What Words Do

Jean-Christophe Giacottino - Asemic writing work (Having no specific semantic content, Writing without words ... The form without the sense - Secret talismanic writings... Asemic calligraphy)

“language cannot cope with its relation with the world”

– Giorgio Agamben –

“language is a part of our organism and no less complicated than it”

– Ludwig Wittgenstein –

Sometimes it seems that words might do anything!  Connecting things and people; defining, describing, explaining and exclaiming; naming, inventing, questioning… arguing, fomenting, discovering; seducing, displacing, and singing.  Very little experiencing of the human kind comes unaccompanied by terms.  – Is that so?

There are dreams – like signs and billboards of liqueous or exaggerated perceivings… “the sign – is the quietest razor of darkness” (A. Dragomoshchenko)… and slit it does.  We bleed.

And breathing, heart’s-pulse, sleeping along with the intake of food, its output as waste, our birthing and walking, working and running… and dying.  All our play.  Intercourse, of course.  Do moans and groans, grunts and cries and sighs, lisps and complaints (our myriad utterances) – mean words?  mean language?  What of our relative silence?  The thrumming body of the speechless and deaf?  Eye-gaze dumb, its blindness?

The skin has been rubbed off my fingers.

Wordlessly, soundlessly, lust and desire screech on…shrill in body and bone – both where the starving exudes and toward its petulant prey.

What of the growth of grasses?  Is language there?  In rhythmic patterning of rain?  A sense of sunlight?

Sometimes wind whispers.

A cat moves.  Silently.

And a “sign – is the quietest razor of darkness” – darkness visible, darkness speaks – (it has been claimed – via words, the verbal).

Sweet and troubling confluence: activity and languaging (the same): the “verbal.”  Of sound and motion.  Our noise.  Moving sound around in and with our bodies – in speech or dance, in strain and the clamor of being.

What falls (or grows, blooms, disappears) outside the devouring knife – that which segments and shrivels the fluid songs of experience and reverie?  Of presence.  The Slicer-Dicer we’ve composed, posing together to cut from faultless fabric?

As utterance, inscription fondles its way, brushingly and blade-like, sensually surreptitious.  Caressing and crafty, rapaciously blessing its praying and braying of names – who can counter its reduction, repression, its blame or silvery shame?

Ye without words, cast the first stone.

As if genesis were language and time: space to create with.

Comprehensively unknown.

Advertisements

How it is, part exponential

We followed the arc of the diver, losing it in the fog, wishing to make it out clear.  I might have said this meant “philosophy.”

“Poetry,” he said, “is utilizing known language to invoke the unknown.”  Or certaintly uncertainty, or something like that, which I liked, and indicated by asking what is not uncertain?

Your hands, the music.  My desire, a naming for them.  I think of your waist as a séance.

What is it to be crippled?  I keep trying to use words.

Another asked about the “arc of the diver.”  How should I know?  All of my sentences should be read as questions.  I wonder how divergent questions or commands might be… as statements.

She said, “it falls between.  It has to go somewhere.”  I guess we pressed it there… were poietic… since we couldn’t find a name.  “Dis-appearance” might be one.  Like a guess that can’t be falsified.

We all hold a paper marker printed “You are here.”  Perhaps paper is too substantial.  But it still seems like an invitation I wish we had.

Maybe this is why Albahari inscribed “Words are something else.”  We leave it at that.  And are flummoxed as to what “that” refers to.

Still we look.

You move like flocks of birds that wheel.  I’ve never comprehended “swarm.”  Mathematics doesn’t cut it, though it certainly uncertainly tries.

The telephone Pictionary of ear-mouth-brain when we issue sound or gaze.  Don’t foibles equal actions?  Parts of us experience this as violence, as valence.

Relation as a struggle to balance victimhood and perpetration.  Uncertainly.

When or where does this infiltrate unknown?

He went on to say…

I thought (imagined?) your ankles, knees, elbows and knuckles as adroit sworls in swift mountain streams.

So also losing it in the fog, hoping to remember where the trees were.  Philosophy.  Or was it the forest?

Poetry as ocean surface between “known”/unknown?  So wavy, so heaving.  No one said that.

The richest respect he gave was his readiness to call me “Nobody.”  Or “Anybody.”  Carte blanche.

She said.

I can hardly perceive what’s in your head now.  Potentia?  An horizon of waves.  A place where words press images press events, the banal.  Perhaps.  Uncertain sphere of unknowing?  They say learning happens there.  Like a cell in a culture, animal in terrain.  Cacophony of dreams.

Each time we encounter.

How, the Owl

Who – would I listen to, be remade among today?

And where from a resistance?

We always know (somewhere in our bodies or bones) that ‘to begin’ was begun

long before what ‘begins.’

It is raining.

We say, “the rain has begun.”  How long ago?

We say, “I am here, now.”  For -?

Where are we?  How much?

We ask.

We are there.  Continuously outstripping a here.

When?  Why?

And how?  How?  How indeed.

So what is it – that we are seeing?

What is it we think we see?

How?  Why?  Why that and not other(s)?

Propensity.  Proprioception.  Perspective.

When?  Where?

Always already before or begun?

From which?

I’ve written before (again and again

when I take up the pen):

“I set out.”

From where?  Why?  When?  and whom?

Still how?  How?  How, indeed.

He looks in.

Into what?  And from where?

How indeed.

We set out.

per language, per feeling, per sensational thought,

per activity, movement, receipt.

We set out.

Now, and so on: an addendum

I do not doubt that we are all capable of learning to freeze.  Or starve to death, for that matter.  Death will not be a stranger for any, for long.

.

There are reasons we are constituted in uncertainty.

We are able to learn.

Everyone will.

.

It’s why I told her how much I trusted her.  To change.  And therefore never knew anything, asking so many questions, again and then again, about plans.  Who knew when?  or then?  or now?  I said.  Things fluctuate as they die.

Or I never knew.  Having so little to do with facts or truth, beliefs or trust.  IS is always something else.  Or here is always different.  NOW has never been, in other words.  Even if the words are the same.

.

And. So. On.

Apparently.

.

There is music.  And recognition – recognizability – (memory?) – a passion for pattern, a shine to similar, a longing for location, locatability.  For what it’s worth – a pronounced inaccuracy and pro-found nostalgia.  As the ‘similar’ is founded on what’s been experienced before (pro-found), and at least less than (or more?) than present.  Pre-sent?  NOW was given / sent before?  I doubt that… but feel wary that that’s all we’ll ever know, never quite catching up to being.

In another sense: the inherent lag of perception.  How old (again, pre-supposedly) are the stars we ‘see’?  Or the squirrel on yonder branch; your eyes across the table; our held hands… by the time they register?

What happens, “now”?  And why are we occupied with what we call “next” when we can’t even exist at once’s occurring?  Seeking a head start?  A virtual or imagined pre-sent?

.

Yes I heard what you said…after you’d said it.

There’s our “now.”

The cut from stepping on glass… and then the pain… later.

The bite of food, licks of flesh, kisses… and then the tasting.

The breeze and then the leaf, light and then its outline.  Mostly shadow.

“Hello,” I reply in turn, but your head already bowed and path resumed, on the far sidewalk.

.

I fall behind.

.

Suppose this is why, in conversation, ever losing our way in delay, we ask “where were we?” rather than “where are we?”  What is it we wish to know?  Where do we hope to be with one another?

As I was saying – with requisite gap between whatever may have been transpiring in my ‘mind’ (or whereverywhere thinking occurs) and the sludgy musculature, instruments, and carefully crafted formulation of alphabetic symbols to display attempts of communication or composures…

…now I’ve forgotten…

Exscribing: a Process

Image result for hand writing with pen on paper

How stories are written.

They are experienced.  They are felt, intimated, intuited and interpreted.

Sometimes spoken through or about.

They become body.

They are lived – if only imaginatively – they are invented (always).

If inescapable or unavoidable, the only way to “pass” them – find them, become in relation to them (i.e. ‘go on’) – is to expel, express them… put them outside the body, psyche, person: MAKE them, forge them, create with them…

“ex” (out-of) “term” (language) “in” (-scribe or –voke) “ate” (devourable form) them.

Stories are composed, inscribed, evoked, in order to ex-term-in-ate them.  To live on – through and past – to survive what marks/marked the person who must process and be rid of them in order to… go on experiencing (live).

.

Search those tales that traverse your body – its space, and over time. 

Watch what arises again and again – a trope, a chorus, a theme, a complaint.

Though memory (creative narrative), perhaps it holds a not-forgotten, an almost-permanence.  That which seems to stay with you, in you, may be of you – there’s story there.  Don’t worry truth.  Truth never worries.  And no stories are about it.  And constructs of “facts” – or, agreement of observations and perceptions – hardly tells as well.  Stories – good, real stories – lie in differences.

Perhaps difference is kind of true.

Practice synesthesia with what you uncover / discover: hear what you see; taste the sounds; feel what you smell; look deeply at all you touch; be something like a being – an organism whose senses are always combined in the perceiving and experiencing.  That you are is a thing unto itself, and can not be exhausted as long as.

.

And so to write, to exscribe.  In the beginning was… the true fact that you are, however doubting and unknowable.  This too is experiencing.  To be experiencing is to live.  Prepositions and propositions notwithstanding.

It writes.

.

And so it is said, a kind of exscription, a thinking-out-with.  As breath surges sound or even whispers.  To follow – not following – the forms of the objects (obstacles) – lungs and throat and palate, tongue and teeth and lips, not to mention faces and the movements of limbs and digits.  The lineation of terms and letters, vocables and consonants – exscription-with, even air, atmosphere.  And should the context change (and it is changing as you say, think, exscribe) – you write, you sound, you scribble, going-on-with…

Thus it is written.

.

And so it becomes.

Stories are an history of mortality.  Where it begins in first awareness that it ends.  And so memories, so comparisons – lessness and mostness and the little by little of forgetting.  How it’s made through its undoing, to the last.  We story only as we die.

What is it that was said?  You say?

Dusk becomes, and a sort of lost.

The first way in, being out.

Ex-scription.

The forth is all.  Experiencing.

.

Letting it air out.  This seems important though many might advise that writing is a matter of devotion, dedication, discipline.  Maybe it is?  What have I written in way of stories?  Much time is involved in the shaping of rivers’ courseways… and chance… and the continuous involvement of the with-out.

.

Re-membering that the activity and activist (one doing the activity – actor/actress?) are entirely muddled in the ‘between’ that equals: “Here.”  Forging or forcing ex-scription tends to falsify the act and turn it towards an in-scription of something – report or epitaph, confession, statement, fable, style, form.  But storying and writing, like living and all activity, are between formless and formed – taking form, forming.  We are not producing or conveying information, we are in formation through the activity of writing. To assume a stance, a stasis, a point-of-view or position or stake… authorial authority or control – is to leave the messiness of “here” and arbitrate a “there.”  No longer the presence-between sayer-and-saying, thinker-and-language, writing-and-written, imagining-and-inventing, feeler-and-feeling, etc… but reduced to a repetition of forms, ideas, concepts – borrowed, received, believed, or accepted (“in-formed”).  Composed verses composing; produced versus producing; almost a copyist versus a compositor (with com-posing and com-positing referring to making-with, viewing-with, creating-with complex multiplicities).

.

Con-, com-, con-.  With, with with- (these are the fields of ‘between’ where we are).  Ever, always, only – between – experiencing through exscribing – this stays on, vibrating in the lettering, arcs and tones of the writing…as activity going-on.  Experiencing.  Energy.  The forthness of creativity is its unknowable, indecipherable, inextricable withness.  Perhaps.

.

Authorial authority or control a sort of repetition of law, convention, acceded power, regime(n).  An attempt to step aside from the stream of experiencing and treat the activity of writing (or exscribing) not as an activity of being – alongside thinking, loving, believing, feeling, working, etc., – but something mechanical, technical, somehow outside the confluence of being, the flow of experiencing.  Feigning objectivity, knowledge, pre-cluded rather than preludic (decided-before versus approaching the play or dance or swim of activity in complexity).  Told versus happening.  Production versus process.  Untrue, or less or more than actual.  Mortality – dead letter – versus verbal occurring…as-is.

.

To return to ending – the beginning of story – our limits, death, and finitude – that which forces us to forge – to attempt memories, notate change as loss or gain, seek patterns, learn, sing, exscribe, act… imagine… dream… craft and create – the knowing, the reality, that experiencing is not endless.  Attend: it ends.

And so we story.

Exscribing…experiencing…what there is, while there is, along many modes of action.  What is perceived as happening and runnels through the body, swirling currents of memory, the staining of refrains… and the activity of exscribing it – of moving it out-with-in-to relation of world as compositing – not copying, stating, reporting – but ever keeping in mind that the activity of writing is also a live, indeterminate, and infinitely complex way of being-with-world… we are hardly machines translating experience, or computers spitting out data… everything we do so long as we’re living, is living – alive and uncertain, conformation-with everything that surrounds and drowns us.  Participation.  Being.

Exscribing as a process of being alive.

 

Letter to a Lover – March 2018

The month of March, in Kansas, can be almost anything, like most of the other months of the year, almost.  Tonight it is moisty, breezy, there is wetness hovering like a redolent air, nearly a fog.  I am killing myself.  You are feeding me.  I sharpen your knives in the kitchen.  From the top of my throat toward deep in my belly is an acidic ruin caused by far too many liters of hard alcohol in far too much volume, too often, for too many hours of too many days over too many years to not be transforming my internal landscape into a ravaged terrain of destruction.  So though I’m unable to breathe, speak, lie down, or work without unignorable hurt, I am still useful.  I am sharpening your knives in your modest kitchen.  I am reading and writing sentences.  I am trying to keep myself from you.  You are preparing a meal for us, and I find it so difficult to stay away from you – to not breathe at your ear, kiss or nibble your neck, grasp at your bottom, finger your elbows, hover, caress, overwhelm.

Boundaries are reduced in mist and wind.  In motion it can be hard to tell where the lines that mark objects begin or end.  In cloaks of obscurity finding shapes or sounds, edges or entries, can be, well, con-fusing (over-mixed, blended, woven)… as perhaps any “thing” we try to think apart ‘in fact’ always is… “inscrutable,” “indivisible,” “unclear.”

If you extricate the ginger from the garlic from the cabbage from the chicken from the oil, the rice, the salt, the pepper, the lime and ancho, the butter, the liquids and oxygens, thicknesses and scents… where is the meal?  If you separate “me” out from “world,” relations, surround (like a theory, a concept, a logic…) how might I then live, or “be” what you presume me to be?  I will not, cannot, am not (removed from my surround) and so it goes… limbs and flesh and organs… dissect… to cells and fluids, molecules and motions, viscosity and energy… to atoms… to subatomic ‘particles’ and/or ‘waves’ – and at each dismantle you will have lost the entity you proposed or pursued.

Division does not equal.

You’ve quoted out of context – neither copied, reproduced, nor plagiarized.  Simply failed.  Missed.  Lost.

The burning rot, corrosive erosion of my body by the maladies of my preferences, pleasures, and habits…

…erasure of letters, terms, phrases, meanings…

…excision and surgery, atopic autopsying of…

…are things already dead, deceased once de-cised, as ‘identifiable portions or pieces, ‘things'”?

These written marks with definable shapes and spaces… yet if disjoined… no sense can be had…

What might “it,” “I,” be… apart-from?

I lay on a ground I cannot stand up without, cannot jump, move, fly or float away without…

I address you – impossibly – unless we’re inseparable… otherwise address and interaction cannot…

The gesture recognizes the necessary collusion as a dream of a fictive repartee, a figurative gap which – if there really were a break or breach – would have no effect or recognition – no reach, no contact…

Relation is repetition of conjoinment, actions without function if connectedness is not always already…

…as if drawing attention toward redundancy.

And so we kiss, we eat, we call out, we listen, as repercussions of contact… reassurances of inseparability.  You reach for your phone, I fall to sleep, unable to be undone or we would not be able to know

 

Morning Thoughts in a Blustery March

…and so we think.  I do not say we must think, for I do not think that is so – it is simply a kind of capacity we have, apparently related to external pressures and a possible pleasure, or unknown effects involving desire – a torsion, disturbance, a stirring unsettling perhaps necessary to our living continuance, like pain, like lust.

An activity we call by many names and nuances – reflection, perception, analysis, intuition, sensation, theorizing, dream… but all uncanny practices of turbulence as if trying out invisible options on our world, imagining alternatives, inventing holding frames for experiencing that must constantly and continuously alter and adapt and reorient as living never stills.  Like language, like longing, like living.  Such things show no signs of resolving, their solutions are their ongoing instrumentalization, their habitude.

  • Writing, kissing, and walking are synonyms.

Deranger

Someday maybe, someone will say of me that I “tore up language,” made it useless.

Maybe, someday, someone will “feel” that.  That I destroyed something precious.  Something necessary.  Like oxygen, or water: something we could not live without.  And I ruined it.  Like meaning.

That would be something.  Something I could do, with nothing.

Simple undoing.  To sequester and burn.  Try or experiment.  Atomic bombing atoms.  Untangle into knots – vacuum emptiness, so to (un)speak.  Rather ask than say.  Rather ponder or wonder than postulate or state.  To query, not question.  Change, not challenge.

Disorder and dismember as an alternative to reordering and remembering.  Dissolute versus dissolve.  “Me.”

.

How significant that would be!  How real and present I might become!  How impossible to ignore!  Then ‘I’ might come, be-come, cum-cum… be undone, finally.

.

De-ranger opposing A-rRanger.  The chaos, disturbance, tremor and volatility… the tension pulling on the only bottom we can conceive… the bottomless.  Topless.  Beautiful that way.  Exposed.  Denuded.  Open.  Available.  A fresh take.  Lake.  Like.  Lack.  Unknowable.  Perhaps deep or infinite.  Perhaps uncontained.

.

Let’s say “language.”  Let’s say molecules, atoms, cells.  Let’s say “space” or “time.”  Let’s say “let us say.”  (i.e. let’s assume something).

.

Like hallucinogenetic drugs without purpose.  Instrumentalization.  Meaning.  Like feeling too cold or too warm.  Like grief or ecstasy – any of these experiences we don’t understand.

.

Disjunctive dysfunction.  The uncanny.  Morphology.  K would call it (maybe) “infinite possibilities of infinities without numeration – perhaps most of which are empty” – and how would we know (or be able to know) what that means?  Like this here = that.

.

Suppose you could “see” it (imagine – image-in) – I use language.  I’d use language.  I would.  To “see” it.  To image-in, to imagine the impossible…compossible.

.

To love.  To be.  To live.  To try.

.

Apparently (according to K) that doesn’t “do” anything – doesn’t instrumentalize or operationalize the unknown potential, even though I compare it with sound or dance or computers or nuclear war – as physical.

.

Whatever.  (Exactly!).  The vague potential of supposed infinite possibilities we cannot possibly comprehend, uncover, dis-cover, realize (as far as we know, at our scale of experiencing) – but how is it not part of these possibilities?  Actualized, instrumented (pen / paper / sign), operated-in or upon or with or for…

.

Whatever.

Exactly.

.

Here is your possible result: an 100th Monkey.

.

Water moved all over me – a bath, a shower, the rain… I broke my skin stumbling on a curb, and bled… a knife, a table… Ha!  I have a body.  Yes, there it is.  Maybe I’ll make love – what will be discovered then?  Yes, “we.”  I have a porous body.

.

Another reason writing is an instrumentalized “reason.”  Eat this.  Peace among worlds.  Going on a manhunt for a woman.  A particular ‘one.’  Watch me (if you want).

.

I can pull at the hair on my face.  I just gathered my child in an embrace (a ‘hug’ we called it).  Ha!  I have a body, it is porous.  Operationalized by “desire” (we call it).

.

Part II: Language (we call it).

.

Floor (feet feel).  Hair (hands hold, harry, hank).  Skin (sentences slit, suckle, sense, susurrate, sing).  Grass (gander, gaze, grab, grackle).  Oh the things you can do!  Meaningless, morbid possibilities.

.

To prove – ? What? – “I” hear?  “I” touch?  “I” see?  Taste?  Feel?  Encounter?  Interrupt?  Intrude?  Act with and upon?  To what purpose?

.

Proof of possibility?  Infinite (unknown) potentials?  What do “I,” am “I,” wanting?

.

“Desire” I wrote (instrumentalized) earlier.  Ha.  A word.  An action.  [I have a porous body].  “I” (what I call) “love.”

.

In other words, this was the day K hobbled away.  You wouldn’t understand.  [meanings].

.

I’ve written other words, even what might be called “assemblages” (markings in accord with other ‘possibilities’…infinitely (?) variable).

.

In other words… the spread of the tree.  This one sends its branches this way into the world… (porous)… this one yearns vertically… these at certain angles… sentences… reactions…

.

I am thankful for Kansas… for sex… for her… for elsewhere…

.

For Pakistan.  Where she first appeared… from California… I “love.”

.

It’s, she’s, notable.  Noteworthy.  I mark them.

.

The refrain: I love.  I have loved.  I will.  [“desire”]

.

“I” say “yes”

.

Yes, M.  Yes D.  Yes A, T, H, H, J, M, T, J, M, J, S, R, R, R… yes almost anyone almost anywhere… yes.

.

Yes.

.

Let us try this out: language.  Touch.  “Yesterday.”

.

And something becomes.  The unknown (unknkowable?) – K’s infinities paralleled and interwoven.  What is liminal.

.

The liquid between every book on my shelves, every line, the air and its waves, the light and hard matter.  [porous].

.

G, D, K, M, Lispector… what do we see?  Le spectre.  The specter.  What we see.  What can (not) be seen.

.

The visible and the touchable – “the Prose of this World.”

.

“You.”

.

Trees sprout branches slantwise.

.

Language.

Silence.

.

Whatever.

Exactly.

.

And there… the name “Steiner.”  A Viking.  A Spartan.  A Cherokee.  And there is “rain” (we call it).  And I: love.  And that can be its own end.  The German.  The Thai.  The Nubian.  Each native as The World Goes On in The Physics of Sorrow… selected, selected, selected…

.

Selah.