Distribution Automatique

Friday, December 19

Notebook: 1/1/87

A gathering- "writing as revery"=
selecting as revery- understanding that
the seeing that it is (contains) poetry-
from a certain perspective.

The weather-vane of attention's turret
moves with the winds of the mind's-eye
imaging. Alter the relationship between
words and images and you can alter
this relationship. The winds will sweep
wildly or sharply or may cease
with a sudden cataclysm of transformed
reference. At one word (or letter), awareness
suddenly intensifies, and the wind will
increase, shifting the turret and the eye now
turns to the nearby verbs, and with this shift
an implication emerges which
gathers suddenly around a minor phrase,
like a bank of darkening clouds. And
if the words then scatter, as the glance
sweeps across the page as rapidly as a
hundred gulls might shift direction, the
wind of memory supplies an entrance into
time, until the real moment emerges and a
sentence stops. What (or where) comes (a thought)
between? A reverse run through reveals a
trace of altered perspective, from quick
assumptions to the as quickly dropped part
images of words. This is not quite what
was meant to be marked or surrounded by
the reflection on the earlier
assumption (also forgotten). What becomes,
becalms. Thought scatters the conclusion
into a composite series of attentional
reference points, each positing a peculiar proximate
provisional point of reference. To flee from
this, to end it, is to assume that a reduction
of focus will permit an alternative sequence of
elaborated comparisons. These are required
to allow a continuous alternation of textual
inclusions and other (unmarked) areas of attentional focus.

"Picture what you language."
Ron Silliman
*The Age of Huts*

Notebook: 12/19/03


The ordinary is invisible. It
has a pleading voice and finds
itself upset at all the false
tones. Habitual, loyal, persistent,
bereft, it imagines itself in
outlandish costumes in a
dream space. Whenever these two
realms speak, however, they tend
to disagree. It is usually a matter
of a single unnatural element, an
undignified detail, the nuance of
a kind of weariness around the
eyes (the observational turret
of recognition). Day and night
alternate as masculine/feminine,
as legions of philosophers
clamor for a hearing. Someone claps
her hands and the audience turns
into a prism, apprehending
the piece's pulse
by means of a fingerboard of
rainbow rhythm strips.
These are systematically misheard.
"Oh, in order to strum that one,"
the conductor
pointedly remarks,
"You must play an
instrument against a song."

"But there are words to this,"
answer the trombones. And the
clarinets remark: "Ah, the latest
semblances to neutral harmonies."
"How easy recognized!"
the audience member swoons.
An usher in a bright red uniform
is completely flabbergasted, turns
and freezes in place.
With immense panache and empathy,
and with flying hair and skirt,
the ticket-taker quickly winds him up
then gracefully steps up to the podium-

The violins quicken with pizzicato

The conductor takes his cue....
One and-a-two and
a breeze blows through the
oboes and basoons. Now they
seem to understand, he thinks.
And then announces:

"They are
in unison!"