veil of sky

whitened edges and solid infinity above, the clear, blue, serene sky,
this day when the veils between worlds thins

Nanowrimo this year?

With the impossibility writing has been presenting for me these last months, I wonder if joining Nanowrimo this year would be a good discipline and challenge?

The first year I began where I was, and let a story unfold. Of course the manuscript is huge and unwieldy! I've never edited it into something more reasonable. Though it's possible that the urge to do at least one complete rewrite will overtake one indolent day.

Nanowrimo begins Nov 1st - enough time to decide.

The first one began in a temp job matching files to original ledger entries in a vault at a funeral home in Vancouver. A natural title was Book of the Dead, and I incorporated a couple of other texts, the Egyptian and the Tibetan ones, into the writing.

That was fun, discovering each day what was to happen, and layering the text with references to other texts.

We build on ourselves.

I find it inspiring to be among those who are running their own writing races separately but together as a group - last year of the 100,000 who enrolled world-wide, 50,000 participants made it to the finish line.

It's interesting to reflect on my own Nanowrimo path. In 2004, "Book of the Dead," was more of a 'novel' and 50,000 words; in 2005 my writing was shifting to prose poetry and I wrote that year's in smaller numbered segments that I still haven't finished but it came in at 50,000 words and then I spent a few days reading it and deleted a third of the manuscript, never mind (the first pages can be found at my art website here); in 2006 my writing moved even more towards the poetry end of the spectrum and while I wrote "EnTrapped WOR|l|DS" in November of that year I didn't enroll it in Nanowrimo since it's only 17,266 words, and too short for the contest, but poetry's like that - though it is a completed manuscript, which made me happy.

I wonder where this one might start and what the writing style might be?

The Keys

If I take off my readers, can I write? A disjuncture between life and writing, or that I want to hide? Without seeing the keys or the screen. Write blind. Behind where words form. The words that shape reality even as I speak them.

Glide through the world of words with a dancer's ease. My body is a word, a gesture, a line scrawling across the horizon of time.

Am I purple, or aubergine? A curve of a back before a computer, hitting keys I can't see?

And how many mistakes before we get it right?

And how many times are the crystal glasses broken before we can---drink, see, touch?

It's cyclical, the years go on, some good, some bad. There is no will to it. Whatever you want to happen happens; you are a consequence of your past; and each day is a surprise thrown up by the fates of fortune.

When I sat down to write I knew nothing,
and less now.

slats

water drizzles over slats
onto rocks

iron ivy
crawls over the lamp

I'm tired
of the restriction
of vulnerability, sensitivity,
injury

walking in the warm,
light rain

before the seasonal cold
sets in

I look out through slats
hiding or revealing myself

or you do

rocks become water
that float away

____

Tired of protecting my knees when I dance, I didn't. For a number of weeks. Bending low, I used my knees, experienced the freedom of a fuller movement, bliss. My knees are now so sore I'm on Ibuprofen, which helps reduce the swelling, constantly and a prescription anti-inflammatory, as well as icing them fairly frequently. So this poem, the first I've attempted in what seems like a long time, was triggered by that, tired of the iron ivy on the lamp, not wanting to protect one's sensitivity, and whatever the emotional corollaries are, the rocks are water that float away.

ps I think I have a 'stretched' tendon, that it's just a regular sort of minor injury anyone who participates in sports or dance gets. Not serious and with a bit of pampering it'll heal fine.

But an interesting process in terms of our emotional proclivity for protection of our sensitivities.

[Okay, okay... last night I danced with my jingly silver belly dance belt over a black danskin at Tam Tam like a dervish. Shhhh...]

[No, no. I arrived late, 10:30pm or so, to a dark hot dance studio of drummers after seeing the Tibetan Lhapa documentary, changed into black sweats, danced, realized that there were only a few dancers, some as old as me, and so I put on the belly dance belt and let go, it was fun, I left around 12:30pm, some people thanked me for dancing, said it was beautiful, and walked home by myself, arriving home at maybe 1:30am; this pattern is normal, I go, dance, rarely join the group for food after. Arrive alone, leave alone. Now what that had to do with emotional corollaries, who knows.

It's all connected though, isn't it. :)]

Toronto Zombie Walk

Ahhh, now that's motherhood!

A great scene photographed by Roger Cullman during the Toronto Zombie Walk 2008 Postmortem. A Zombie Walk of a thousand-strong in Toronto yesterday emerging from Trinity Bellwoods Park. Which I missed! Oh, bomb! ZombieZoots! The march of the Zombies on the Zombie Walk passed by my apartment yesterday! Munching on brains, gore galore. The ghoulishly lively undead! Where was I?

Rachel Getting Married

An intensely emotional film that explores and exposes family dynamics in ways you might not be prepared for; an ultimately healing film. I recommend it.

And the hot chocolate with whipped cream at the Starbucks buried in the IndigoChapters bookstore afterwards with your daughter with her newly dyed deep fuschia pink hair who has recently gone Vegan and so had tea with soy-milk before seeing her off on the bus where she was traveling to another city.

And the books you bought, finding yourself guiltily in the Philosophy section, where you always find yourself when everybody else reads fiction. You left the Tofu-cookery book behind since she convinced you by cell phone that she had bookmarked all those recipes on her laptop.

You carried Rachel with you for maybe 5 or 6 city blocks home to the madly lonely dog who became madly happy, thinking Anne Hathaway is really a superb actress, remember the "Screen Test" where she said that of all the ways she could have played Rachel she decided simply to try to make her real.

Real.

On to the next step...

My Costi employment counselor loved my idea for an independent business. Of course with clarification. I know I need to take some courses which unfortunately won't be covered and I'm not sure how I'll afford that. But a green light go to the next step: an orientation session at OSEB (Ontario Self-Employment Benefit Program). I felt that life was almost possible as I emerged into the light of the Autumn day.

Outreach...

Appointment with a Costi employment counselor today to see if my idea for an independent business is viable.

Warnings by David Allen Sullivan

This came in The Writer's Almanac this morning. It's "found poetry" - had me hooting over my morning coffee. Sharing...

Warnings

by David Allen Sullivan

A can of self-defense pepper spray says it may
irritate the eyes, while a bathroom heater says it's
not to be used in bathrooms. I collect warnings
the way I used to collect philosophy quotes.

Wittgenstein's There's no such thing
as clear milk rubs shoulders with a box
of rat poison which has been found
to cause cancer in laboratory mice.

Levinas' Language is a battering ram—
a sign that says the very fact of saying,
is as inscrutable as the laser pointer's advice:
Do not look into laser with remaining eye.

Last week I boxed up the solemn row
of philosophy tomes and carted them down
to the used bookstore. The dolly read:
Not to be used to transport humans.

Did lawyers insist that the 13-inch wheel
on the wheelbarrow proclaim it's
not intended for highway use? Or that the
Curling iron is for external use only?

Abram says that realists render material
to give the reader the illusion of the ordinary.
What would he make of Shin pads cannot protect
any part of the body they do not cover?

I load boxes of books onto the counter. Flip
to a yellow-highlighted passage in Aristotle:
Whiteness which lasts for a long time is no whiter
than whiteness which lasts only a day.

A.A.'ers talk about the blinding glare
of the obvious: Objects in the mirror
are actually behind you, Electric cattle prod
only to be used on animals, Warning: Knives are sharp.

What would I have done without: Remove infant
before folding for storage, Do not use hair dryer
while sleeping, Eating pet rocks may lead to broken
teeth, Do not use deodorant intimately?

Goodbye to all those sentences that sought
to puncture the illusory world-like the warning
on the polyester Halloween outfit for my son:
Batman costume will not enable you to fly.

"Warnings" by David Allen Sullivan from Strong-Armed Angels. © Hummingbird Press, 2008. Reprinted with permission. (buy now)

Videopoem: Vishnu on Chinese New Year's

Fun piece. A combination of poetry, painting, GarageBand jazz. A friend, Doug Carroll, & I were playing with my camera, Final Cut Express & GarageBand. A neophyte, I spent a further 6 hours editing. 2nd attempt at a videopoem, and the first one using Final Cut Express (which I'm learning by watching You Tube tutorials, see my playlists). Poem, "Vishnu on Chinese New Year's" (Dec, 2007), painting, "Women in Spring," (May, 2008). Many thanks!

An FCE Apple... :)

The footage comes from October 2nd, when I videotaped a 'poetry reading,' and it's taken this long to figure out how to import it from the DV camera into Final Cut Express, and then to take one tiny 37 second clip from the 16 minute video and freeze frame either end and add titles - a process of probably 5 hours after "capturing" the video itself. It would be so easy to do this in iMovie but I am determined to learn FCE since one can do vastly more with it. Last night, desperate, I spent an hour searching on-line for an affordable course on FCE in Toronto, finally emailing a friend who'd taken one through Continuing Ed at a local college last Winter, and he emailed back el pronto with the details and so I shall enroll for the January session. I can't imagine I'll manage to learn that much between now and then since my main source for learning is You Tube FCE tutorials. This entire silly little clip, which I post to let you know I am still flailing away here, was done following the directions of a few kindly You Tube posters.

On Criticism

If you have criticism to offer, offer it in a loving, supportive way. Give constructive feedback to help the other succeed rather than to point out what they did wrong. Sometimes people who love us give us the opportunity to hear rare truths that can improve our lives.

Abre Los Ojos (Open Your Eyes)

I saw Vanilla Sky some time ago, enjoyed it. Abre Los Ojos (Open Your Eyes), written and directed by Amenábar, the original Spanish film that Vanilla Sky was a re-make of, however, has shaken me. Intersplicing of love, betrayal, loss, anger, desire with an attempted murder/horrible scaring accident, dreaming, virtual reality, insanity, and the struggle to re-find the self and the real world from inside an illusion - it's a powerful tale.

When the actors can reveal the underlying emotional complexity of a story like this, as this cast does, in particular Noriega, it makes for theatre that crosses the bounds of 'on the screen' to us, our lives.

Seeing a younger Penélope was delightful too.

A Vlog: about 7:11min of chitter chatter

If you read this on a RSS feed, don't hit "enclosure" because that'll start a download, just pop in to the site to view. I'm not uploading these little sessions to You Tube, they're not "serious" enough.

As the title says, more chitter chatter. Spent most of the afternoon draping my space in fabrics and recording a poetry reading and trashed the whole lot, ah well. Much to learn. This chat refers to that, and then goes off to discuss how meditation (for me) is nothing, all rather vague. But there it is.

Overexposed night scene, again. Have to do something about the lighting. But then I am middle-aged and the lighting is rather kind. As I do these videos I'm losing shame, it's true. Daylight is still too stark, and anyway who feels like chatting when the photons are pouring through the atmosphere in the masses they do during daylight?

Yes, I am wearing a red bra - the black one is drying on the rack hanging on the shower rod after being laundered earlier today. Normally I wear black with black, red with red, you understand. Gaffs.

The post I refer to in the vlog, which is a good post of substance (unlike mine) on Buddhist meditation is Dale's.

Playing with the Still Image

From Rubies In Crystal

That was fun to do in Photoshop Elements. I wonder how you do it in FinalCut Express, or can you? It was an overexposed black & white shot that I did about 50 things to, including the red colouring & cropping at an angle (without distorting the central image). The final photo is kind of fun, and a story could be woven from it. When my children were at a Waldorf School for the short time they were, I recall not only many puppet shows by the early grade teachers, but that the puppets had very minimal features or were faceless, and this was so the child could better imagine the character in the tale being told.
.

From Rubies In Crystal

Ripples

Wouldn't call this "a video" so much as how one might talk in a quiet conversation with a friend. Therefore, a vlog (video blog). Sparked by a discussion of 'change' in my dance class, reminiscences on my years of journaling leading me to feel that we only become more of who we are...

Comic Book Characters

Another side... this one makes us laugh. Hope you get a chuckle too.

(1:45sec) "White," Butoh-inspired dance-in-progress

This blog is a place where I keep my work, along with the progress of pieces. Here's a little Butoh-inspired dance piece in the process of...

Last night I stayed up till 3am composing piano notes in GarageBand to go with it, but had trouble synchronizing, also the notes were too busy in the middle. My first go with GarageBand, and I'm not a musician, so allowing my clumsiness to guide me.

Then I'd also like to overlay images since I found something that struck me on National Geographic this morning, but don't seem to be able to do it in iMovie. Should I go for broke and invest in FinalCut Express? Hopefully I can copy my old Photoshop Elements onto this computer and might be able to change transparencies to overlay that way.

In the Japanese aesthetic, art is always embodied in images of nature. This is true of Haiku as well as Butoh. I may or may not add the photo, but I'd like to have the technical capability to try it and see if it works.

Anyway, the uncut video. I have no idea what sort of poem will arise; perhaps it'll just be a single image. Who knows. Creating it as I go.

My 3rd attempt at a VideoDancePoem.

(4:16) On Butoh-based Dance: A Saturday morning amble...

Discussing Butoh-based dance having just completed a 4 day workshop with Denise Fujiwara in Toronto, Canada.

Ok, so. My first iMac video on Butoh-based dance with a poem in my white flannel nightgown this morning.

Even before coffee. I leave as is. Though I did add the poem later this evening and you might have to increase the volume since, though I re-recorded a number of times much closer to the computer's built-in microphone than the original clip, I wasn't able to arrive at the same volume levels.

In the emptiness of the dancer everything comes to be. I hope I imparted this in my little experimental video. Sharing a recent experience which I am in the process of understanding.

Strange and surreal as it appears, the intensity of the dancers, intimacy, exposure, vulnerability are the core of Butoh.
_____

YouTube URL here
_____


Butoh Dancers

do not express but expose embodied emotion

in the Noh tradition of restraint

line of red belts on the kimonos

the dancers move towards us

as slowly as the moon bleeds through the sky

they are intermittently earth, water, fire, air

gone are the wild rhythms of their bodies

they are empty silk shells on the stage

who reveal their intimate selves

what is most human
our contradictory states

our warring, our longing, our loving

without the effort of thought

we who do not watch
or even witness

a performance

rather we complete
their process

of us


© 2008, Brenda Clews

Four Hard Drives in as many weeks and counting...

Today my 3 month old Dell Inspiron laptop arrived back from a Dell Depot. Installed in it is a fourth hard drive, the fourth since the first one failed about mid-August, followed by the failure of the second one 3 days after it was installed, followed by the failure of the 3rd hard drive one hour into the four-hour Vista installation process. I see they have replaced the hard drive and the motherboard this time. I wonder if the laptop will actually work smoothly for the rest of its natural life?

I purchased my iMac nearly 6 years ago and it has run like a dream - never crashed, never had a virus. The most stable computer I have ever owned.

I had the laptop upgraded and configured for my daughter and it was always my intention to give it to her when I was able to afford the MacBook I really wanted.

My short foray into the PC world, however, is enough for me.

This woman is an Apple woman. An Apple woman this woman is.

I'm going for the 24" iMac with a tax credit from some years back & trusting that I will have a job soon. I lost quite a bit of work when the first Dell hard drive failed and that's painful. My old iMac hasn't developed any ticks but I can't, for instance, print a PDF file from it anymore, and many of my bills are electronic now. Most of the keys on the keyboard have to be pressed multiple times when writing; the mouse died some time ago & my daughter and I share an old PC mouse. Replacing the OS on such an old computer and purchasing a new keyboard and mouse is hardly worth the money. I am afraid such an old machine will suddenly crash and I'll lose years of work and my daughter will lose her entire iTunes library. We'll grieve for years. I know I should buy a portable hard drive as backup but being out of work, money is tight. Yet there is enough for the purchase of a new computer, just. Through a simple wire we can transfer everything on the old iMac to the new iMac. Plus we get to keep the darling, dear old machine, it's one of the ones with a white half moon base, a pregnant feminine shape to me, for browsing. I wish I'd kept it under a dust cover all these years, I had no idea it was such a survivor. Who knows, it may run beautifully until it becomes a classy antique.

the air that I breathe out carries me with it,
the air that I breathe in
brings me back

Red Balloon

Le Ballon Rouge (The Red Balloon)
Albert Lamorisse, France, 1956 34 min

A red balloon with a life of its own follows a little boy around the streets of Paris. Winner of the Best Original Screenplay Oscar, despite almost no dialog spoken in the film.

Le Voyage Du Balloon Rouge (Flight of the Red Balloon)
Hou Hsiao-hsien, France, 2008 113 min

A little boy and his baby-sitter inhabit the same imaginary world: through their adventures they are followed by a strange red balloon. Directed by celebrated Taiwanese New Wave director Hou Hsiao-hsien who captures the magic of the mysterious balloon often through an elegant use of the reflection of mirrors and glass.

A more thorough synopsis of the film here.

May be spoilers, not sure. I sought to write something that would enhance your viewing if you saw these films. I explore the red balloon as poetic image. Not a film review; rather the way my thoughts of the movie hovered and swam in the air like the red balloon.
______


The Red Balloon, the 1956 nearly silent film by Albert Lamorisse is stark poetry. The balloon and the child. Both buoyant and fragile, moving into an expanding world and trusting. The film is the motion of the child through the streets of an older Paris; like the balloon, we rarely see him in interiors, and when we do it is looking out of windows to the light where the balloon hovers with him. Of course jealousy and envy arise and the boys who want the power of the red balloon that the chosen boy has, and ultimately the slow deflation of the balloon by catapult. When all the balloons in Paris rise and congregate like a flock with the grieving boy who has lost his red balloon, he flies over the city held by them, a Chagall painting.

Flight of the Red Balloon, the 2008 film by Hou Hsiao-hsien, in part a tribute, begins with a balloon that echoes the balloon from the original film. A poem within a poem. The balloon hovers around the boy in the new film, though no-one but the audience sees this.

The balloon has been called a symbol of the imagination yet for me it cannot be this.

It's a relationship. As if you rubbed the balloon on your sweater, it would stick to you. The balloon is loyal like a puppy. It follows, hovers, allows itself to be seen only by who should see it.

The balloon is like a vision, fragile, buoyant and red. Or an apple, the beginning of the alphabet and the wisdom the fall from the Garden of Eden initiates.

It is a piece of man-made rubber inflated with helium but loses that property.

The red sphere dances in the sky, being a balloon that becomes a stave in a musical score, an image in a poem, a rich round colour in a painter's palette. It is the spinning globe of red that is the life force.

The red balloon is the magic of what floats.

If we follow what floats we will understand the symbol of the red balloon in the film.

The red balloon is a sun in the sky.

It's happy.

It's locked out. The red balloon is untethered, free to fly in the wind, to fly up into space.

The red balloon is the boy's heart which it invisibly ties itself to. The red balloon comes to comfort the boy in his loneliness, his bravery in living the independent life expected of him. The boy travels from home to school and back again in Paris, alone, the red balloon following.

There is a poignancy, a tenderness to the comfort the large red balloon and the boy offer each other, the white string of the balloon like an umbilical chord to hope.

Whoever holds the red balloon in the film, or the wires attached to it is made invisible as the balloon hovers near the boy, only the pure relationship remains.

In Flight of the Red Balloon, the film-student nanny of the boy is filming a film of the red balloon but never sees the one following her care outside the window, as if she is a grown Wendy who cannot see Peter Pan's Neverland of eternal childhood dancing on the windowsill.

The red balloon rises and falls on the walls outside the boy's room like breath. Sometimes the red balloon slides glancing over a graffiti representation of a red balloon as life and art interweave, as they do everywhere in the film.

The matriarch of the film, of the house, which was her mother's before her, and the mother of the child is a puppeteer, or rather the powerful voice of the woman in the puppet show. Everywhere in the film we see puppets, snippets of a show of mythic proportions and great passion (based on the Yuan Dynasty story of Zhang Yu and his beloved, Qiong Lian.) Archetypal forces are at play under the weave of characters and narrative of the film, in the domestic dramas and interweaving of cultures, French and Taiwanese (the film by Taiwanese director Hou Hsiao-hsien), the struggles of the artists represented in the film in all their variety, from the successful puppeteers (the mother, Suzanne (Juliette Binoche), who financially supports the household), to the film student of film, Song Fang (played by herself), who stays with the boy, Simon (Simon Iteaneau), after school, to the writer and his girlfriend who live on the second floor without paying rent, to Suzanne's boyfriend who is absent in Montreal writing a novel, to the teacher at the end teaching the children how to look at the painting of the child with the red balloon from an aerial perspective, from the balloon's perspective.

While Hou Hsiao-hsien provided the general scenarios of the film and the background story to the actors, they created the dialogue and the movement. The domestic scenes feel real and contrast with the poetry interweaving the film like the balloon floating about the windows and walls outside, held by desire yet subject to the rhythms of air, a moving notation.

The balloon always behind dusty old windows, in mirrors, at the edge of the pictorial frame, never graspable. So subtle as to be missed by all but the boy and the film director who guides the audience's vision to its close red roundness.

In the slightly nostalgic and poignant feeling of the film, the red balloon is held by the warmth of our hearts to us.

The Painting Nook

woke this morning with a sense of joy as I cannot express, something that hasn't happened in a long time, such relief so welcome

In the middle of August in the Summer of 2008

Perhaps there were different ways of understanding, parallel paths of interpretation and it was impossible to pick which was more real.

Or you could let your feelings emerge in meditation, the sadness, sorrow, rage, lust, tenderness, love.

First one, and then the other seemed likely.

But, no, it was more like a kaleidoscope of turbulent thoughts and chaotic feelings.

Perhaps they were lassos you were flinging from each hand, sometimes they swung wildly divergently, sometimes they entangled.

The problem was there was no strategy, or even a map of where we were.

Or probably you didn't swing anything and the parallel ways of understanding were the metaphor I was most comfortable with.

I couldn't decide, on the long walk grocery shopping that day which path more accurately represented your feelings, or mine, or what happened.

Or when I lay at the beach on the hot day imagining Ferris wheels of kaleidoscopes where everything impinged on everything else.

It was an embarrassing situation from which you fled. Discovery of the truth was the last thing you wanted.

Nothing made sense.

But what was the truth?

What is truth?

Parallel paths; I can't decide which.

Rather, multiple lines like tangled tackle.

One interpretation, the cavalier one, you'd prefer; the other a deeper more vulnerable one you'd prefer hidden.

I can't live in your heart to know definitively. I imagine you yourself don't fully know either. We're hanging somewhere between spiritual truth and illusion. The illusion you'd rather cast hides what?

Probably it was the more hidden truth and it held a power over you that disturbed you greatly because to follow that path would change your perception of freedom irrevocably.

what is it in life that is reorienting slowly?

with all the fans off last night wake to the press of heat sun streaming through veils of leaves

Me as an Audience Extra

The last year has been one of the most difficult years of my life. While I cannot share much of what has happened, the good news is that I am still going. Sometimes I'm not sure how.

At the end of May my last contract position ended and since then I have been officially unemployed, a disempowering experience to say the least.

Anyhow, for a new experience last Friday I was an 'audience extra' at Market Call Tonight on BNN. Here's a clip of me asking a question, something I make myself do whenever I attend a seminar. Okay, I don't know a lot about the stock market, but I realized that I know more than I thought I did.

By all means watch the whole show, Ross Healy's viewpoints are interesting. If you want to see yours truly, a little nervous (could have done with some of those beta blockers, laughs) go to 7:25 on this clip (after the ads) for about 2 minutes to hear his full answer.

Bridging Transformations

In the time of transformation, what bridges the gap between what is disappearing and what is coming to be?

What do we leave behind to cross?

Who are we to meet?

As we transform, what are we bridging in ourselves?


I found these questions scrawled in my notebook. Surely that day in late August I had something specific in mind. Perhaps I had just seen the video clips for the movie, Man on Wire, of Philippe Petit's dream to walk on a tightrope between the Twin Towers of New York's World Trade Center, and who did it in 1974. Twenty-seven years before their destruction, his delicate dance of balance across the strung edge of death bridged his dream to its realization.

Or perhaps I was considering the Oracle of the Hunab Ku, number 36: Bridge.

What bridges the crossing for you?

What are you crossing from,
and where are you going?

Discus Thrower

Discus Thrower, ©Brenda Clews 2008, oil pastel on paper, 13" x 17", 33cm x 43cm (click on image for larger size)

Began by playing with some new oil pastels while watching a movie, abstract at first rubbing and painting the soluble colours but I'm a figurative artist and so overlaid them with a guy inspired by the famous Ancient Greek Discus Thrower, in turn obviously inspired by the Olympics that I watched obsessively for two weeks. It is amazing how our experiences come through in our art. As I outlined him, first putting in and then removing an arm to give him a paradoxical angle whereby he can appear to be facing the viewer or with his back to us, depending on the light -squint & you'll see him from behind, look and you'll see the barest representation of a face to incline you to think he is facing us- I thought, to me he represents a 'force of nature.'

In my recent paintings I have chosen to work slowly with an eye to detail; this, by contrast, was an explosion.

Clustering the Night Sky

A star system that spins around its black holes. Twinkling nexus of neurons. Why do I breathe or lie here wondering why I am. Or you.

No, I don't wish to explain mystery. I like the strangeness of life, knowing we are real even as we part from our bodily images in our imagination of being.

I follow the lines of your body with my fingers of light. Lines that limn memories of you, you haven't lain with me for a long time.

In the masses of stars how did we find and then lose each other?

Do I carry a simulation of you, you are so real beside me? Mirrors of the past reflecting in the present. Neurons traveling the gaps in time.

Or are you here, thrown into my arms by the electricity of what is conscious, our connection beyond time and space.

In the strangeness, clarity.

Night after night I roll into your warmth imagined beside me.