“I am a sentence”

On Reading in Marriage

They speak of their pleasures, their necessary loves.  There are changes you make.  Some things are not accidents.

In other words, after decades fueled by a fifth of vodka drenched with grapefruits each day, husband is able to leave it behind.  Although he loved it, it was not necessary.

Wife, in her cravings for sugar and salt, discovers with age they are not constitutive, not centrally.

Might be solitude or fine shoes; 80’s music or mountains and seas; active social lives or the thrills of travel, how do you know?

Husband elicits evaluation.  Given impending demise, what gives more pleasure?

Wife admits a necessary love.

Husband responds in kind, having been in partial reverie, their warm bed surrounded by shelves of books, so that as he listens he also corresponds.  She says.  His eyes resting on a spine and the sweet particular music of that voiced tome slithering through him, then the next.  Perhaps like chocolate morsels in their process of dissolve upon her tongue.

“I love sentences,” Husband says.

There ensues a pause, a sympathetic “I know.”

He ups to exit, teeth to brush, clothes remove.

He hears “I am a sentence,” a lilting and playful challenge.  And wonders just what that might be, each person a length of sentence.  The content.  He puzzles the verbiage of his own as toothpaste shuffles into his beard.

He returns to the room, it is dark,  there is no light to see by.

Opening the covers, he approaches the text, eager to find what it says.

Singing in the Rain

“No bird has the heart to sing in a thicket of questions”

-Rene Char-

There was something tragic in fighting the borders, the heroism of shortcomings, the panic of passion”

-Bruno Schulz via Jonathan Safran Foer-

 

            It may be raining, very gently, while whispering its verdant perfume, just behind me, just outside my open window.  If it’s not, I’m pretending it is, and the world is agreeable.

I’ve been reading an older essay by Susan Sontag entitled “The Aesthetics of Silence,” an article from which I feel a chiding exposure of invented artistic double binds, a renewed challenge for integration and expression (the ways rain shares), and primarily the pleasure of yet another perspective.

Like “the heroism of shortcomings” from Bruno Schulz as carved out of pages by Jonathan Safran Foer in The Tree of Codes – the powers of self-negation and its failure in the likes of Kafka and Kleist, Jabes and Joubert, Artaud and Rimbaud, Blanchot and Beckett and so on.  Those great unsilent successes of botched commitments to silence.

As emptiness might only occur in a context of fullness.

 

Being so glad that I am writing this by hand, as I do with every document I create, usually quite uncertain of what is inside each letter until the systems of nervous muscles begin to work.  The quotes above, for instance, copied from handwritten notecards copied from marginal notes and underlines copied from the midst of other authors reworked texts, and then copied again here with the proviso that perhaps in forming it yet another time, by hand, something missed before gains another change to arise.

I am thankful that writing is quiet.

Although I used to use the typewriter’s beat to edit my lines of poetry.

And I’m sure the background music, passing cars, and sounds of squirrels and wind and children all have their effect.

 

I also appreciate seeing the whole page, battling mood-related or arthritically scribble script versus partial views on-screen and standardized formations of fonts.  I enjoy those bloggers who scan their manuscripts and writings but don’t trust your powers of vision compared to the particular words I end up selecting by the time I reach the machine.  No need to add difficulty to difficulty, in this case.

Still, you’d probably know something more (or at least differently) were you opening up an envelope gathered from your mailbox with this folded up inside.

 

Like silence or a thicket of questions, rain or a grumbling stomach, everything comes round to context.  Persons embodied, embedded in an active variable surround expressing through media, tools, machines, to wherever, whomever, however you are reading, deciphering, translating, decoding, interpreting, creating yet again in another contextual universe of another time.

 

Such a dynamic endeavor.  Our artifacts, messages, calls and displays.

Panicked passion, tragic fighting of borders, heroic shortcomings these.  Aesthetics of silence.  All.

With hearts to sing in our questioning thickets.

 

Sing.

Putting Together

here it comes

So I’ve struggled a bit the past week or so with a plethora of projects: personal, family, parenting, school, commission work… mostly good things, deep rewarding things, and yet leaving me with a feeling that I have had very little time to simply create.  My wife challenges me often with the categories I concoct for myself between art and life, relation and solace, pleasure and responsibility, and by and large I agree that an artist’s life, a creative life, is a creative life, not a creative this-or-that, segregated activity.  And yet, nothing quite compares to a blank page not full of pre-existing questions or directions; an impulse externally unnecessary; a mark or word uncalled for.  It sometimes helps to think of things as stages, the “for now” syndrome that hope parasites.  But ultimately, I don’t quite feel “okay,” or balanced, somehow settled in my world, until time is available to sit at my desk, in my chosen or gathered surroundings, undirected but by what might rise from within.  Today I have plugged away seven hours or more at schoolwork, and granted myself an hour swept clear of such things.  The piece below is the result (click title or picture for text)

Putting Together

Hermes

for madison-woods’ Friday Fictioneers

Hermes

If he’s bringing messages, they cut both ways, rather than thread between or stitch together.  Fleet and agile in both worlds, and neither.  They call him “the Translator,” a metaphor embodied.  He melodies one thing and harmonies another.  “Of two minds” they say of the quicksilver poet with a two-sided brain.  No one knows how he listens, but it’s clear his flight is circular.

It’s been asked if he ever stops for love, ever rests his fluid motion.  There’s never been a verdict.  First one thing, and then another.  His reaching out, a curling in.  His language an escaping capture.

N Filbert 2012

“As usual, nothing superfluous”

SEPTEMBER 19, 2012

AS USUAL, NOTHING SUPERFLUOUS (a document)

Webbings

spider web

Clotted knots over darkness, what it had all become, and barely holding on.  Together?  I couldn’t say.  I had thought it was my innards: veins, nerve endings, cells.  Suspended precariously over bleak.  Clinging.  Trembling in a void.  I had thought it was existence.  An only way to survive.  Just hanging on.  In.  But then you’d said it was “us.”  The precarious thing, the tendentious, the threatened.  You said our attachments were thin, and weakening, our threads hardly visible anymore.  But look!  Look at us love!  We’re all woven together – we connect at many points – we form a pattern!  We are webbed things.  Oh don’t detach a filament, no don’t detach a one, beloved.  Oh say it won’t come undone this way?

N Filbert 2012

Longest Salmon Call for Submissions

Hey creative writer types!

Longest Salmon Call for Submissions.

Qualia…an introduction of sorts

Qualia

“Most of each lobe is employed in the grand human saga of making associations among events, ideas, personal experiences, strategies and people.  It seems absurd to lump all that tempest together, but we do: thought.  The word even sounds like a thick knot.  Endless raveling and unraveling, thought combines colorful yarns to clothe each moment”

-Diane Ackerman-

“This is why we create: to keep our demons down without banishing them entirely”

-Marie Palermo-

“It is hard to seize what is”

-Laurie Scheck-

“Raw feel, a name for the peculiar quale of experience”

-E.C. Tolman-

“It is possible to hold that certain properties of certain mental states, namely those I’ve called qualia, are such that their possession or absence makes no difference to the physical world”

-Philosophical Quarterly 32/133-

“an unfamiliar term for something that could not be more familiar to each of us: the ways things seem to us”
-Daniel Dennett-

“[Qualia are] the whole ensemble of consciousness or experiences”

-Gerald Edelman-

“When I do not know the ‘quid’ of anything how can I know the ‘quale’?”

-Plato, The Dialogues-

“The quale is directly intuited, given, and is not the subject of any possible error because it is purely subjective”

-C.I. Lewis-

“’what kind,’ ‘that sort,’ unobservable in others and unquantifiable in us”

-Wikipedia-

“…a proposition flaunts every logical scratch that follows from it…

Then I saw you were trying to lean against the weight of missing words, a wall at the end of the world”

-Rosmarie Waldrop-

Inescapable Intersubjectivity

Ineffaceable Tentativeness

“No self is thus separate from the total venture of language”

(Wikipedia entry – “Qualia”)

“Inside the workings of language clear vision is impossible”

-Rosmarie Waldrop-

“The brain is embodied and the body is embedded” (Gerald Edelman, 2006).  A phrase like that implies mysteries.  As if something might be explained or described.  At least.  Scribbling maps at random: entailment, entangled.

She said, “memory – a mirror with ambition,” I questioned the memory and the mirror both.  A quail quickly turns tail, coveys away, Blanchot’s ever-ultimate (as in final), question: questioning itself.

That is, what is unquestionable?

Or, everything unfinished.

 

I’ve introduced this all before, and now I’m building with logical scratches.  Sketching plans.

I meant to address this before, but someone’s former second grade teacher (actually only a substitute), assigned his class a writing as a way to pass the time.  “Write about the process of choosing.”

Entailment, entanglement, words with activity in me, like haunting.  The concept of selection.  What must be going on.

I must be moving on.

 

Earlier and consistently, the lusting of language toward the intrinsic, the ineffable.  What is private and immediate.  What cancels out in signs or symbols.  Gordian knot of tricker, Ouroborous.  So much so as to seem identified.  Inherent.

What is not possible.

 

My wife’s eyes swell large in a blue as yet reproduced.  This elicits in me what science designates “raw feels.”  By the time I’ve gazed enough to start cooking them, they’re a meal in themselves.  Or, “knowledge as illusion (delusion).”  At any instant, process.

Accepting awards from strangers one strangely respects.  Not profound enough for tears, significant enough to change.

I can’t explain it.

(Meaning: it doesn’t accord my theories, or, “what’s wired together, fires…”)

Entanglement.  Arbitrary associations.  Blips and bits.  Intention.

You (can’t) get the picture.

What we mean is like this.

 

When I first stood in the grandeur of Il Duomo, Milan.  First naked body different from mine own.  Learning differance.  Similarity.  Metaphor versus analogue.  Random maps of light and entropy.

In ambiguity lies possibilities.

Where we’ve doubted.

Those final questions.

 

All those books I’ve written, published under others’ names.

 

N Filbert 2012

ca. 1843

Cottage. Photo prompt for Madison Woods, speculative fiction author.

from the Journals of the Claxton Brothers, ca. 1843.

 After experiencing what we’d come to call “the Plunge,” we traveled the familiar creekbed back toward our cabin.  On departing for the hunt the water flowed strong, securing our wagon deep in its tow.  It was dry now, the entire wagon missing.  And our homestead, hewn of stone, carefully plugged and plastered, now displayed gaps and cracks, with dust and moulder monitoring its decay.  Having left just hours ago at the tail-end of night, how could things have altered so?  As if ages and drought, plunder and wear all visited here meanwhiles.  Window given over to darkness, the entrance as open and vague as a ghost.

(for Friday Fictioneers, September 7, 2012)

Grammaring Perseverance

Grammaring Perseverance

“A grammar is an on-going system of relationships…a system which is always in the process of articulating itself – not simply changing, but actually making itself up as it goes along”

-Ron Loewinsohn-

            My hand trembles when I move to write.  Time changes.  What is called perseverance, equals age.

As beautiful to me now, she.  More.

I refuse her loss on any terms.  In any context.

I investigate the language of inquiry.  Always a difference of relation.

Never expect to be heard.  Nor heeded.

Language makes itself up…and it goes along…articulating itself…again.

With this hand, along the incalculable curve of her hip, my palm records cellularly, but never repeats.

Lef hand entangled, her thick head of hair, tomorrow otherwise, should it work its way out.  Or ever want to.

The side of my knee prepositions her thigh, slides into a phrase, shaping a passage, not as if the surface is ever the same, yet no doubt it belongs, only, to her.

My ankled feet, like bony whips, eager to explore, inadvertently pain – the slope of the pedal, bolt of the swivel and up the liquid skin and calf.

It will leave its bruise, its passioned impression.

Everything becomes an aching to know.  Everything is on-going process.

Systems of relations.

When perseverance oppresses.  Again, again, not emptying the land, but altering it.  To cause the seeking, redundancy, both the wanted and the wanting wear.  Tools whittling down, different structures, various nerves, must learn again, of course the surfaces having changed.

My thigh registers her buttocks, elbow in her neck held by shoulder.  For lips to memorize her ear, only that moment.  I rely on her contours similarity hour to hour, so that details are not lost, just renewed.

An eroding resource, yet we are layered, and wrinkled through the timing.  What preserves?  Naught but the process itself, for which our charts are made.  Remade.

The motion does not cease.

As the curves to the apple, subjective object of measurement.  Objecting a subject to a sensual scrutiny.  Not unlike remembering, or illusion.  Information, an obvious verb.  Whether coming undone or accruing.

That began in the perseverance of my quivering hand.  Once connected, steadied by context, the grid of associations and leaps.  The world is a boundary to trace, to follow along, diverting the dots and the dashes, the lines and the colors, reenacting the tracks.

A stumble is anything but halting, more like surge and accident and a reaching out to stay.  My fingers tend to fumble through the filaments – those once vocabulary now a tangling stitching of signs.

To be decoded, recoded, as it were, what hollow mouth or aural labyrinth does not effect?  We know of no recipients, no audience, only sometimes, luckily, co-conspirators, co-creators of a co-event, called (sometimes) knowing, (sometimes) conversation, (sometimes) simultaneity.

I’ll reach out, my hand tremored right down to its core, its code, its quarks or its atoms,

and find a steadying or pattern, metaphors of richer entanglements that may not be explained

my qualia, slight blue lines on pallid vacant surfaces, directing possibilities.

In-formation – that everything that is, in its multiplied becomings, as discrete as my flesh traversing yours.

A continuous severing enabling us knowing – our grammaring, our ongoing, its enclosure.

“At the ‘inmost heart of each thing’ is an ongoing process, an unfolding which is its identity”

-Ron Loewinsohn-