NOTES

Re-unification of image and sound
The speaking woman- the listening man

Poetry=sound and image
make sounds and hold pictures up to the audience
unreproducible poems-
experiential poems
copying- authenticating
can't be copied-money-original document
almost infinitely reproducible
copying eliminates rarity
experiential- origin-ality
identity
connection with identity of creator
know-ledge
code of identity

Go back to Freud's analysis of dreams to the acausal
Dreams as proof of the unconscious also of the acausal

Reversing- dreams as seeing
through the apparent to the real
telling-narrating- cause to result
writing with pictures rather than words
what's hidden in the picture
pictures= the irrelevant

paranoiac the improbable connection
the intuitive feeling of "too much" repetition
anxiety and the time-slip
it was expressly in the specific details
that the precognitive was to be recognized

It is clear from my experience of writing
that thought does not begin at the
beginning. Because of the experience
of inner resistances, thought tends to circuitous
circling around its goal or spiralling
deeply into it. It burrows. Since thought
is like a drill, or a beam of light
emanating from a larger source of light within,
it has to choose an area of focus,
even when the experience simultaneous to it is
far broader and encompassing.
The narrative, which is one response to this
situation of the parameters of
communication, renders
the experience in metaphorical
terms, ordering details of events in such a way that they appear coherent.

The relativity of psychoanalysis
and art- this partly has to
do with the actualization
of the manifestations of the
human experience in writing.
Like in analysis, writing requires
remembering and including the obvious.
It is this
interplay of the obvious and hidden
that the magic depends- obvious and hidden-
obvious (male): hidden (female); hidden
(thought) obvious (expression)
Don't hve to be afraid of the circuitous
routes if you're not too proud to return home
a little abashed.

"I was there."
"Where did you go?"
"Nothing much"
"You mean, all that trouble for nothing? Why did you bother?"

Non-narrative: to isolate the mind's
movements from those perceptions which are
on hold, continuous, we must distinguish
between synchronous and non-synchronous
observations. Reaffirming the
obvious is like a pedal point,
like the time-signature
in music, the beat in rock or jazz.

notebook: circa 1986