What I Was Meaning To…

“Abandoned Writing Projects” by R. M. Berry, from:

Homo Fictus

“words are not a translation of something else that was there before they were”

-Ludwig Wittgenstein-

Homo Fictus

 “Even when the body goes to sleep, the mind stays up all night, telling itself stories”

-Jonathan Gottschall-

            Knowing how / knowing why.  Procedures and structures.  Diversify and unify.  Complexity-to-simplicity turned complex all over again.  Reuse and construction.  Stories.

We are saturate with story.  Each word of that sentence.  If I provide the skeleton – you’re sure to flesh it out.   The productivity of words, the how & why of humans.

Perhaps I’ll call it “making sense,” but the sense is there before, what follows is a meaning – through procedures and structures, reuse and construction, the wired and the firing, implicity spinning explicitly – and for reasons not yet fully known, I’ve gotta have mine.

“The knowledge of good and evil, all in one.  Both. 

Somebody finally said, I know my own mind.”

-Janet Kauffman-

            Experience is a complex collision I diversify and unite.  Following patterns infused by my own.  If you provide a list of observations and complaints, I may spend entire days reorganizing them – they didn’t quite “fit.”  Perhaps I’ll throw them back.  I’d like to be certain.

“the absence of doubt is of the essence of a language-game”

-Ludwig Wittgenstein-

            A personalized language-game full of cues, thesauri and symbols – my controlled vocabulary meshing your data…

“The alphabet of my DNA shapes certain words, but the story is not told.

I have to tell it myself.

What is it I have to tell myself again and again?

That there is always a new beginning, a different end.

I can change the story.  I am the story.

Begin.”

-Jeanette Winterson-

            …ah, now I’ve figured it out (made it fit  my form) – this is my story now, please listen and confirm (complexity-simplicity) – oh no?  you don’t? (complexity again) and back to the storyboards or diary…

The yearn is toward some balance, stasis, surety.  Re-cognizable re-currency.  Re-presentation.  Re-anything.  Want familiar.  The excitement may very well come with the disruptions, eruptions, defamiliarization, the constant change – it certainly heightens our senses and intension – the thrill is in the thunderous gathering of troops – flickering flashing neurons – dogs set on the intrusion…but soon we stabilize the perimeter again…incorporate the drama…

“the important thing is to consider the significance of things and not to worry about their authenticity…it’s difficult to tell at the end of the day whether it was theory or need that got you through it.”

-Joy Williams-

            …with our stories (and lies)…our illusory perceptions…needing organized to our organism…and tales are conjured, fiction begins, typing on our limited keys…

…even while the body’s at rest…

“in short, nothing so central to the human condition is so incompletely understood”

-Jonathan Gottschall-

this post inspired in part by

Friday Fictioneers 2/22 : The House that Jack Built

In keeping with the minimum-creative-work-capacity provided by the stimulus of Rochelle Wisoff-Fields at Friday Fictioneers, this week’s brief composition:

Copyright-Janet Webb

The House that Jack Built

Whatever he put his hand to.  Didn’t seem to matter.  Oh he had the will and the brawn – the heart – he was a determined man.  Yeah, the fence does look nice, dad built that.  But the house, that was Jack’s doing.  Parents said he was always that way.  Everything he touched.  Marriages, parenting, education, work.  Big dreams and fine intentions, with a flair for entropy – DIY and disorder.  Always came to pieces, his doing the undoing of whatever he done.  Easy and difficult to love on so many levels.  This house only one of ‘em.  It’s amazing anything still stands.

N Filbert 2013

Welcoming Others : Inside

“we fill pre-existing forms and when we fill them we change them and are changed”

-Frank Bidart-

Refractions on Fiction

Reflecting on fiction as representation, as presentation, as inquiry, investigation.

About how little I care – re: ideas – the freedom of impersonal investment – when a piece is duly fictional.

After the days spent composing Signs of Love I’ve only thought of how I haven’t thought of it since it was posted.  Johnson’s theory of perception, the professor’s thoughts and ideas, Monte or Margaret, Frank or Lars – how they none of them reflect on me.  How I didn’t have to worry how they came across or sounded, what positions or actions they became – what they represented – it wasn’t me!  Who does battle with a shadow?

So often, the stringy stream of conception-reflection-creation-manifestation seems to pull heavy parts of the self along with it.  Dark or slimy residue.  As if a reader who took issue, questioned or challenged a something that I wrote or language I expressed as fiction were in fact addressing some aspect of ME – rather than an open work of invented text.  Suppose, for instance, my wife reads a piece and follows it up with “so you’re saying that life is more difficult because of me?!” or a random visitor commented “how could you think or say this?!”  When in fact, of course, I didn’t – Lorraine did, or the professor or husband, writer or sand crab or whomever the character that acted or expressed it did.  Ask them then?  Another way of saying – “ask yourself.”   That’s what I as a writer continually have to do.  Language comes out, forms an idea, or a behavior is described and I have to wonder at it – is that indeed what the voicing thinks or wants or does?

Like a painter with their lines and colors, textures and strokes: what belongs once something has been marked there?

The freedoms of fiction spread as I recognized the therapy-like patience and reflection I provide to characters and voices – to language – in texts (fiction or non-fiction).  I do not feel threatened by them, do not take them personally, neither when I read nor write them.  They are other – other matter, other contexts, other contents, other kind from me.  I am busy handling matter…piecing it together, painting over, scraping away, diluting, splattering, letting it run…open to what “feels” or “sounds” right given the matter at hand – content, tools and resources.  Strenuously engaged, passionately even (at times), and also separate, observant, addressed as much by the work as it forms as addressing it onto the page.

Which got me to thinking – how much kinder might I be, even towards my “self” were I to engage what creates me as “other”?  We’re an oddly organized confabulation of matter and energy, after all, multiple diverse systems coordinate and constitutive, creative and adaptive toward a sort of dynamic organismic “whole.”  My brain no more a “me” than my penis or big toe.  How often with sharp pain in my knee or some zany daydream, a nail needing trimmed or hair left in a brush, do I question, challenge or take issue with a personal self for such systemic occurrence?  I participate with, or have (am characterized by) knees and eyes and organs, but they do not equal me.

What if some kind of “I” (collective of natural dynamic and organic systems) listened to, read, inquired and engaged the contents, emotions, concepts, actions and instincts that occurred within as fictions engaged – as benign or indeterminate others – akin to characters or words in a story or play – organized matter with energy – rather than some sort of judgmental scrutiny so often readily applied to “Me”?

The “I,” the “me,” the “self,” the “brain,” the “calf,” the organs, veins, chemicals, liquids, cords and tendons, bones and tissues, the individual cells of me – all inter-relational organisms in themselves involved in a system I experience as “me.”  With recognition, suspended disbelief, detachment, passion and care granted as I offer my own and others manifest creations in language or image, movement or sound?

Attend to your cells and systems as characters and languages today – manifestations of being – not entirely your”self” – welcome all the others inside as well.

Signs of Love

“sheer curiosity is even more universal and compelling than lust…”

-Nelson Goodman-

Our Similarities are Different, our Differences so very Alike

            I tell him he’s gotta grant she’s pretty much the same as the last one – skin all over, shoulder-length hair, fingernails and eyeballs.  Her insides must resemble too – veins and nerves, capillaries and molecules, organs and structural bones.  Her life can’t be that much different – born of a woman spent with a man, fluctuating assemblage of persons and animals, a fair share of good times and bad, events and arrangements all occurring in particular times at particular places.  Spoken to and speaking, looked at and looking, heard and hearing, nurtured and natured.  Surely a sign for something.  A sign for herself.

“But she’s so god-damned different man!” he says.  “One in 7+billion!  ‘Like’ no other creature I’ve known!  Her thoughts are anomalous.  She sentences words her-uniquely, her habits, nuances, quirks.  I tell you there’s no one else ‘like’ her!” he insists.

I point out that there are great similarities to her differences – we all of us with particularized habits, specified modes of talk, no two bones alike and what have you – but they’re bones, flesh and language all the same.  She falls within the mean – income and weight, literacy, height, okay.

“But there’re so many differences in those similarities, you dig?” he whines.  “It’s like everybody’s riffing and she’s got my groove!”

            And Johnson has a theory of perspective.  “TOP” he calls it.  He’ll listen to you gloat or bemoan and respond with his “that’s the TOPs!” as if he’s settled the foundations.  I try to get at what he means.

            The undergrads recently requested that I speak to them of love, and I told them all this story (it conveniently being Valentine’s Day).  I read through the roll call, through Margaret, Mary, Toby and Frank.  Through Matilde and Jason and Luzanne and Lars.  Some fat, some skinny, but most in-between, each exhibiting some marker – for instance, their names.  We need those tags to tell us apart, do we not?  We’re all so darn much the same.  Autopsies, biopsies, EKGs, X-rays and cardiograms – most of our differences are ever so slight.  Some flesh here, hair here or not, coloring, dialect, language, inches either way.  However, what we notice – are attracted to or struck by, occasionally enthralled or repelled by – in other words, whatever catches your attention – will lie in those mini-borders of difference.

We’re programmed that way, it’s a survival skill bred in the chemicals – be aware of the unexpected, the variant, the things that are unique – sights, shapes, sounds or energy – locate, isolate, focus – survive it.  Use your limited energy and resources for that – ignore the enormous other.

So every time you’re swept by lust or fall in love – there really IS a difference to that bloke or blonde – IN that gendered entity – you’ve perceived it.  Now comes the process of fitting it to YOUR life.  Your self, habits, knowledge and activities, groups and quirks and ways.  “Normalizing” – becoming “intimate” with those astounding specificities – familiar.

Accommodate, adapt, survive.

By now you’re holding hands or marrying.  Waking up next to.  Joining your bodies and your mealtimes, work and pleasure, daily rounds – and it turns out your partner’s much the same as all the rest (without losing any of their uniquenesses you first attuned to – in fact at this point you’ve uncovered many many more – including a surprising set of facets regarding yourself) – fitting and squeezing and torqueing them into their “signs,” incorporating it all into your own.

They fight, they cry, they talk and fear.  They’re selfish and sweet, funny and sour.  Relatively weak and strong, smart and dumb, kind and cruel.  What did you expect?

Yet having become part of your world, seaming into your point of view, you’re never so alert to them as first you were when they were strange to you and un-experienced, unless you’re threatened or faced with change.  Your energy and perception (remember, by instinct) are set to trigger differences, out-of-the-ordinary readings and measures – the defamiliar.

So although your partner’s arse is golden – or curved similarly to any other – your eyes lock elsewhere.  On unknowns.  Untoucheds.  It’s not adventure or risk that you seek – not exactly – although your senses could be called “restless” in their fearful jitterings and scans – you’re tuned to locate difference – unconsciously filing all that registers “recognize” as same.

As if the world were a line-up and your senses are always on call at the station.

And so on.

We all know (by now) that we’re all fundamentally, formally, the same.  We’re of genus and species and kind.  A school of fish, a hoard of bees.  Excited by difference (spelled “possible danger”) and presumptive of same (spelled “familiar”).

“What’s love got to do with it?” a spritely student asks.

What “love” has to do with it is to shape perception intentionally.  To recognize and remember the vastness of similarity (choosing to ignore many limbic cries over slight variations – the unreasonable feelings of attraction, shazaam, lust and novelty) and cultivating attention to the differences of the familiar.  The creative work of defamiliarization.

A cloud is a cloud is fine droplets of liquids and gas, pressures and waves, particles in patterns and puzzles and billions of babbling atoms…OR…sketchy shapes of oceans, mountains, camel-backs or breasts.  A cloud.  If you dissect your partner’s thumb or knee, spine or brain, or even examine an eyelash or bead of sweat close enough – you’ll enter world upon world of mystery and minute difference…similar to everyone else.  They’re individual entity’s shaped roughly like gorillas or aliens with less hair.  Or angels.  But they don’t think, walk, breathe, sleep, talk, dream, feel, sweat, laugh, stumble, fear, mimic, grieve, complain, remember, hope or anything else “like” ANY OTHER human in the world, not now, not past, not future.  Tune to that – you’ll never ever exhaust it – as you’ll never come to the end of yourself.

“Love” or “attachment,” “personal relations” or whatever we refer to it by – orients and trains our perception through attention (intentional perception).  Keeping in mind and check the reality of mass similarities (with all their exhilarating differences) and fixing determinedly on the magnitudes of distinctive, unrepeatable, specifics and uniquities of this one chosen familiar.

            Anyway, that’s a version of Johnson’s TOP:  “it all depends on how you’re looking at it.”

Yearn Vulnerable – Friday Fictioneers 2/15/2013

Such a powerful prompt this week – yowza!  Thanks to Rochelle Wisoff-Fields and her continuous work at Friday Fictioneers for providing us with such fare to engage and reflect.  Please join us if you have an urge to translate experience into words.

The prompt:

copyright-David Stewart

(this prompt was so good I’ve included 3 responses in the manner of brainsnorts)

1.

She grasps while he flees.  The horror of everything offered.  He’s reaching all the same.  She clings, and thus submerged, loss becomes attachment.  He yearns.  They’re vulnerable.  Their hold and flight are balance.  A panicking fail like this can require only one thing – somebody’s everything – which she offers, and which frightens him to terror.  She lays it at his feet and pursues – without her he would fall – traumatizing him, for there will come a day.

copyright-David Stewart

2.

Everything depends on it.  Seems to.

This risk, this reach, this grasp.

All has been let go, ripped away for this advance.

She’s nothing left but hope and fear.

Submerged in this suspension.

And he in silent trauma – terrorized.

What would be the gain – of grasping or clasping; a yearn or a vortex; great loss or its threat?

A possible life?  An wholistic vitality?  The “whole hurly-burly”*?

What?

We leave it here.  NOW.   In the reaching.

*Ludwig Wittgenstein’s phrase for the complex background, context of human life

copyright-David Stewart

Alternate 2.

“Do you not get it?” she stressed, “can you seriously not see what I’ve done?”

“EVERYTHING!” she cried, “EVERYTHING I’ve left and abandoned, deserted, let go, in order to offer myself up to you! – to come for, reach out to – YOU!”

“This is unbelievable!” she, exasperated. “I really and truly cannot!” she, bewildered.

And he – silently terrorized, traumatized, afraid.

Trapped in this suspension – the grasping or clasping; the yearn or submersion; the loss or its threat.

And what of the gain –  a possible life?  An wholistic vitality?  What – ?

We leave it here.  NOW.  Reaching.

N Filbert 2013

Perambulating

This morning she said she was “taking a walk for mental health.”

I decided to set out/in too…

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Points of a Journey

Thank goodness (again) for Friday Fictioneers – fostering the insistence and reprieve of manageable creative work when I’m finding it ever so hard to pull away from endless research.  I always mean to set aside a little time, or “get to it” at a break – and just write awhile…but days have a way of eluding me.  So thank you Rochelle et. al. for the weekly prompt and community that kindly obligates us to create, at least a few paragraphs, 100 words (I borrowed 9 from Doug).  A healthy distraction.

copyright-Rich Voza

            The beginning is filled with arrivals/departures, dogfights of fly-bys and paradise islands.  Ecstasy and remorse, all seeped in the past and aimed toward a future, took place in realms  in-between.  Between a rock and hard place, between the cities we called home, between obligations and accidents, here and there, me and you.

In the long middle we developed mistrust and fostered desire.  Building on distance with dependencies and betrayals.  Which flies faster – a sparrow?  Depends which side the wings are on.  We flew and we crashed.  We survived.

Bringing us to the end, the point at which we always arrive, together.

N Filbert 2013

Fictions of Family, pt. 10

the developing words:

FAMILY A FICTION

Family 1

and part 10:

10

It taking so long to figure it out.  What it’s “about.”

Discombobulates like sporadic noise.  The fragments living are.

 

Four decades, seven children from three wives until he recognizes relation.  Which changes things.  Significantly.

It is the third wife (times charm) – out three strikes she staid on.  Stays on.  The difference between things.

In relation to one another.  Evolving perception.  The what-not, call it “aboutness.”  Or in relation to…

 

This in relation to that is about this much this high this far.  Or else nothing at all.  In itself.  By itself.

By himself, barely amount, insignificant cipher, plus three plus seven plus anything adding up, er, becomes.

Alone is less than one, or, not a number.  It takes 1 to know 1, in other words, all-one really means no 1.  Unless distinguished from something else, another 1, an other.

 

This he could tell.  The third wife, the difference between.  The aboutness.  Differing shapes entirely, nearer still, at this distance.

1 cannot equal.  Impossible equation.  Might as well be naught, be 0 – a 1 wrapped around itself (turned-in) – revealing just a hole, something seen through.  Looked straight through.

Telescope, microscope, still substance unseen, a looking at, really, looking for.  Simply looking, opened at both ends.  Perhaps a simple function.  What an organism is, alone.

 

She calls out, in fact pursues him halfway across.  As if to say she sees something, peering through her self-same circularity – that he is there.  He begins experience, begins to get it – something else must be looking, another 1, for him to be seen, to hear of himself.

In what she tells him.

 

Multiple inputs introduce noise (read chaos, read being), make possibilities, provide things to figure out.  With all the variables it takes a lot of time (to get what it’s about).

Live Models

Notes on Fiction and Philosophy

(complete text linked)

Brian Evenson

I thickly recommend you print and mark up the entire essay, but to tantalize your imaginative mental taste buds, here’s a representative nuggety excerpt:

“Good fiction, I would argue, always poses problems – ethical, linguistic, epistemological, ontological – and writers and readers, I believe, should be willing to draw on everything around them to pose tentative answers to those problems and, by way of them, pose problems of their own.  For innovative writers, I believe, philosophy is always best an errant affair, a personal and intense wandering, a series of tools that one can employ, move beyond, come back to; it is our ability as writers to stay curious, to borrow, to bricoler, and to adapt and move on that keeps us from becoming stale.”