Burning Light

encrypted prose poem

Clarice Lispector, The Apple in the Dark, trans Gregory Rabassa (London: Virago, 1967), p.237-8.

Light-Producing Organs

encrypted prose poem

Dream...

Not much going on muse-wise lately. But still enjoying my revealing dreams... this has much resonance with where I'm currently working. And makes me wonder...

I am working in an elevator as a receptionist for a large bank. There are three of us at a long desk. As the elevator goes up and down, the building shakes. The doors never seem to open, though.

On break I have to go to another building and take its elevator down.

Instead of a normal concourse level, I find a Third World-type mall that is empty. It's dark, and there are only a few lights. I walk around to the other side of the mall where there are fields that I can only see as far as the lights of the mall reveal. It could be a Caribbean Island. In the fields men are walking towards me. Dark-skinned men. They are walking like zombies.

I realize that, though I am an older woman, the place is deserted and I am alone, and I get scared. So I run back around the mall, and take the elevator up and go back to my job as a receptionist in the closed elevator in the building that is so high it shakes in the wind.

I am unnerved by what happened and want to leave, but a woman who's in charge looks at my chart and says, 'No, you can't go, you have to finish your hours...'

Dreams...

A crescent moon is in the back of my throat, not white, from reflected sunlight, but the dark side of the moon, what is never seen, and it doesn't hurt, but my throat feels thick and thirsty and so I wake up and sip some water.

The feeling of a crescent moon in the back of my throat persists, even now weeks later I still feel it, magical, mystical.
...
I dreamt I left my natural Jaipur Oriental Musk perfume oil in its small round red box at Wealth Management.

Meaning, I must go back to the job, since I'd never be without my bliss-enhancing musk perfume oil.
...
It was 4am and the phone rang a hesitant half-ring, but I must have been dreaming.

Some revelatory phone conversations with different people in different situations happened over the next two days, however. Where there was deception, truth emerged. I'm still shaken. Even dancing this morning, I found myself crying, something that has happened to many others but never to me in 10 years of this particular dance practice. What can I say?
...
Early in the morning I am sitting at a "treats" cafe in the basement Food Court in a downtown corporate office building ~like the one I work in~ and my man friend walks by with a dark-haired woman in a white pantsuit. She's quite ghost-like. He looks strong, energetic, full of the rush of 'going somewhere.' I have sought to dream about our connection and see some metal holders nearby, shaped similarly to the "treats" logo, they remind me of ones used in hanging file folders. The dream ends with my gazing at similar metal dividers that he has installed on the alley side of the gate to the house where I live in an apartment.

I thoroughly enjoyed sending the person-in-this-dream an email detailing all the ways I could enjoy being a "treat," and then discovered how closely the dream represented a real life situation about which I had known nothing. Dreams can give you a 'play-by-play' on a relationship, but be forewarned: there can be radical and unexpected shifts, in the dreaming images, in life. Always be prepared...
_____
p.s. No, I haven't had a sore throat in years; and no, my man friend is not involved with another woman, at least not in any conventional sense.

Browsings...

Syntax, structured coherencies, letting go to enter the streams-of-consciousness writing. But see how chromosomes are packaged. Tighter than any sonnet. We are form, and bound to form. Still, to untrain my mind, I allow emergences. We each experience the quality of the world differently, the qualia, but there are points, nodes, of happenings, in the world, in the event continuum, around which I gather my thoughts as I write this.

Browsing the news, I find a skeleton of pins, bars and a plate around Barbaro's leg, which is already held by a matrix of screws. The abscess, pummel of pus. Prize racehorse with a splintered leg. Laminitis. Later in the day, Barbaro is put down.

I'm reading Jean-Luc Nancy: "Isn't life always an escape from death? And this escape from death - which at the same time doesn't cease moving towards death, of course - which is it if not life itself..." "...it survives, that is, it is always on the escape, skimming non-existence, contingent..."

But my writing is full of grafts! Inserted into the landscape of soil-drenched words like the traces of a village found near Stonehenge.

And then this: "everything has the mark of its own disappearance." This phrasing, these words, their potential meaning, remain with me. I hover over them for a long time, writing them into my notebook, tracing them with my fingertips. Nancy says death is inevitable, we know that, it's just that when is unpredictable. Unless with drugs, like Barbaro, or euthanasia. Is the unpredictability of our disappearance marked on us?
The coleslaw is pale green and crunchy, tiny slivers of cabbage in a piquant dressing; I crave it when I see it. English cucumbers sliced on a diagonal, green and yellow wax beans, chickpeas, tiny diced red peppers, cherry tomatoes, a typically creamy potato salad, pickled sliced beets, and dressing, who knows what, perhaps a version of Italian. This, my small lunch from a salad buffet.

I am deep in an office tower of the corporate world. Outside of nature, here where death is remote, where it's dark beating wings are hidden. What's beating inside my head is monotony. Flourescent lights. A world in which there are no bodily fluids, no bodies with organs. A world of sheer surfaces, billboard women, men divided into one of two ranks: managerial or service. Or am I unfair?

Some scientists in Britain created a mechanical stomach that partially emulates the complexity of the chemical and muscular processes of digestion. It is of plastic and metal strong enough to hold the corrosive gut acids and enzymes. The scientists deliver foods to the mechanical stomach that even contracts just like a real one, and can even vomit, and watch the bile begin to dissolve everything into its constituents. The stomach isn't like a real one, which is beyond our ability to reproduce fully. Learning how our digestive systems work, especially the absorption of nutrients is the point of this digesting machine. Testing foods, antacids, even how poisons get absorbed, fascinating.

Back at the desk where I sit it's not as if I have anything important to do; they just need me here. Anyone. Someone who's good at the tasks. They don't even mind my writing, or me in the act of. Digesting.

Glint of the Green Cat's Eye

Embroidered flowers, relation to real-world flowers undetermined, perhaps fuchsia daisies and tawny buttercups and peach poinsettias. Thought is vision-based. It transforms through the insula, physical signals from the body, sensations into feelings. Neurocircuitry. I am a wired world. The sensitivity of the central nervous system transforms the world out there into the one in here. I perceive strokes of coloured yarn as flowers with indistinct reference to actual flowers dancing on hillsides of brown earth.

Head-strong, body-wise.

Information comes in so many ways.

Should I tell a story? That's a different shaping of events. Pick a narrative, a point of view. Paint representation in words. Describe a mutually-agreed upon approach to a scene.

On my finger is a thick silver ring set with a black stone in which there is a green cat's eye.

Carvings on a snake-shaped rock, arrow-heads 70,000 years old lying nearby, in a cave hidden in the "Mountain of the Gods" in Botswana. Offerings to spirit.

Anatomically modern humans emerged from East Africa 120,000 years ago. Protozoa on the edge of the expanse. Passing the baton of chromosomes from generation to generation, sacred bundle.

The rock snake is 6 feet long with a gash that is mouth-like. It's carved notches appear to ripple in the light that flickers in the cave, making it undulate, alive.

Can I move from the mystery of the mountain cave to the one of the night sky of stars without connectives? The green cat's eye glints its visions.

It's what we can't see that negotiates us.

About the size of a small asteroid, all the dark energy in the universe. It's absolutely consistent, too, and doesn't clump or coagulate anywhere. Unimpeded surface, if you can imagine that. And it's shaping everything, not only how far we are moving from each other, but perhaps the structure of the evolution of the universe itself.

There is dark energy between you and me.

Oh, laugh. There isn't anywhere it doesn't penetrate. It's about the expansion rate. Be a magnet and it'll slow down. What we need to exert on each other are gravitational pulls.

The thread in the crudely embroidered flower on my sweater pulls. Pulls out, winding undone. A red lace of snake beneath my fingers. Or perhaps we are merely notches in the undulating cosmic serpent that is always shedding its skin, leaving skeins and webs of matter amidst the empty spaces.

One day I'll take you through a time sequence, and you'll understand the expansion and the gravitational fields, and the forces existing on nothing. To grow we have to push our gravity into the expanding fields of dark energy. That way we don't disperse.

Consciousness doesn't actually have an "I." That's a narratorial strategy we fabricate afterwards. Trouble is, there's no-one in charge, only neurolinguistic circuitries, insulas sparking feelings, a lightning energy of consciousness constantly recreating itself as we interpret ourselves in this vast place of fleeting planets and stars and galaxies, where no-one has the final word.

Flames of Insight Curling on the Edges of the Burning Paper

You create this writing. Yes, you do. I write the words, their coherencies dancing to my inner rhythms, but you create the meaning that the words impart. You, the reader, control my writing. Okay, that is going a little far, but I do write for your reading. When you completely miss the point of what I wrote I think it's me, not you. I wasn't clear enough; it's not that you have problems with comprehension, though in my darker moments I will admit I've thought this.

There are different groups of readers too. Who comprehend differently from each other. Offering your writing to different groups can be an interesting experience. But I won't get into that. Oh, and whoever leaves the first comment often defines how that piece will be interpreted and responded to. I often make it a point not to read the other comments until I've commented. I want a pure connection with the writing that doesn't need to line up with the 'group-think' because it's sure of itself. I personally like independently thought-out comments. On the other hand, when discussions get going, that's great too.

The comments often enable the next piece of writing. We are audiences, then, who shape each other's writing. It's reader-response carried to a newly imagined level, this critical approach to literature, but greatly speeded up in the blogosphere. The process of reception and meaning-making that enables the writing to live beyond the page it is written on.