Again, that uncanny occurs. Someone stumbles upon some old composition or effort. Someone comments insightfully, provocatively, and I come into a new relation to what I had let into the world a decade ago. Thank you. Today, reviewing, I was struck by this piece from some other me some time past, and it felt resonant again, much later, as continuing me…
The world overgrown. At least any accessible sector. I’ve heard tale of open, of empty, of spacious, of dearth. Not where I approach. Even my own body – its in- or out-sides, its wherewithal. Always where-with-all.
Tangled, almost briny, in some instances. If able to determine a surround wherewith or whenwith to take a stance in. Even thinking, even breath, even a pulse of bloodbeat. Any sound we form toward music. Any making-sensible. For us. Our kind. Those within the overgrown – the untamable, reckless warp and weft.
To hunch there, immediately becomes here. How different – if imagined? To gather, to pre-tend. To suppose a disposition, a presence somehow differentiated. How-some? To curl in, therefore (perchance? per theory?) “to find,” to be able to, to call, to be-in-g? Yet how? Or why? Where is the for? And what might the hole be suspected to fill?
Where is the gap between this and the other? Between you and me, he or she, this-that-the-other, between…any/thing? Something wishes to know, apparently… and this wishing/motion/decision/desire/activity/drive (whatever “ “) begins by implicating violence… bi-lining a world with borders, invented barriers, perceived traces, intuited splits, cuts and hacks that are not there until. How un-till this supposed “soil” from which to distinguish, fabricate, or function? From which to “operate.” Surgeon-species.
What knowledge is expected by destroying? Deconstructing (or constructing) – both requiring joints? By suture and slice? By taking life? Prone to decompose. What a trajectory.
What options? Compelled…to con-fuse…confess…to communicate, express, enjoy, enjoin (what we find ourselves joined to) still even to de-scribe, in-scribe, in-voke, ex-tol, inter-act or en-gage provokes difference, demands separations, dismemberment. To cleave.
To try to body. To try to mind. Attend. Acknowledge. Distortion. To twist and torture an other, as the one or…alteration. De-pict.
Impossible connection already seems to be. Each, every add-ition a disconnecting, a cutting, a stitching seam according to a pattern. Whose? Whats?
Over, under, whelmed. Where is the open, the undifferentiated, the is? Always already be-fore. All ways, all ready, be-for. In other words…not possibly worded. Prior to word. Involving act (including language) but unincorporated (already corporal), defying design-ation (surprisingly? one would think ‘it’ [not] is at the end of de- or un-signing/signifying), erasure of description, all palimpsests equaling… perhaps (per-happening) – infinite, certainly uncountable, incalculable, without ordination, order, ordaining, without with-in or –out. Only WITH, inconceivable, imperceptible (perception cuts), irretrievable (the rejection of any re-), disabused, disturbed perturb, a dreaming dreamed turbulence = a happen to be.
Still this thinks with. Language. Lost already, displaced and falsified by a tiny thread, an whole fabric, a world-veil at least whilst continuing as world…
Think again. Dream. Confuse. Imagine. Invent. Art ducts (vents) for breath… further re-moves, com-pli-cations, furthering within, for fun? A dance, a play, a re-morse (cryptic codification, surreptitious and additional) some native complicity to immeasurable complexity. As is. As if. And so on…
Macedonio Fernandez shrewdly intimated that among the difficulties of communicable perfection (language or literary wholeness, completeness) were the problems writers have, in that, among other things:
“2) They don’t know how to render the ‘unsayable’ with ‘ineffable’ style” (Museum of Eterna’s Novel, p. 11)
As if imagination must copulate with impossibility; creativity found within the non-existent; wayfinding nothing. Perhaps.
“I” (a good example of the above) often worship the symbol: ? “I’d” like to place it everywhere, upon everything, anything imaginable OR conceivable – even the unknown – as well as any compendium of ‘facts’ or apparently common-sensical / self-evident elements of being-living. As if… to draw attention or recognition (‘to render’) human limitation, finitude, fragility – PART-‘I’-CIPATION – in world (+ whatever falls beyond such an impression). A kind of belief as a participating occurrence that whatever might be indicated by such terms as “truth,” “love,” or “existence,” (or “you” or “I”) are best translated by = ?
This nettling evocation is (perhaps) a personal ‘creed’ in a singular (obviously impregnated) mark: ?
Something I might ‘live’ and ‘die’ for.
Am I trying to communicate? What am ‘I’ doing in relation to language, to shared understandings, to concepts, and so-called knowledge or knowing? Am ‘I’(s) capable of relating to anything (or nothing) beyond these indications? Unmediated ways and forms of experiencing given to ‘me’?
Experience (seeing-peering WITH outside-of) is one set of possible parameters in living-being (limitations, capacities, informed possibilities, finitudes & fragilities – necessitudes of part-‘I’-cipation).
What might we ‘name’ alternate – those in excess of experience; those far diminished via enforced-informed; ‘other’ impossibilities of ex-perience? (Bataille’s ‘Inner Experience’ – inperience?: without outer? might be an exploration) ‘mysticism’? spirituality? mystery? simply Impossibles? Unsayables? Unknowables? ANYthing beyond-limit, we might ‘say.’
Excess. Perpetual. Eternal. Infinite. Incomprehensible. Indeterminate. All ex-perceptions that would demand or require ‘ineffable’ style to be en-gaged. Out beyond (or in-beyond) outsides or othering that might be accounted for, perceived, en-countered, or ex-perienced: impossibles that must most likely (it would seem given our minimal, limited, finite, participatory living-being IN AS PART OF ‘world’ or whatever our most expansive imagining) occur. Perhaps even non-ex-is-tences, nothing and never.
These might be the description of fields or planes where I in-tend and pre-fer to operate or inquire (under the sign of ?) and therefore, lacking or failing in ‘ineffable style’ whereby to render ‘unsayables’ – simply can not.
Thus please forgive my erratic forays into production here – communication, conversation, even imaging-in (imagining) – ‘I’ simply can not. I am mostly unable to ineffably style unsayables.
I beg your forgiveness and again fall silent.
“But could I forget my ignorance for a moment? Forget that I am lost in the corridor of a cave?”
..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…
“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)?
“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”
Why not call it magic, this unsettling alloy of grief and anger we experience when shunted by anxiety, disappointment, depression, or loss?
We cannot deny that we crave! That we are struck through – bolted with fervent desire (all that which we experience as, well, unsettlingly – disturbingly – vital, ALIVE, active, possessive, in us) – when we are crushed, smushed, squelched, or helpless, hopeless, dismayed – how else could we be?
Without the vital, fierce passions – the damage is to no effect/affect. Depression must press against something. Must be pressing something down.
“Am I at the right house?” the internet-technology-installer asked from my gate.
“How can I know?” I responded, “it would depend on the future.”
He checked the numbers and moved away.
Now how will we ever know?
Isn’t this what every human encounter re/presents?
So de-pression presses something down in us. Anxiety stirs. Sorrow re-cognizes meanings. No negative without its positive charge. To be noticeable. And what is it that is noticeable? (able-to-be-noticed)? ONLY DIFFERENCE. Only time and space and whatever it is those veil, uncover, hide, or displace.
O-ppressed, DE-pressed, what are these SU-ppressing? Accentuating? Calling to attention, to activity, awareness, task?
Grief, loss, de-tachment and longing: what do these expose in order to occur?
Is anything ever lost?
She passes by with a friendly, perhaps even loving and happy wave. What reality is evoked in the pain of the passed-by, passed-over, un-preferred? What does it render actually present?
Is it possible that in the “missing” nothing is lost? Some present is heightened? Something even added to the present?
In losing a struggle don’t we gain what the effort was for? Clearly?
Does surrender underscore the sub-ject, the value, the relational ob-ject-ive given over? Adding acknowledging import?
Difference demonstrates value. Matter(s). Sign-if-i-can-ce. Without difference nothing would know. Indistinguishable = pure repetition. (Doesn’t matter).
Passed-over, passed-by, passed-on. De-pressed, su-ppressed, o-ppressed. Lost, lossed, re-moved, de-tached, re-apportioned. ALL LOSS ACCENTUATES HAVE. ALL DIS-POSSESSION EXPOSES POSSESS.
Difference de-scribes=in-scribes OURSELVES. What we are constructed from, contain, proffer, offer, obsess, possess, ARE. What we ARE (have and do).
Our com-position, con-stitution, con-struction are most clearly expressed in difference, ex-posure, de-struction, de-pression, o-ppression, loss.
In de-composition, we know and learn what composes us.
The question beggars: what have we to lose? What can we lose that in losing its learning is not gained? What have we to lose? And how do we know without losing?
Jesse’s working up something, so is Jon. I’ve begun working again. Beckett is still dead. Or dead, still – either way he has not concluded.
There was plenty of talk – banter, chatter, fulminations, really – to the contrary, to the effect that the ‘working up’ had ceased, had dwindled, long since dissipated or been simply forgotten…not so. Now I’ve heard from Jon and Jesse, piecemeal though it be, and my own ‘working-on’ (or UNWORKING, as MB always referred to it) is near to its inception.
Something is going to emerge. Jon repeats and repeats that “Someone is going to come” and Jesse appears to have passed beyond the silence once begun, through all his notes of suicide, toward fire and conflagration and some bewildered youthfulness. Nohow On become a MUST. And all of it inconclusive, i.e. not concluded.
I work in, on, up, and ever forward, toward – ‘toward the what?’ Jon keeps asking while Jesse scrawls on napkins – figures like cartoons, clowns and foxes, masters, slaves, and mysteries – our locations go unmarked, our whereabouts unknown. This is How It Is, according to Beckett and MB. FK in the burrow. Plato in a cave. JD taking apart each domicile, meticulously.
We are looking for a place to work at our unworking, the time and space to be for what is not. Beckett named it The Unnameable.
I took to the books and letters, while apparently the others wrote, made messages and codes, secreted the symbols into texts and silences, plays and fictions full of pause. GWFH, another spell of YHWH, foretold this long ago: “the ends are reached and reached beyond, folding under, folding through, reached again, again, and…”
For years now Jon is melancholy and therefore quite abbreviated, unable to go on, full of stutters, repetitions, and always the questions, questioning, questing, the undone. Jesse through his trials and papered rooms, sometimes near and sometimes foreign, never-know, never-mind, never-where, scraping geography and clouds in search of where No Where and Now Here meet. I’ve thus far been unable to locate him. As for Ivan, Ivan and Enrique both stopped working after the library of loss – assembling detectives, interviewing the dumb and victimized, missals here and there, mostly filled of snow and jungle.
I think: crows spread across the overcast, charred ash sprinkling fields, nothing rooted, nothing grown.
The unworking. Almost a throw of the dice. Half of each sentence erased. The subtle coterie of literate mathematicians. Reports from elsewhere. WG’s layered travelogue… in search of… The work of unworking goes on.
“Splitting on difference,” he said, the passage from mayhem to insight – WG described as “Vertigo,” the verge, the swerve, the swoon. You reach an edge or limit, what cannot be undone, begin unworking. Begin unworking there.
At the grave “I can’t go on. I must go on. I’ll go on,” Beckett decries. It’s not at understanding – “splitting on difference” – but in the going-on, turning over/under, inexhaustibly or ad infinitum – convergences coming undone.
From JD Jesse gets a Post Carte, leaves it somewhere in the margins, but we know. We know we have heard, even if we can’t re-member. All variations of death, Jon thinks, Jon writes, Jon says…assembling the book of questions…the interior distance of this fierce and beautiful world filled with women, fire, and dangerous things…keeping MB in infinite conversation.
Some things don’t make sense yet seem imperative. As if there were a realm of the unsayable, a set of stanzas wedding language and death – signifying nothing – that is to say, a world of unspeakable silence that works like clamor.
Exhausting voice and nothing more. The trouble with pleasure, with suffer, with become. None of us trust ideas and yet we generate and respond.
“He was found lying on the ground. No one had missed him. No one was looking for him… An old woman found him.” (Beckett). We somehow set out to search. “That seems to hang together.” Jon, Jesse, WG, myself, scouring the globe for more – who, what…- “But finally I asked if I knew exactly what the man – what exactly was required of the man, what it was he could or could not say. No, was the answer, after some little hesitation, no, I did not know…” and so we keep on.
“A voice comes to one in the dark. Imagine.” JD post carte. Beckett’s own death, still. GWFH, WG, FK and MB’s left messages, notes, recordings. “Only a small part of what is said can be verified”…if any. We are left, bereft, full of fragments, thoughts concluded, forgotten, ignored, but still unworking – in journeys, in dramas, in fire. Hanging at the limits of ropes. To strangle or drop, and what then? What next? Splitting on difference. It comes apart, what holds together. No one knows. Nowhere, now here, very difficult to say. Meticulous dismantling, decode – recode – Unicode – uncode.
…Jesse’s working up something, as is Jon. I’ve begun working again. Beckett is still dead. Or dead, still – either way he has not concluded. Piecemeal as it may be, we are all working on (or UNWORKING, as MB liked to refer to it)…and nearing some inception.
“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.
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.”
“We enter into thought, and especially our own, only by questioning”
This then, an impossible object with possible beginnings. What says, what writes, what IS – all filled up with what is NOT.
Capture, mediation, confluence. The impossible attempts, the radical effort: I attempt to SAY, to INSCRIBE, that which is incapable of being said, inscribed, touched or revealed: experience, THIS-NOW-HERE, YouMe.
This is what, then, I will create / not-be-able-to-create.