Knowledge gained by repeated trials.  Risk.  Out-of.  Try.  To get handy at.

To undergo.  Gone under.

The Drunken Brain: Ending it all one word at a time.

In-term-in-able trials.  “Everything that what is isn’t” (Jan Zwicky).

“There is yet a way of speaking that leaves room for what can’t be said”

– Jan Zwicky –

Is there?

I’d like to language that way.  Move, sound, gesture, touch.  Word, waver, delete.

Try. 

From the midst.  In the midst of.  Within.  Risk, trying “out,” Feel, undergo.  Words.

I have no story either, no narrative or narrator.  I forget, I re-member, invent.  Wherever, whenever I am (is it “I”?) – multiplicity, indiscretion.  A-static.  No beginning, no ends, -ing, -ing, -ing.  Repeatedly, differently.

I think language pre-tends experience.

What is tried-out, already de-term-in-ed.

Oh to break.

To start.

To begin – become – be.

I have no story.

“I cannot get beyond language by means of language”

– Ludwig Wittgenstein –

Hyphen & Hymen, Pt. 1

“All discourses…would then develop in the anonymity of a murmur…

What difference does it make who is speaking?”

Michel Foucault

“We talk only because of a persistent desire to understand what is it we are saying”

Arkadii Dragomoshchenko

“Again and again there is the attempt to define the world in language and to display it –

but that doesn’t work”

Ludwig Wittgenstein

According to a receipt yellowed in the pages of The Impossible book, 16 years ago I purchased the Story of Rats by Georges Bataille.

“What are you ‘getting at’?”

“What do you mean by ‘kernel’?”

Questions are asked.  I ask them myself.

Today I got bored of it.

Uncertain I ‘get at’ anything.  Doubtful even that ‘I’.  Yet “feel” pursuit of some ‘kernel.’  In other words, because, simply, ‘other words’ (fore-words, afterwords) sometimes eventuate communication…

as if experience were an undifferentiable ocean of moving waves – incalculably deep waters ever in motion – unstoppable, interminable, immersive, and overwhelming – and something splashes, a cup dips, a boat prow plows its way, an arm drops, or rock, or bird flashes down talons – and a surface becomes, is broken…

“A word”

…ruin.  Ruined.  Inalterably (no, that’s not accurate – rather incessantly alterable, altering, altar-ing, alterity – othered and changed) altered, altared – SACRIFICED to perception, experience – peering-in-out-of, or peering/prying-out-of-in, out-of-pry-into

“and vice-versa”

Rue-in, is what ‘I’ seem to do.  Bring sorrow, lack, and loss with each perception, each calling, each again/comparison/re-cognition…Ruin, rue-in.  Touching, seeing, tasting, smelling, hearing – continual selection and ignor-ance (DE-selection, de-lectory, de-clamation, di-visory…) rues-in, sorrows-in, i-dentifies creating lack, erasure, damage.

“What happens – ?”

The temptation together [to gather]…to peer and pry into, in, with…to test and to try…to extract and bring, to-gather… to form-u-late.  AFTER experience, to create other…posit(-ion) a “You,” “out,” exo-, ex-tend, ex-plain, ex-haust, ex-hilerate and ex-aspirate…to KILL, CRUSH, SLICE, DIFFERENTIATE…’I’ hiding somewhere in All and Every.

An ‘I’ in All is AIL.  Rue-in.

“Wouldn’t it be better if we didn’t get sick?  But we do.” – Jan Zwicky

“Don’t be so hard on yourself…we all…”

Separate, tear, disjoint, di-chotomize, di-vulge, de-story, de-struct [de-con-struct i-we-form de-form]

“Hey!  Enough!”

As I was saying, try-pry-di-ing to say…

“Who?  When?  Where?  How?”

Tri-, di-, all in-volves, in-volutes, con-volutes a cutting, a ripping, a be-lying of de-struction – as it crafts an alternate structure (con-struction)…

“the ‘kernel”

Oui.  We.  Yes.  The sense that  Is the sense of being-thrown, dropped, something making a splash, separating the waters… a kerneling, an ob-ject (re-ject, ab-ject) dis-turbance that sub-jects turbulence…

Thrown.  Splash.  Change.  Alteration.  Altaration.  Altarity.  Othering.  For-IN (foreign)… kernel.

“What are you ‘getting at’?”

“So that’s what you mean by ‘kernel’?  Dis-turbance… Turbulence… something must be… in order to…”

“What thing?  Why?”

“In the beginning was the Word… was God… and God moved…and divided the waters…” (John 1:1, Genesis 1:1, 6, KJV) a Bar, a “firmament,” a permanent Between “called Heaven.”  And so separating, separation be-gins…from the first very first motion, movement, change… ex-pulsion, ex-crement, ex-ultation, ex-is-stance.  Out.  OUT.  OUT-of… posit-ion.

“You’ve lost me…”

“Oui – what are you ‘getting at’?”

Ex-perience.  Prying, peering.  Trying.  Be-ing separates?  Dis-joins?  Dis-tracts?  ‘I’ am a rupture.  Dis-rupts: not two, not one.  I stray, strive, volition, volute…de-story, de-volve.  What am ‘I’ but a weapon-blade?  Rue-in.  And thus I speak, say with pointed pen…poke and pry and terrorize – ex-perience.

“Glorious or gory-ous – visions are di-visions”

So it seems…

“So it is…”

Is, was, will be spoken into/out-of our stance (existance)…falsified di-visions…

“I cannot get beyond language by means of language”

Ludwig Wittgenstein

 

Inexpressibles

The Three Oddest Words

When I pronounce the word Future,
the first syllable already belongs to the past.

When I pronounce the word Silence,
I destroy it.

When I pronounce the word Nothing,
I make something no non-being can hold.

 

By Wislawa Szymborska
Translated by S. Baranczak & C. Cavanagh

Copyright © Wislawa Szymborska, S. Baranczak & C. Cavanagh

thank you Unwanted Advice

This. Interesting. Day.

Interesting:  it will come, whispering in your imagination that the English interest comes from the Latin inter esse, literally “in-between-being.” – Gunnar Olsson, Abysmal

“something must have changed” – Samuel Beckett, Malone Dies

I guess I just decided to let something else happen…

I suppose I decided

insofar as we do

to let something else

become…

“This is what I’ve decided.  I see no other solution.  It is the best I can do…

…that little space of time, filled with drama, between the message received and the piteous response…

 …Of  myself I could never tell, any more than live or tell of others…”

Samuel Beckett, Malone Dies

distrusting human plans

Michel Foucault: “Speech Begins After Death”

.

..does the pleasure of writing exist?  I don’t know.  One thing I feel certain of is that there’s a tremendous obligation to write.  This obligation to write, I don’t really know where it comes from.  As long as we haven’t started writing, it seems to be the most gratuitous, the most improbable thing, almost the most impossible, and one to which, in any case, we’ll never feel bound.  Then, at some point – is it the first page, the thousandth, the middle of the first book, or later?  I have no idea – we realize that we’re absolutely obligated to write.  This obligation is revealed to you, indicated in various ways.  For example, by the fact that we experience so much anxiety, so much tension if we haven’t finished that little page of writing, as we do each day.  By writing that page, you give yourself, you give to your existence, a form of absolution.  That absolution is essential for the day’s happiness.  It’s not the writing that’s happy, it’s the joy of existing that’s attached to writing, which is slightly different.  This is very paradoxical, very enigmatic, because how is it that the gesture – so vain, so fictive, so narcissistic, so self-involved – of sitting down at a table in the morning and covering a certain number of blank pages can have this effect of benediction for the remainder of the day?  How is the reality of things – our concerns, hunger, desire, love, sexuality, work – transfigured because we did that in the morning, or because we were able to do it during the day?  That’s very enigmatic.  For me, in any case, it’s one of the ways the obligation to write is manifested.

This obligation is also indicated by something else.  Ultimately, we always write not only to write the last book we will write, but, in some truly frenzied way – and this frenzy is present even in the most minimal gesture of writing – to write the last book in the world.  In truth, what we write at the moment of writing, the final sentence of the work we’re completing, is also the final sentence of the world, in that, afterward, there’s nothing more to say.  There’s a paroxysmal intent to exhaust language in the most insignificant sentence.  No doubt this is associated with the disequilibrium that exists between speech and language.  Language is what we use to construct an absolutely infinite number of sentences and utterances.  Speech, on the contrary, no matter how long or how diffuse, how supple, how atmospheric, how protoplasmic, how tethered to its future, is always finite, always limited.  We can never reach the end of language through speech, no matter how long we imagine it to be.  This inexhaustibility of language, which always holds speech in suspense in terms of a future that will never be completed, is another way of experiencing the obligation to write.  We write to reach the end of language, to reach the end of any possible language, to finally encompass the empty infinity of language through the plenitude of speech.

Another reason why writing is different from speaking is that we write to hide our face, to bury ourselves in our own writing.  We write so that the life around us, alongside us, outside, far from the sheet of paper, this life that’s not very funny but tiresome and filled with worry, exposed to others, is absorbed in that small rectangle of paper before our eyes and which we control.  Writing is a way of trying to evacuate, through the mysterious channels of pen and ink, the substance, not just of existence, but of the body, in those minuscule marks we make on paper.  To be nothing more, in terms of life, than this dead and jabbering scribbling that we’ve put on the white sheet of paper is what we dream about when we write.  But we never succeed in absorbing all that teeming life in the motionless swarm of letters.  Life always goes on outside the sheet of paper, continues to proliferate, keeps going, and is never pinned down to that small rectangle; the heavy volume of the body never succeeds in spreading itself across the surface of paper, we can never pass into that two-dimensional universe, that pure line of speech; we never succeed in becoming thin enough or adroit enough to be nothing more than the linearity of a text, and yet that’s what we hope to achieve.  So we keep trying, we continue to restrain ourselves, to take control of ourselves, to slip into the funnel of pen and ink, an infinite task, but the task to which we’ve dedicated ourselves.  We would feel justified if we no longer existed except in that minuscule shudder, that infinitesimal scratching that grows still and becomes, between the tip of the pen and the white surface of the paper, the point, the fragile site, the immediately vanished moment when a stationary mark appears once and for all, definitively established, legible only for others and which has lost any possibility of being aware of itself.  This type of suppression, of self-mortification in the transition to signs is, I believe, what also gives writing its character of obligation.  It’s an obligation without pleasure, you see, but, after all, when escaping an obligation leads to anxiety, when breaking the law leaves you so apprehensive and in such great disarray, isn’t obeying the law the greatest form of pleasure?  To obey an obligation whose origin is unknown, and the source of whose authority over us is equally unknown, to obey that – certainly narcissistic – law that weighs down on you, that hangs over you wherever you are, that, I think, is the pleasure of writing…

…I’m not an author.  First of all, I have no imagination.  I’m completely uninventive.  I’ve never even been able to conceive of something like the subject of a novel…I place myself resolutely on the side of the writers [in distinction – Roland Barthes – from authors] those for whom writing is transitive.  By that I mean those for whom writing is intended to designate, to show, to manifest outside itself something that, without it, would have remained if not hidden at least invisible.  For me, that’s where, in spite of everything, the enchantment of writing lies…I’m simply trying to make apparent what is very immediately present and at the same time invisible…I’d like to reveal something that’s too close for us to see, something right here, alongside us, but which we look through to something else…to define the proximity around us that orients the general field of our gaze and our knowledge…

So, for me, the role of writing is essentially one of distancing and of measuring distance.  To write is to position oneself in that distance that separates us from death and from what is dead…I’m in the distance between the speech of others and my own…In exercising my language, I’m measuring the difference with what we are not, and that’s why I said to you earlier that writing means losing one’s own face, one’s own existence.  I don’t write to give my existence the solidity of a monument.  I’m trying to absorb my own existence into the distance that separates it from death and, probably, by that same gesture, guides it toward death…

I’dd add that, in one sense, my head is empty when I begin to write, even though my mind is always directed toward a specific object.  Obviously, that means that, for me, writing is an exhausting activity, very difficult, filled with anxiety.  I’m always afraid of messing up; naturally, I mess up, I fail all the time.  This means that what encourages me to write isn’t so much the discovery or certainty of a certain relationship, of a certain truth, but rather the feeling I have of a certain kind of writing, a certain mode of operation of my writing, a certain style that will bring that distance into focus…

Foucault saisi par la révolution - Vacarme | Michel Foucault | Scoop.it

Unstillable

scribbling

“Pangs of faint light and stirrings still.  Unformable graspings of the mind.  Unstillable”

– Samuel Beckett –

Let’s loiter about here a little, as if language were lakelike, locatable, alive enough to lollygag loose within.  Perhaps not.  Perhaps it is nearly always just-becoming.  Perhaps nearly all, nearly always, is thus: just-becoming – liminal lineaments languishing-then-livened, languishing-then-livened, “again” we might say, designating (de-term-ining) a balance to enlivened.  How so?  Why so?  By what author(ity)?

Unstillable.

“In the madhouse of skull and nowhere else” (– Samuel Beckett).  Is that so?

“Skin has no choice but to converse with the world…thin, ignorant borderland of skin…myself all trespass, misunderstanding, translating, translating…” (-Laurie Sheck).  Is that so?

If words were invented with sense.  To “make sense” between one and an ‘other.’ 

What if words ARE THAT?  Connective contours between.

I am inebriated, my willingness loosened to expression, though it might ruin me (like language) and I stare (Dostoevsky – ‘Myshkin’) “intently” into Mikhail Bakhtin’s face, his specific eye-gaze, and say:

“Is it the case that words are ‘meant,’ are ‘formed,’ are breathed, are…constructed, are…utilized, to be tissue woven between ‘me’…and ‘you’?”

Do we… speak, say, expire back and forth… to become?  To string and weave lines, flows, strands, threads, that might forge or invent co-respondence, texture, significations combining you and myself into WE?

But Bakhtin is dead, and cannot answer.  Mikhail Bakhtin does not have the capacity to co-respond.

…like Beckett, Blanchot, Plato, Montaigne, Pessoa, Pascal, Wallace or Euclid, Bulgakov, Heraclitus, or Celan (as with any and all dead!) he emits traces (tracings) with which I can consider, decipher, and interrogate in and within my ‘selves’ but not between

What might this ‘mean’ – between anyone?  Nothing.

It can not, has no opportunity to, delineate or circumscribe, draft, figure or shape any relation.

Sign emitted, call evoked, death, and then text as silent partner.  Prognostic retrograde delineation.

Bankrupt, impassible, impossible, communique.

The decoding of words as communication, connection?  An imaginary.  A handling of terms.  Inventing, devising, originary.  With whom?  Where?  How?   Hint and vestige, remnant and sketch, scheme and fabrication, inkling and outline.

Unstillable. Unformable graspings of the mind.  Is that so?

If we’re limning the liminal now, let’s loosen the letters and slacken the sieves.  Lasso and lounge, scatter and scrape, together (to gather) – a scintillate sense – sporadic sparks, succulent scenarios – exist for enlivening language, whatever limited lust lies therein – if language is locatable and not merely modal mechanics?  A modicum of music then, some scrap of sonority, some lingual litmus ‘making sense.’  Whatever.  Possibility, potential, particible particulars…

“THE TEST IS COMPANY”

“If there may not be no more questions let there at least be no more answers”

– Samuel Beckett, Company

“We must not die: kindred spirits will be found”

– Viktor Shklovsky –

 

The “Tense of Incoherence” ( Paul Valery)

“I am suspicious of all words, for even the slightest reflection shows the absurdity of trusting them.”

– Paul Valery, Monsieur Teste

“You know, dear you, that my mind is of the obscurest sort…I am composed of an unfortunate mind which is never quite sure that it has understood what it has understood without realizing it.”

– Valery –

FOR NO REASON

Delight.  Hope.  Survival.  

Homer .  Beckett.  Kafka.  Hegel.  

Language.  

Wittgenstein.  Heidegger.  Merleau-Ponty.  

Fosse.  Derrida.  Foucault.  Sterne.  

Imagination.  Philosophy.  Fiction.

WHAT CAN BE THOUGHT? (Philosophy) “on the verge”

WHAT CAN BE WRITTEN? (Literature) “on the verge”

Maybe I’ll just read.  Perhaps suicide (stop).  Perhaps create.  Perhaps avoid.  Perhaps participate with others (friends, family, children, pets, nature).  Perhaps think and drink.

WHO CARES?  NO ONE.  NO SOME.  DO I?

Selected “foods for thought”:

The Event – Martin Heidegger.  Monsieur Teste – Paul Valery.  Replacement – Tor Ulven.  Inexhaustibility and Human Being – Stephen D. Ross.  The Meridian – Paul Celan.  Verge of Philosophy – John Sallis.  and so on.  Potentials.

Directions for staying alive (as human being).  Follow something: desire.  hope.  beauty.  sex.  belief.  pleasure.  pain.  Try something.

Read history and imagine imagining a world that sensible.

Read science and imagine imagining a world that ordered.  

Read literature and imagine imagining a world.  

Read philosophy and imagine imagining that many questions.  

Read religion and imagine imagining that many answers.

Stop.  Say your own.  (thoughts, imaginations, feelings, perceptions) to someone or to nothing (write them).

And so on.

For no reason.

But perhaps staying alive / living a little longer.

WHAT DO YOU WONDER?  DESIRE?  WISH?  PROPOSE?

And so on.

WHO CARES?             DO YOU?

And so on…

…for no reason.

Thus the life of “the writer,” “artist,” “human,” “scientist”… WHATEVER – WHOMEVER HUMAN (so-self-called) BEING.

In other words… when we encounter “literature” we (perhaps, perhaps probably) are engaging a fellow human being in the NOW – amidst an odd tactic of applying (through a strange and meddlesome nigh-universal ambiguous medium) the operation of EVERYTHING he/she knows or has experienced to the point-of-NOW.  And we (weird, individualized organisms) either find correlation and correspondence with (some or much or little) of their ‘whole’ knowledge & experience (and thus, perhaps, probably, are moved by or like them) or… find very little correspondence or similarity with our ‘own’ knowledge and experience and therefore consider them banal, useless, uninteresting, untrue, or off-putting.

WHO CARES?  DO YOU?

I do.  It keeps me alive, surviving.  I drink, I read, I think.  Attempt to forget obligations, relations, and responsibilities (I can’t).  That I’m a FATHER, that i exist in a socio-economic scenario that requires the bulk of my life be passed in “bullshit jobs” that somehow appease ‘Powers-That-Be’ and allow me a place on earth and a terrible fight to try and defend or spend ANY portion of existence doing-what-i-want, or what ‘fulfills’ or causes me happiness / gladness / joy in being alive…

When I’m able to “snare,” “steal,” “TIME” – I read and write, make love, or drink alcohol – because these things make me feel GOOD or WELL as the sort of being I am.

Why is it I feel compelled to sneak, steal, or justify what gives me joy in being? (whether plant, ant, mammal, or any other cellular construction)?

I wouldn’t ‘rather’ be famous, or a president, powerful, or a businessman, artist, or ‘professional,’ or anything.  I REALLY just want to be a human-in-society valuable-to-the-rest because I happen to be one who loves language, literature, pretending, fiction, inventing, thinking, imagining what might be – this-wise, that-wise, which-wise, whom-wise, where-wise, when-wise…

WHY IS THIS NOT VALUABLE?  ACCEPTABLE?  SUPPORTABLE?  along with each alternate things-one-might-want-to-be as valuable-to-the-cumulative…

Humans seem to be multiplicitous, variable, and plentiful.  Many wish/desire/like to be strong, rich, beautiful, productive, etc.  Why can not there also be room for those who desire neither usefulness, beauty, riches, or power… but CANS at the verges… of language, thought, imaginings?  And are these really so different from those pushing edges of other characteristics?

Suddenly this entry feels like a wallowing or a requesting of pity.

That is not the feeling.

“I am composed of an unfortunate mind which is never quite sure that it has understood what it has understood without realizing it.”

  • Paul Valery

Seasons

What’s happening now…and why I’m not writing much – reading, teaching, librarying, parenting…

Mappa Mundi

mappemundi

The key question is not what a given sentence means but what it does, especially how it does whatever it does…to know is by definition to say that something is something else and be believed when one says it – Gunnar Olsson, Abysmal

Whatever we might say, we see in all that we say. – Sophocles

Only apparently is it a ‘presentation.’ – Martin Heidegger

It follows that in the world of humans any mark is better than no mark, for without categorization there is nothing at all, not even nothing at all. – Olsson, Abysmal

How small life is here / and how big nothingness.  – Robert Walser, Oppressive Light