Fumbling toward FICTION

Okay, here goes.  I’ve been diddling my way into another attempt at a longer go of writing, and today have decided, (largely by the courage of company – Tocksin has also begun posting portions of a novelistic go) to post a few rudimentary fragments.  Up until yesterday  the working title was simply FICTION.  I’ve written 3-5 chapters over the past month or two and in seeking an orientation for the work certain symbols and recurrences have led to an inquiry.  “Write about what you want to know” Lance Olsen says, and I can see I’m searching after something in these words.  The epigraphs that shoot me on are the following…

“Reality is the motif”

-Wallace Stevens-

“The universe was the glue that held him together”

-Jonathan Lethem-

“I only care about fiction that raises the question of what fiction is…”

-R. M. Berry-

“The line is only a shadow cast by one (memory or fiction) over the other (fiction or memory).  Once I place memory into language, memory becomes a rumor that makes room for uncertainty.  Memory slips into fiction but then fiction becomes memory once again in an/other way…It is difficult to separate fiction from memory, which is different from separating truth from lying.”

-Doug Rice-

and so it begins…

Family 1

Family 12Family 13

Entanglement

Getting back into A swing of things, I’ve missed the past couple of prompts for the wonderful mixed company of creatives that take part in the Friday Fictioneers (yes, please DO join us!).  So here’s to restarting refreshed…

Copyright-Roger Cohen

Entanglement

So this is our journey.  No way out of it.  Bound together, bound apart, bounded in.  We call it “Situation.”  Shared in common.  Held by circumstance.  Anything might bow us, but both will be effected.  The cords behind, some measures of rest, and whatever comes next – it all impacts the song.  Lucky for an other – no sound can be heard if there is only one, if our strings never touch.  Though sometimes cross and crossed over, at others we vibrate one another to the sweetest hum. It happens together in our ever-bordered context – the space of our entanglement.

N Filbert 2013

Inscribing Beauty : A Portrait of My Wife

On Beauty: A Portrait of My Wife

If I don’t write it, what reality does it possess?  What substance or content are a memory or vision?  Sound?  Fleeting concatenations – experiences.  Which is why I ask.  Like Dante or Cervantes, Homer or Herodotus, does not here a duty lie?

If no one inscribes remarkable things – they will not be remarked, thus no further remarkable.  But is writing a re-mark?  Are we indeed marked by perceptions – jumbled, edited and collated into what we call experience – do they leave some discernible trace like magnets in the guts of a computing machine – that might be recalled, rebooted, reformatted and marked again?  Or is that creation?  New traces born of the old?  What similarity – what identity – obtains?

If the scribe exists to codify – to translate vanishing occurrences into a relatively more stable domain – how should he select?  What criteria?  Whose testimony?  Should he, as artists of old, gather the evidence and forge, in his matter of medium, some combinatory new myth?  Take account of as many angles of appearance or observation as he is able, to contain and collage them into space like Cubists?

We call it “re-presentation” but we are crafting something new, something else.  The eye is not a camera.  Seeing, hearing, what we taste and feel are highly selective pro-activities – never catching a solid snippet or observing still life.  We develop according to what we expect.  Intuitive anticipation.

The façade of a building – you’ve already supplied it with volume.  Unseen.  The photo of your child – gains dimension and sound, perhaps even smell and sense.  Context invested.  Invented.  We cannot stop the alchemy from going on.  Nor would we really want to.  And yet – what might we preserve?

Suggestions?

This began as a portrait of my wife.  An impossible thing.  It will end still farther from its goal.  I meant to remark what has marked me profoundly, filled me of scars and traces, redirected my nerves and my blood, and I am left with the unexpressed, and these scribbled words of a man.

“What does it mean, to know it and not be able to say it?”

-Ludwig Wittgenstein-

Spilling the Marbles

Spilling the Marbles

Which got me thinking (a process I’d describe as internal), about how we find things out when we act.

My wife was talking (a process I’d call external), about what occurs for her when she journals (with a physical pen or pencil on physical paper).  Which she described as “internal processing,” (an activity I’d designate externalizing), whereby she mysteriously splits herself into observer and subject at once, providing case-notes or records of the interaction.  (Did I listen well?).  The arm a kind of thread-of-self arcing out to the needle of a writing instrument, jittering and inscribing its EKG-like “reading” onto the blank pages and looping back in for more.  The self as inkwell?

My body hitched at this.  Read: torso clinched and weather vane set spinning in grey matter.  Like I might if someone told me “god told me to…”, or that they were “inspired by the Muse,” or “carried away by the spirit” and whatnot.  A reaction remote from wife’s account – so what was happening for me?  In other words, am I re-enacting her activity presently?

There’s the thinking part, surely.  And then there’s the intention to find something out – observation, attention, inquiry – “why did I cinch up at that depiction?”, “what felt ‘off’ to me in that account (as related to my own experience)?”, “what was I ‘feeling’”?

I felt uncomfortable, that’s what.  Squirmy, antsy, bothered.  Was that chemically induced, like overall mood-disorder stuff, or related to her message?  I thought about this, and now I’m writing about thinking about it – what’s the difference?

It leaves traces?  It does.  And so?

I’m making something of it?  I suppose.  Why?  How?  And – ?

Why?  Hmmmm.  It comforts me to write.  Like organizing marbles on a tabletop.  It diverts my attention.

To the marbles.

Ah, yes.  That’s it, exactly.

That is to say (in this case silently with tangible markings), the reason I am unable to identify with my wife’s remarks about writing about thinking about her “self,” is that I get distracted.  In my head, it’s a swirl of sounds and concepts, images and sensation-symbols or impulses infiltrating and becoming one another like smoke strands in an overturned glass.  But transforming to paper it becomes language, marbles, metaphors.

            Some whispering gap of translation.  I wouldn’t have thought marbles on a tabletop or envisioned smoke swirling in an upside-down glass – what would be the point?  Do I need to describe myself to myself?  Could I even?  Deceive myself so?  But through a medium – a thick, loamy, granular medium like language – that’s cause for intention, apparatus of selection and choice, opportunities outside the body, drawn from the big wide world.  That’s external, that’s INTERACTION with a history, a culture, and a society of humans that gave rise to its agreements and standards, components and flavors and rules.

Jolting out through the arm via muscle controllers and a mechanical tool, I’m participant far outside my finite organism – in contents and structures, systems and meanings way beyond my doing or the thinks I might think.  The threads that I sew, the fabric I stitch in, the stylus, ink and letters I write are not mine – the pen, paper, leaves, spark, or smoke emitted into the clear crystal container all already exist, given or available, as it were, to me.

It’s hard to find the part I play in the process, or how the words relate to me – more like the words relate me – render me relatable – if I’m able to finagle myself to their categories and nuances.

So it is (for me) as if the movement to write is spilling the marbles – turning me out of myself into a world where language matters – discursive, discussive, dialogically or to some expressive purpose – catching at these rolling targets and corralling them toward some organizational assemblage (that, I suppose, being my part in the meaningful game).  I pick the red one and set it there, not there.  Or prefer the one with the chip in it next to the tiger’s eye, and so forth.  (There’s no accounting for taste – is that “style”?  (Really!?)).

So “what have I written?” I think, and I’m sure I don’t know, but thanks for the language and time, it’s a process – and now you have the bagful of marbles…

Happy Thanksgiving!!

“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.

On the Anniversary of Our Wedding

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The Forest of Marriage

(Happy Anniversary Holly Suzanne!)

 

I’ve never felt sexy or young, my memory is chained like an old growth forest accumulating decay.  Remains tough to destroy.  Why would I want to?  Perhaps for you – so lovely to me – youthful, vital, your non-submissive and consistent new growth.  Your winding ways, nubile bends – how do you regenerate yourself?

I’ve no doubt my dying fertilizes and enriches, our scent expands.  Some wreckage crumbles beautifully, overgrown and softened by corruption.  But it’s not the same as planting seeds, a puppy’s not a dog.

Steep.  A word for danger and infusion.  Calamity filters through.

Seed.  It is not uncommon for your resources to sprout fresh things in me.  Renewal, come in.  I am fertile in layers.

Steep.

I’ve aged tall and long and twisted, hoary with moss and tangled by vine.  Formidable, while spongy in places.  Your green shoots pierce me, exposing my slowness and rot, my muffling stance.  You crack me open, engender new soil.  I collapse and give way, I adapt.  It’s a marriage.

I wouldn’t say “handsome,” thought at times picturesque – in a rugged way, and worn – tendriled with you growing green.  The occasional strength to bloom: I mushroom, you flower.  I fungus, you shine.  Together we develop our wonder.  Some stop and look, others stay awhile, everyone traveling through.  The coupling is not unfortunate – providing nourishment and shelter.  There’s always damage.  Having endured, still I am fragile, and you, with your gentle, tenacious roots, ever purposeful and true, yet transplanted and remaking, storms can threaten with uprooting.

We are called by one name and belong – a vast generality for incalculable kinds.  We don’t mind.  Old or new it’s still growth; what dies and what’s born construct a joined density.  I lean on you while providing shade, you straighten me as you fight for necessary light.  We are one seething thing, steamy if un-sexy, cross-generative and moist.

When the fire burns, it destroys and begins.  Gaining as much as we lose.  It takes time – symbiotic – establishing roots we combine and recover, shed and absorb, co-create and depend.  Relying on the same in our differencing.

Reaching again in each instant’s climate.

(I love you beloved wife – happy anniversary – and here’s to continual renewal and the sustenance of old growth)

 

Friday Fictioneers: “The Brambles”

Another failure…I nearly doubled the word count ’cause he wouldn’t shut up.  Probably shoulda aborted it, but here it is:

raspberry

The Brambles

He was painting a picture for us.  “Now this takes significant time to develop,” he said, “but I promise it’ll be worth the wait.”  “The fruits, they aren’t easy pickings, but if you’re willing to work it, I mean really get in there and give it a go – you’ll find ‘em, and they,” he assured us, “even these beautiful berries, nuggets, sweet bloody fleshes can seem prickly and tart at the first – it’s kind of an ‘acquired taste’ as they say – from years and years of this trying/acquiring and trying/acquiring – but those tiny pert jewels, held deep ‘round the heart of its center, those phenomenal pearls of good juice, as they finally give way and pop open,” he said, “that rush!  That momentary flood of powerful delight, that untangleable blend of most delicate morsel and sun-bittered time, that salting of aging and ripeness – it’s a wonder!”  “You’ve just got to get to them and find them, one after one and by one, have persistence!” he admonished, “far along, deep within, there’s always this unbelievable cluster of most amazing, unique and mouthwatering reward – yes, it seems tiny and ephemeral and difficult to grow or achieve, but it’s worth it!” he encouraged us, “the dedication of labor and time, constant tending and pruning pursuit; the right balance of trimming and rest, nourishment and fallow…”

Why he’d referred to our marriage as “the Brambles.”

N Filbert 2012

Please join us in these weekly forays!

Friday Fictioneers

Such Great Heights

Such Great Heights: On Loving

“I wonder at vocalism’s ability to rephrase or reenact meaning and goodness even without the wished-for love.  Can a trace become the thing it traces, secure as ever, real as ever – a chosen set of echo-fragments? … The still eye reflects a neutral ‘you’ that is me; and yet secret.  Who can hold such mirroring cheap?  It’s a vital aspect of marriage and of deep friendship.”

-Susan Howe-

            These are things she told me:

She tells me she just needs to be held.  Held and heard.  And validated.  That I understand how she feels, that I empathize.  No need to agree with her or her feelings, no need to fix anything.  Just pay attention (“be with me” she calls it), say some things back kind of like echoes so she can hear that I’m listening, knows I’ve “got” it, and nod and affirm.  Saying things like “I hear how hard that is for you,” or “I can see this makes you angry” and the like.  A safe place, a sounding board, a kind of mirroring…a world-the-size-of-arms or bodies in which it’s okay to be in process, to have your stuff, to be inaccurate, and be.

I tell her I just want to be loved for who I am, not what I do or how I perform, whether I make someone feel better or not, whether I’m useful or succeed, get stronger, am sensitive, smart or good-looking.  I’m fine with being any of those things, but they will always feel like side-effects or attributes, things taken up from time to time, situation-contextually.  I really want to be loved for who I am also, or otherwise, the self I do not know, am unaware of, except that it’s always changing.  I’m wanting value as a being, I suppose, that it’s simply good enough, and matters, that I am.  That someone would choose that.

She’d like to be appreciated for all of her efforts.  All the pains she endures, compromises she makes, limitations she accepts in order to account for me, for my “neuroses” (read “personality”).  ‘d like to hear a heartfelt “thank you” now and then for her services and sensitivities, considerations and workings toward dialogue, care and attention.  She’d like to be recognized, feel wanted, feel loved and craved and adored.

I’d like to be loved with my spaces and misgivings.  From a distance, and the distance loved too – the whole globe of me – my fears, paranoias and worries.  My anxious body.  Jealous narratives, fantastic brain.  As an entity – yes – as a system or sphere, to be chosen, sought out and let be, even celebrated as this odd, unique and difficult human, just like all the others, but different too, in exactly the same ways we all of us are.  A curious realm of unknowns and effects.  Would like that cloud of debris I refer to as “me” to trigger charges in her, of desire, of respect, of wonder and intimate knowledge.  A paradox really.  To be known as unknown, loved dissimilarly, absolutely, and so on.  Misplaced desires, but there all the same.  I ask her to love indeterminacy and confusion.

She asks to be free of her past – not its effects but its definitions.  That we encounter it together – our childhoods and children, our spouses and griefs, our risks and our failures, fulfillments and joys – not compared with the present, competitively, but engaged, encouraged, absorbed.  That not everything “not-me” be a threat, not her job and its clients, her acquaintances, family and friends, past lovers our journeys, events – that they be welcomed and included as ours now – memories, sources, realities we bring to a NOW.  Not as distractions, escapes, private holdings.  That we invite each other whole and unprocessed.  That we be a process for each.  That I be here now with, see her moving toward me, being here, not fragment and dissect her into her pasts and the world.

I tell her I’d like to be ultimate, her be-all, end-all, preference and ideal.  Chaos and all, that this mass of me be some divinity-like, awe-inspiring wonder of an incomparable glory she adore and pursue.  I want to feel special, holy, set apart, unbelievably brilliant and beautiful – in short, spectacular – in all my grungy messy remedial ways and blundering battles.  That it truly stun her how amazing I am all muddied up and crazy, insecure and inconsistent, incompatible and at serious odds with myself – that I be wonderful to her.

She told me she’d like it to be real.  To be purposive and true.  That we be brave and open, vulnerable and strong.  Flexible and protective, guarded and unafraid.  That we feel life securely and take great risks, be certain and unsure.  That we trust and be trustworthy in every metamorphoses we move through.  Tenderly powerful, gently fierce, insistent and forgiving, patiently intense.  That we strive for balance, a balance I guess like nuclear fusion – unaccountable energies in a strangely held rest.

I said it all sounds good, sounds like love to me, and impossible.  Which is fine as I’ve started as a failure, but heroic, and she’s a god arose from ashes.  Hell, she’s died and lived again.  We latch on, strap in and unwind.  We are here.  Here we go.  These terrible chasms and such great heights.

These are things I tell myself.

N Filbert 2012

(couldn’t help but think of this – click for tunes)

Experiential Ekphrasis

Figures Seated in Mid-Air
by Holly Suzanne

Experiential Ekphrasis.

Hello dear followers – I can hardly thank you enough for taking time out of your lives to look at, read and engage things I am involved in the making of.  Your support and attention is a constant encouragement.  THANK YOU!  (and thank you for offering and creating your own!)…  I wanted to invite you (if you are interested) to visit/follow a couple of other blogsites I also create in/with –

www.ekphrastixarts.com and

www.spoondeep.wordpress.com

THANKS AGAIN!

Telling Our Stories

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Telling Our Stories

After all, it is language, this story.  This telling of you, of me, of our feelings and years, whatever we’ve done.  We are just speaking, really, creating from language our world and our children, our works and our actions as if we remembered.

I can’t see the harm in it.

I say I remember, here looking at you, that first time in your eyes, whether 18 or 40, when we may have sat facing each other or entwined, as if we’d first met and must absorb everything.  How large they seemed, how blue and soft as rain, how far I could swim there as if building a nest.

I don’t see the danger in using our language to say so.  In making up stories, alone or together, about us; our world and our selves, what we think.

After all, it is language we share.  As you bend at your work, your collar reveals a fresh sentence, your skirt a painting of terms, in your flesh all these stories I study to learn.  Of your breast and your elbow and hair.  The nape of your neck exclaims and your scars everywhere.  What the poet said, also with words, combining verbs and adverbs and nouns: “Your body is a book of thoughts that cannot be read in its entirety.”  Just words, but I keep them and sing them again, I can’t see the harm in the trying.

I love you with terms of my body.  I sign them to you when it’s dark.  It is language, oh yes, and you hear me.  We read with our skin.  Typography refers to impressions.  You impress me, even as I Braille what I need.  How else might we weave what is we without terms and strokes or gestures?

Only language, after all, that we borrow, I get it.

But where is the frailty in trying?

I read and I read and I read what you tell, ever growing a Talmud of comment.  I notate, I argue, I vent.  Then repeat.  I praise and I question and soothe.  You likewise make of my verbiage a stream; a spring from far peaks that dissolves to a delta.  What should we call what we do?  Relat-ivity?  Our capacity to engage and to meet – to relate?  Communication?  Always co-, ever with, filling munitions and messaging, our vocation?

To say, to listen, to hearken, to spell.  Here we tumble and thicken and age.  Her we interpret, reply and enrage.  Here we bind ourselves, it is language we keep using, keep finding, continue to tell…

“………………..Even in sleep

our bodies seek each other, your face the moon

lighting my dreams.  And by day, scenes beyond

untanglement.  Tell me my story, love;

how could I know it, we are such knotted things?

-Philip White, from Aubade