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.

Another day filled with the thickness of love

for my wife on Valentine’s

IMG_3479

The Way It Is

 

There’s a thread you follow.  It goes among

things that change.  But it doesn’t change.

People wonder about what you are pursuing.

You have to explain about the thread.

But it is hard for others to see.

While you hold it you can’t get lost.

Tragedies happen; people get hurt

or die; and you suffer and get old.

Nothing you do can stop time’s unfolding.

You don’t ever let go of the thread

William Stafford

fRiction – necessary to the stream of life

Combinatory Art in Motion.

Incessant

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

Fiction in Families – 9

the collective to now:

language

9

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

-Bruno Schulz/Jonathan Safran Foer-

Remembering first site: where met, what seen, who did, said and how.

We can go there, recreationally, anew.

Tangly garden, the smell of food, moisty air and a she and a him wandering through florid trellises on barely trails.  Something begins.

An arrival, a vision, a breath.

 

They eat and speak, jostling giggles, tangling knees.  They are happy with anticipation to realize.

Eye-movements and alcohol, presenting.  Blending to flavor their mouths for the meeting.  And further still, past introduction – names and facts and telephones – for months of hours.

Even sleeping through nights, receivers awake in their slumber.  But face-to-face invented an optimal – expression exceeding – verbal/aural toward visually kinetic.

Hand to dancing leg, uplifted and exposed, a slight flirtation interlocking and embrace.  The sky was leaking bliss and they without umbrellas, faces opened and upraised to be forward.

 

The rented room, hesitant jumble.  Limbs like ganglia on music, flailing and pulsing and alternating rhythms.  On such a scale.  Spiraling themes, and everything improvised.

 

Which became the uncanny and announcements to friends.  “That’s a lot of baggage,” they replied to excitement, calculating spouses, careers, digiting the children and distant thousands of miles.  Let alone all the dangling remainders.

 

And yet they persist.  Airfare and phonelines, sitters and several states.  Unable to locate square roots, figuring unresolvable answers to nonlinear equations.

 

Seemingly insoluble.  They worked at the problems, nearly convinced of their theories.  Hypotheses and tangents matched excuses unrestrained.  A mountain hollow downpoured with rain.  Something fell, an infidelity to measures.  And again, wrapped in a mail bomb of message.  Risk was reported.  Purporting fear.

 

The letters flew over the lines, bodies mired in their pasts.  Something was bound up to break.  And fracturing, she did.

 

Families of Fiction. Pt 8.

link to previous:

Family 1

 suggest reading accompanied by : Home Again by Keith Kenniff

8

“we live in accumulations of the actual / with so little understanding”

Verlyn Klinkenborg

I believe that it is possible to make stories out of anything, with words.  Even wordless ones.

Stories on the move, within movement, perhaps even moving.

Accumulation and erosion, not addition and subtraction, multiples or divides – not mathematics, simply or complex.

In relations – part of related systems of relations, related further on, in, out – there are no statics, numbers, letters – even hypothetically.  When you fix one you’ve simply entered another system of relations relating to other fixed (or agreed-upon) relations, lifeless but for you.  Until employed.  Then your letter, number, static sign or symbol dissolves right back into what it came from – the roiling motion of temporal patterns and relations – change processing itself.

The meanings meander through like liquids.  Each part spilling its own glass.  Watch it flow, divert, tumble and pool.  Percolate.  Evaporate.  Stories.

Describing them, no matter how many points of view or entry, how many semiotic systems employed, internal or external – observation is evaluation, almost objectively subjective – merely mean a story, embodying an absorbing and evaporative spilling of change.  Eddies a bit, branches and drips, absorbs here and there, ever morphing form and content.

I can only ever tell you – in this system of systems of relations, this language – what I do not know.

The fathers, the mothers, their partners and pasts, the living of nine children to this moment – refuse to be snap-shotted still, photographed, imagined, or defined.  They are unknowns, rife with variables, and related.  Related to relations and related systems of relations related further out, in, on…

Genuinely incomprehensible.  Evaporating almost as soon as precipitate, incalculable with options and openness – far more than this system can relate.

The fathers love their wives and women, their sons and their daughters, and sometimes it’s even perceived that way.  The women, mothers, partners, also love – and everyone’s love is conditioned and conditional.  Givers, receivers, assertive, supportive, neglectful, abusive, indulgent, and free at a price.  Relational acts in related systems of relations – addressors and addressees, perceived and perceiving, at once.

Each its own glass spilling.  Each its own refilled.  The sharing of endless waters.

Shagg dribbles fluid ice-cold onto a young one’s burn.  Rather than soothe it stings.  Recoils.  Mother in attempting to quench a thirst, drowns it instead.  A child spills that all might see, might hear, might feel.  Instead it’s absorbed deftly and quickly – instinctively – by inanimate terry cloth, a dish-towel, a bathrobe.

A possiblitiy of endless supply, of infinite, is foreign to all but dreams.  We know nothing unpolluted or immeasurable.  We must not write what we know.  Nothing there but an emptying glass.

Instead, perhaps, to offer and receive – these fluids, this language – of unknown origin and imperceivable limit – spilling together compounding toward stories.  Even as it spills.  Even uncontrollable and ill-perceived.

Families of stories.  Write what you do not know.

The Family of Fiction – 6

The story to now…

Family 1

and part the sixth…

6

“I propose description as a method of invention and of composition.  Description…is phenomenal rather than epiphenomenal, original, with a marked tendency toward effecting isolation and displacement, that is toward objectifying all that’s described and making it strange…Description then is apprehension, ‘the act or power of perceiving or comprehending’ and a motivating anticipatory anxiety, expectant knowledge…the very writing down seems to constitute the act of discovering it…but also and problematically an act of interpreting it.”

-Lyn Hejinian-

            Hybrids.

What is “normal” or “traditional,” what forms remain (for long) in a universe of chaos ever emerging and expending?  Convergences, then.  Bloodline here, bloodline there, cross it through and pull it taut.  Cultural collage.

The parents lead the way, though not as masters, more experiments – of brother linked to sister linked to brother step toward brothers veined by half with sister same as brother.  Not personal or by choice until fixed in the same installation.  Could be called art, called family.

Other halves and steps by three with partners of their own yet bleeding half their blood.  Where are they?  A sitcom cast of lesbians and addicts, the wealthy and the poor, the liberal, constrained.  Kaleidoscoping styles and beliefs – “it takes a village” – and they’ve settled one.

Working well enough – a jalopy needing constant tinkers.  It most assuredly breaks down.  Imagine society.  Or the size of it, extended.  How many grandparents can a child acquire?  Its fine for rituals like births and holidays – multiplying spoils – but where does one belong?  With whom?  Family-by-affinity?  Reunions become a game of pick-up-sticks or jacks and marbles (except with persons).  Arbitrary circles depending on usable space.

The family tree she drew for therapy’s a forest.  Cottonwoods and pines, baobab, bonsai.  An oak thrown in for measure, and barely identified shrubs.  What base is there to touch?

Parliament versus monarchy, troubling the court of appeals.  With manager-types and generals, gurus, debaters and clowns.  Stir in deconstruction and some faith for emotive stew.  It’s a kinky chain of command, yet all are bound by it.  Children vying a vote.

And if infected by the peacemaker-pleaser-gene, the torsion becomes a complicated interpretive dance.  A surplus of baggage with all the due fees.  A lot to saddle on young.

They’re resilient.  Navigating democracy and other octagonal squares -awkward parallelograms – never quite losing site of Atlantis.  Lost kingdom, utopian, buried deep under vast emotional sea, at times nearly glimpsing a spire.  At least some strange stirring.  Dreams of a large enough house.  Solving nonsymmetrical fusion equations.  These children are smart.

If an artist paints the picture she performs mixed-media collage with inks and clay and dozens of paints, incorporates cloth and wire and found objects with hopes enough resin or wax will contain it.  Hold it all fast.  And still let everything – everyone – be seen.   The composer creates an erratic symphony – arrhythmic with regular dissonance, whelming moments dramatic with harmony and occasional measures of quiet resolutions.  The scientist keeps figuring on emergent chaos, open-ended systems like weather and complexly variable algorithms.  Author writes it down and edits, erases as much as inscribes, constantly losing track.

Each makes their own scribbled lines, overlaid.  Its sketchy and messy and thick.  Kids jumping ropes, fingering string figures, string theory, Spiderman-webs.  It gets made.

Fiction Family 4

Pieces that precede can be read in order here:  FAMILY: A FICTION

Family 1

section three closing thus….

They build a monument, calling it travel.  Stripping each other of context, providing a different forum.  Humans tend to revert to familiar.  Habitude of experience.  With no experience, alteration comes to bear.  Predictable as weather.

No one’s leaving home.

Other words coming to mind.

4

            Resistance.

There is, it seems, in families, this propensity.

Whatever is said, corrected, even when agreed.

 

Existing to clarify his spouse – to illuminate and exhibit.  In turn, she elucidates him.  Providing bases or cause – extrapolates.  Siblings arguing each other, united they stand, all as deserters.  Seven eventual versions of the parental wake-up blare: AWOL.

It’s good to be king.  Graph the assassination attempts – looks like innards of clocks.  A searing clap of surprising betrayal each time.  Unlike the spurned and necessarily nutrient mother.  Shagg proclaiming the law (as devised and developed by nature – read lifegiver/lawgiver “mom” – female coupling nurture and structure within dependency).  He handles rebellion, warding attacks and spying the skirmishes, she breeding resentment from ongoing need.

These are general patterns, biologically driven, no symphony the same.  With eight keys plus a half, on a twelve-tone scale, the songs recognizable according to differing orders.  Typify and characterize.  Declare it false.

Scraggydad is nurturing, allowing/confirming resistant responses and recumbent emotions, shame-shirking under her gaze.  In other words – as one of them – a remedial complicity.  Which she echoes into her drama – the leadership, the guilt, the collapse.

Each wanting to be cradled – rock, paper, scissors style – with an occasional simultaneous Bingo.  However unlikely, it’s what probability’s for.

Thus every level its lingo.  Select a word (sex or heaven, death or boy) and provide a taxonomy of related meanings from the eldest parent through littlest child.  It comes clear.  There are altering thesauri of usage.

Family as a game of Scrabble on the board of Life, each settling Catan.  With beeps and whistles and a slew of avatars.

A technique known as mapping provides lay of the land, similar to a geneologist’s tree applied to the present.  A thing to be explored or verified.  Corrected through each journey.  In several dictions.

The family edition.

A Family of Fiction, pt. 3

“all attempts at interpretation must abandon any pretence at direct understanding and concentrate on second degree understanding.”

-Victor Stoichita, A Short History of the Shadow-

Family 1

FAMILY A FICTION (the story to now)

Section 3:

3

            Girl-princess-daughter, her experience as only.  Not quite true collectively, there being also steps- and halves- another, older, never cohabitant, but still.  The members were stacked.  Against or for, another matter.  Depending.

The younger, caged one, doesn’t eat.  Is self-restricting.  Flutters like a bird.  Her brain engulfs her self, a genetic trait.  Possessed also, in some measure, top-down.  Each with their own rendition.  One definition of family.

Cohabitants.  Genetics.  Affinities.  Their opposite.  Relations.  Some, after all, being half-habitants, some post-, some occasional-, some rare-.  Or endangered.  Or in transitions.

If there is a nucleus, it is Scraggly and Self-aware, both co- and in-habitants constantly, at least according to them.  In the minds of their children.  Whenever they were.  Adding an unknowable “if.”

The grown and growing exhibit it.  The three on their own.  Three nearly capable, at least two of which: disinterested.  This is not about them, not a descriptive analysis.  Maybe more like a song, composing a fugue: each line for itself replete with recurring variations, cringes of dissonance and harmonic highlights.  Something like a family, a novel, a history, religion.

Oscillations that swivel near a truth, only to loop and to veer into something more real.  Being actual.  That is to say, is happening.

Inopportune call and subsequent jail time.  Jealousies and rivalries, differentials of power.  Stirred with a paste of abuse and traces of –isms.  Coupled to all the unpredictably brave accomplishments.  That sort of thing.  The life of a species.

With no one sure how to tell it.  Who solos, who’s chorus.  And when.  Where hardly matters in webs.  Or does it?  Authoritative nights at the table, father propounding to a coven of illumined and down-turned faces – forged not of incantations, but synergies of private networks.  Ubiquitous strands of escape.  Virtual tunneling.  Not to mention insolence.  Or simply vanishing within.  Daddy lost in thought.  Or mum diagnosing (she doesn’t like to think it that way).  Seldom either/or.

They build a monument, calling it travel.  Stripping each other of context, providing a different forum.  Humans tend to revert to familiar.  Habitude of experience.  With no experience, alteration comes to bear.  Predictable as weather.

No one’s leaving home.

Other words coming to mind.

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