tag:blogger.com,1999:blog-7216126521871166252024-03-13T22:03:52.257-07:00The Midnight MolluscThe Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.comBlogger207125tag:blogger.com,1999:blog-721612652187116625.post-70360952051416334142018-02-22T07:06:00.004-08:002018-02-24T03:53:44.126-08:00Interview with Lisa Samuels<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><i>Light Glyphs 7:</i></span><br />
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<i style="font-family: 'times new roman';"><b>Lisa Samuels</b></i></h2>
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<span lang="EN-GB" style="font-family: "times new roman";">Lisa
Samuels is a poet whose work diversely explores and inhabits a plurality of
form and impulse: essays, sound art, collaboration, performance, film, theory,
philosophy, and the continual intermingling of these fields in ways that
energetically refute their distinction. From <i style="mso-bidi-font-style: normal;">LETTERS</i> (Meow Press, 1996) to <i style="mso-bidi-font-style: normal;">Symphony
for Human Transport </i>(Shearsman, 2017), in the fourteen collections in-between
and through editing a recent anthology (<i style="mso-bidi-font-style: normal;">A
TransPacific Poetics</i>, Litmus Press, 2017), Lisa Samuels engagement with
poetry has always upheld a challenging and tireless ability to question and
invent. Although it is facile to suggest any one defining characteristic in a
poetics that prioritizes the mutable and mobile, it is in the confluence of
body and language and the possibility to embody (or be embodied), that Samuels
often returns. Syntax becomes a bending gristle of feeling, words are willed
into somatic friction, and the page opens itself (as a self and its
dissolution) to reacting anatomies of experience. Her poetry is complex, felt,
and philosophically realised (without resolution) in the sensory and tactile
proof of living, as that living pursues and loses grip and gulp of where and
when to ground, in language, what living is.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I want to begin
by asking you about the writhingly glorious epic of skin, breath and water that
is </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Tender Girl<i style="mso-bidi-font-style: normal;"> (Dusie, 2015)…taking Lautréamont’s proto-surrealist </i>Les Chant de
Maldoror<i style="mso-bidi-font-style: normal;"> as inspiration, you imagine the
being that results from Maldoror’s tumbling sexual tryst with a shark…the
consequence being titular ‘Tender Girl’: an amphibious shark/girl hybrid that
arrives on the shores of mankind and spends the novelistic prose-poem’s entirety
navigating patriarchal and linguistic resistance…exploring, experiencing and
encountering…There is so, so much in this book that (before going any further)
I would like to echo Carol Watts’ blurb in seeing the logic of calling it ‘a
classic for our time’ and urge anyone reading this interview, to READ </i>Tender
Girl<i style="mso-bidi-font-style: normal;"> post-haste!</i></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The interaction
between textual and corporeal, somatic and syntactic, drives much of the book…to
choose one moment (of many) that switches between a linguistic naming and a physiological
functioning: <o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The body
emanates salt perfumes, tiny reeking.<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">She turns on
soft light gets the encyclopedia images and begins<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">naming her
parts: Sisyphus Amanda regicide wisdom serpent clam<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">pennyroyal bread
Roland wingspan commoner fence.<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">This
transitioning back and forth between language and bodily phenomenology often
exists in your poetry, I was wondering if you could say a bit about this
fascination? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Thank
you for your interested words about <i style="mso-bidi-font-style: normal;">Tender
Girl</i>. I feel happy for the intensity of making that book that it can have
the kind of committed reading you bring to it. And I think these transitionings
you point out are imperative for me; they are the way things are in my
experience. I breathe language or am breathed through by language, which yet
also morphs in relation to non-lingual feeling and geometric cognizance and
diaphanous imbuing. I experience my body intensely and it erupts or soothes
itself by way of language. So yes, the transitions go at least “both” ways. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">And
of course language is its bodies: its sounds, spaces, displacement, stretching
letters, ink-shapes, tongues of fire and disdain, clusters of words or letters
together (or solo swishes), wishes for ears, electric (digital) trembling, wet
electric (mental) happenings, wishes to grow differentials (extensions, new
forms) in relation to itself such as with human bodies. So it’s volitional, and
that wilfulness is part of the social nature of language. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">At
the same time languages operate always between at least two points or beings, object-events,
persons, person-to-text-to-person, so the transitionings you perceive in my writing
are always communicative in the broadest sense. Communication as attitude,
sense-markers, message transfer, touch, invitation, threat, distance, closeness,
and more. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">And bodies
have languages: exhalations and imprecations having to do with blood, marrow,
breath, holes, also communication with gestures, expressions, actions, also movement-shapes
of the limbs and torso and head: all languages. Every gesture for me is a
language in relation with the potentially expressible. So the relation is I
suppose dialectical, though I don’t know that I have thought of it that way
precisely before, much as I live in dialectics. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Are there any
writers, films or music that you turn to for inspiration, or in research, when
considering the poetics of phenomenology…or for a phenomenology of poetics?<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">This
is an interesting question for me at this point because it shows me that I have
not been thinking recently so much about phenomenology per se in terms of
reading philosophical works ascribed to it. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">And
yet I think the question is about <i style="mso-bidi-font-style: normal;">how</i>
I am reading things rather than perhaps what I am reading, thinking of reading
as viewing and experiencing also. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">In
the past I have liked Merleau-Ponty and Michel de Certeau for helping me think
about how I encounter thinking and object-events, yet de Certeau wouldn’t be
considered a phenomenologist. Latterly I have been recurrently obsessed with
Charles Sanders Peirce, Theodor Adorno, and Édouard Glissant, whom I am using
as support and door-opening thinkers in some as-yet-unpublished essays I am
writing. And yet again: not phenomenologists per se, I suppose. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
suspect my more precisely phenomenological ponderings are forwarded by writings
that are not disciplinarily philosophical, for example Ida West, a Tasmanian,
wrote and published only one book, <i style="mso-bidi-font-style: normal;">Pride
Against Prejudice</i>, which I’ve also been writing an essay about. The way she
uses language as a foreign entity of encounter with the political intensities
of her life comes across to me as ethical phenomenology shunted through the
challenges of creating any way to speak about life. Leslie Scalapino, too, has
long been a phenomenological writer I find really interesting.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">As
for music: huh. That’s such a different realm of being for me from the lingual
and the scopic, at least in terms of being a listener. I’m not a devotee of particular
musicians nor of type really, unless you want to point to the Unusual, or maybe
to “new music” and free jazz and sonic play. I’ve worked with three composers
to make poetry and sound events happen, and I could possibly talk a lot about
that, but I want to consider your question in terms of what I “turn to” as a
listener. For example in 2016 I encountered the work of trombonist Stuart
Dempster, and part of what excited me was the environments – such as the
“cistern chapel” (a disused water cistern) he played and recorded in with other
musicians – and score-with-open-borders that he seems to work with, at least in
terms of how I experience the music. My response to his work is certainly
interpretable as devotion to environment and open script within the demands of
working one’s instruments; that devotion describes at least one part of my phenomenological
poetics. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Jxr1kWYmbKglFHRLdShF6bMasoP46BOnT8c6aAkPmtkJTJ3Kv4hPJUyf96V5YLPfYg1DsSZN-5MmNvN0_SM03fCyJMGEp1TE891R9Jj3PkBaszxOOW3BR_F4b1sISEUhVE5O-DZakCis/s1600/Maurice-Merleau-Ponty.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="406" data-original-width="550" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Jxr1kWYmbKglFHRLdShF6bMasoP46BOnT8c6aAkPmtkJTJ3Kv4hPJUyf96V5YLPfYg1DsSZN-5MmNvN0_SM03fCyJMGEp1TE891R9Jj3PkBaszxOOW3BR_F4b1sISEUhVE5O-DZakCis/s320/Maurice-Merleau-Ponty.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maurice Merleau-Ponty</td></tr>
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</o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinPzVM-XgRcTlLvdH6nh6dKogKYjv5C_jKUmUY5gC7-Ui4FrwFmf8g_XKxviVgoJdQWpSdnyZuKylVUYqmnuH5TB_5iQPRuBJB4DL-S6iD5J-rcJ53mXZcxYVvCHyMhdK6UxZNi9Iea0QH/s1600/scalapino.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="251" data-original-width="350" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinPzVM-XgRcTlLvdH6nh6dKogKYjv5C_jKUmUY5gC7-Ui4FrwFmf8g_XKxviVgoJdQWpSdnyZuKylVUYqmnuH5TB_5iQPRuBJB4DL-S6iD5J-rcJ53mXZcxYVvCHyMhdK6UxZNi9Iea0QH/s320/scalapino.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leslie Scalapino</td></tr>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The other most
obvious element in </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Tender Girl<i style="mso-bidi-font-style: normal;">, which lends it a theoretical urgency, is
how, in answering </i>Les Chants des Maldoror<i style="mso-bidi-font-style: normal;"> with a hybridised female character – the literally untold story of
Maldoror’s spawn – you invoke the historically troubled, marginalised,
neglected, projected, and falsified presence of women in Surrealist art (I like
to think your book belongs to the always more interesting category of ‘in
dialogue with Surrealism’ as opposed to declaratively ‘Surrealist’). It also
begins to uncover and play with the Surrealism of gendered experiences, and
presents a shifting female re-configuration of thinking about, and as,
Surrealism. Could you say a bit about the interaction between Feminism and
Surrealism, as you see it, in </i>Tender Girl<i style="mso-bidi-font-style: normal;">? <o:p></o:p></i></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Again,
I’m so glad you like this book and I am grateful for the book’s sake that you
have given it so much time. Thank you for that responsive generosity. I know
you are interested in Surrealism, which is a set of historical attitudes and
procedures I have, at different times, attended to. You doubtless know far more
about it than I do at this point, since I moved away from it as a topic of
study after graduate school. It’s probably true that my moving away was for
critical gender reasons, after I shifted from a pretty naïve engagement with
Surrealism to a more sceptical one. One might say that working with Laura
Riding’s writings is the closest I have come to a critical interaction with Surrealism.
What I mean is that her writings perform interesting work with surrealism
without being particularly astute – or interested in being academically
situated in astute dialog – about Surrealism as a European mode or a set of
approaches. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
feel a bit twisted up in answering this question, and I suspect that’s because
I know how I <i style="mso-bidi-font-style: normal;">feel</i> about the question
re <i style="mso-bidi-font-style: normal;">Tender Girl</i>, but I don’t know immediately
how I <i style="mso-bidi-font-style: normal;">think</i> about it. Maybe I’ll try
to talk about how I feel. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">My
vision of the inciting idea of the book was sudden and unplanned. I imagined
this Girl arising from the sexual encounter between Maldoror and the shark. So
the shark gives birth to Girl, and later she rises out of the ocean and I
imagined her learning language and learning to interact with the human world. <o:p></o:p></span><br />
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<span lang="EN-GB" style="font-family: "times new roman";">Certainly
one can read that sexual encounter in <i style="mso-bidi-font-style: normal;">Les
Chants de Maldoror</i> as a voluntary erotic violence, at least according to the
book’s language, which is all there is of that imaginary encounter. So the
female has already been scarily enstranged in Maldoror’s surrealism, which is
of course not “surrealism” at all but rather an exuberant-to-violence
masculinist imaginary set of encounters that the 20th century French Surrealists
took as a grandfather text. This shark cannot speak though she is described as
having volition with her body and in her eyeing the human male. And she exists
only as language, so in that sense she is “speaking” or being spoken and spoken
for. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Yet
there’s an interesting power balance available in Maldoror’s text at that
moment, for of course the shark could kill the human easily, is among other
sharks doing just that. So their fucking each other is a replacement violent
desire. Can we say that imagination is permitted license to think the imagined
shark-female has volition in her fucking? Well, the scene is very short,
really, so what happens immediately is that we interpret, imagine, prolong or look
away from, judge the fantasy that a powerful unlanguaged non-human animal would
<i style="mso-bidi-font-style: normal;">want</i> to fuck a human. The grounds of
Lautréamont’s imagining do not have to be ours, yet we are, as readers of the
book, meeting his realm. So then, writing out of that realm is re-making the
book from that point, empowering an off-script new imagination – or, to think
of it in terms of your question, critiquing the book’s violence against
females, its deployment of imaginative excess in relation to violent
permissions. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">So
the Girl of <i style="mso-bidi-font-style: normal;">Tender Girl</i> is partly an
extra-human avenger – who yet “achieves” nothing in her vengeance. She does not
mean to be one, by the way, nor did I plan her that way when writing. She sometimes
avenges herself against those who take advantage of her, and she clashes
against social pressures; but sometimes she is simply violent accidentally, as
part of her physical powers and combinatory body. Almost all the moral action
of the book is at least polyvalent, partly because almost all the males of the
book are configured as consequences of their worlds. The characters are almost all
opaque or symbolic, canvases and response points for the dominant story of
Girl. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
think one of the things I have to say in response to this question is that my
literate or literary background is itself hybrid. For example I have no
grounded relation in a particular discourse of either Surrealism or Feminism. I
was carefully trained neither in French Surrealism nor in, say, Continental
Feminisms or their Anglo-American-Australasian counterparts or counterpaths.
The very name of the principal male in <i style="mso-bidi-font-style: normal;">Tender
Girl</i>, for example, comes from an entirely different place, say a place that
is outside of theory unless one zeroes in on the personal in all theory: I
chose it because, once upon a time, a kind Palestinian named Ramsey gave me a
copy of <i style="mso-bidi-font-style: normal;">The Jerusalem Bible</i>, when I
was a teenage girl living in Jerusalem. I still have that bible, and the
episodic nature of biblical – or, say, recurrent theistic – discourse is part
of the self-permission and picaresque of <i style="mso-bidi-font-style: normal;">Tender
Girl</i>. It’s like she’s a Nothing god-female, an unwitting version of the
dual-action divinity in The Book of Job, a litmus slathering through human
action. Ramsey is the only male who comes in to any kind of focus and the only
character with a normative human name in the book. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">So it
might be interesting for me to push on why that is, since my carrying on in
that fashion was instinctively done rather than critically decided and
controlled in terms of how I wrote and revised <i style="mso-bidi-font-style: normal;">Tender Girl</i>. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Something
salvific in the Ramsey character keeps Girl from entirely despising human masculinity,
though she still accidentally then increasingly consciously bristles against those male figures who condescend to her and/or
molest her. She grows more and more feminist as she has more human experience,
and there was never a question that her offspring would be a female, since the
offspring is a rebirth of identificatory possibility and a marker of
continuation. Also we never know – I never knew – which seed Girl chose from
her blue-sharkish pouch for insemination. This matters in terms of your
question – which I realize I have veered around in relation to – because
volition and plotted blanks, non-available motives and uncharted ingredients,
are part of Girl’s powers across the human zones she encounters. Insofar as she
is a moving target of para-surrealistic legibility, her character is in type
and action evasive of knowing: like history or selves.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">One
point I think of here, finally, in terms of the Feminism in your question, is
that some small part of <i style="mso-bidi-font-style: normal;">Tender Girl</i> –
“part” in the way that a piece of water is part of a large body of water – is a
critique of <i style="mso-bidi-font-style: normal;">The Awakening</i>, a novel I
find deplorable, depressing upon the head of woman whilst presented as some
kind of female wake-up narrative. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">In
saying all that, it’s important to recur to Girl’s non-actuality or
non-possibility. “Girl” is a nonce equation: biological unachievable, carried
by discourse, maybe by theory, which is what your question supposes. I can’t
answer the matter of feminism and surrealism adequately by resolved exposition
nor by normative mimetic dramatic character. So I took it up through Girl. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Building upon
the destabilised centrality of bodily experience as textual/textural experience
or the relationship between both experiences – a moving back and forth that denies
a settling certitude – and considering the title of your collection, </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Wild
Dialectics<i style="mso-bidi-font-style: normal;"> (Shearsman, 2012), could you
elaborate on the role of theory and philosophy in your work? Are you immersed
in one and then turn to the other for expression…or are they more simultaneous
to you?<o:p></o:p></i></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">When
you write “one” and “the other” in your question, I wonder whether you are
contrasting poetry and theory/philosophy, or if you mean theory is one thing
and philosophy is “the other”? I prefer to think of the second option because
it’s so interesting to think about the difference between theory and
philosophy. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
have two essay manuscripts developing. Their delay is due to limited time to
work, and I admit that my limited writing time gets preferentially allocated to
so-called “creative” works, mostly. Anyway the difference between theory and
philosophy forms part of the energy in my “creative theory” essay manuscript.
That ms. begins with “Wild dialectics,” an essay that has nothing to do with my
poetry book of that title per se and everything to do with the nominal
intuition proposed in my mind by the idea of wild dialectics, which is focused
on the hinge of thinking. I realize, though, that I can’t really explain that
essay nor fully take up your question in the confines of this interview –
there’s too much to say, and the answer might be: the essays I am writing. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">So
maybe I’ll turn the question a bit: in the way that we say everyone should
write poetry, we might say everyone should write theory. Everyone with privilege
to think, given basic security and bodily care, should consider how to develop
a consciousness rather than assuming they already have one, to paraphrase
Nietzsche’s critique (in <i style="mso-bidi-font-style: normal;">The Gay Science</i>).
I perceive theory as more open to human permission than philosophy, in terms of
its cultural and disciplinary positioning. To be sure, people often try to
solidify position and builds walls, but really I think theory is still a free
virus among the chances. I reckon perhaps the digitas has opened up those
chances in something of the way enjoyed by speculative essays, broadsheets,
pamphlets, etc., at various historical periods. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Well,
every sentence here is making me think of how much more there is to say, but
again I’ll curb, and turn to the other interpretation of your question. If I
could work on my projects full time I think I would constantly range back and
forth between the creative and the critical. As I sometimes say to students, I
find each one to be REM sleep for the other. But they are not the same thing to
me. I want poetry to be theory; I want creative writing to have the status of
first-order thinking. Just because it doesn’t, in general, doesn’t mean one
stops working on that border. When people are irritated by experimental
creative work it seems to be because they think creative work should be
mimetically normative stories <i style="mso-bidi-font-style: normal;">only</i>.
Super-short (poems) or extended (narratives), in any event stories.</span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">When
people are irritated by experimental theoretical essays, it seems to be at
least partly due to a (however understandable) desire for “clear” narrative or
for focused furthering of a topic deemed to be disciplinarily shaped. For me, I
am not interested in univocal certitude. I’m simply not interested. Nor do I
concede any conversations as finished or as dominated by some set of persons or
styles. I suppose similar assertions could apply to my poetry, so again: these
associated realms of poetry and theory allow my own work to have more
discursive instruments and my mind to have more voices.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I’d like to move
on to talking about </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Tomorrowland<i style="mso-bidi-font-style: normal;"> (Shearsman, 2009), this book-length
sequence has led to a film (adaptation/extension) … in addition to the double
CD of accompanying sound experimentation… could you contextualise how this came
about? What was your creative relationship like with director Wes Tank? <o:p></o:p></i></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">More
big questions!, whose answers encompass years and many possible thoughts. Well,
<i style="mso-bidi-font-style: normal;">Tomorrowland</i> was the first book of
mine for which I had the urge to record and compose soundscapes. It’s an epic –
in the sense of a poem including history, and also in its sustained length –
and it’s an intensely motivated poem. I wanted a sound performance to exist as
an embodied translation of the paper text. There’s a narrated quality to the
book that comes out probably more vividly in being read aloud. But I also
wanted to make soundscapes; I really enjoyed the process of creating sound
differentials and thinking about how they could be contra-puntal ambience for
the recorded voice of the different sections of the poem. I have many different
musical instruments and other sound-making objects and I like to play them
dis-connectedly or improperly, to conjure diastolic differentials by way of
diachronic systole, to adopt a heart metaphor. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Anyway
the film happened very differently and surprisingly: Wes Tank contacted me
about making <i style="mso-bidi-font-style: normal;">Tomorrowland</i> into a film
after he had listened to the CDs repeatedly. So I consider that the film
started with the CD soundtrack rather than with the paper book. I had known and
taught Wes as an undergraduate student in Milwaukee Wisconsin, and he had
become in intervening years a musician and videographer in addition to a writer.
We met up in person in late 2014 and storyboarded part of the film, which was a
fascinating process. Wes printed out the text of “All the Buildings Made of
Voices” and cut up the pages into small aspects of lines, 2-6 lines or so
apiece, and then glued them to a large board. We went through each of these
textual sections and discussed possible interpretations of most of them. What
did they mean? How could something like that be filmed? <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Finally
in June 2016, when I was on research leave and based in Seattle, we filmed with
a ten-person crew in Milwaukee. Then in January 2017 Wes flew to New Zealand
and we filmed with a more minimal crew. Those two location shoots gave us the
footage out of which the <i style="mso-bidi-font-style: normal;">Tomorrowland</i>
film was sculpted and edited. There are countless hours of footage made with
multiple cameras, and Wes and his editorial team created what is now the
viewable art short. He imagines creating a different and longer version at some
point, but whether or not that happens is up in the air. In terms of your
question, our working relations have always been great, and it’s worth noting
that the film result is principally Wes’s vision out of the potential of my
materials in both the book and the CDs. <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">You also appear
in the film as the alien-like, travelling figure of Eula. Was it important for
it be played by you, do you see your poetry in conversation with elements of
performance art? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Casting
me as Eula was, in the first instance, purely economics. We had no money to
make the film, and Wes suggested I play Eula. I had to get over an initial
surprise and resistance to the idea. I trusted Wes, so that was not a problem.
I just imagined casting someone other than me so I could be more distant from
the film, have more of a critical or maker’s eye. I also register the fact the
film is not the book: Wes has created a film narrative that is not the same
thing as the possibilities of <i style="mso-bidi-font-style: normal;">Tomorrowland</i>
as book and as CDs. The film’s Eula arrives as a space alien; the book’s is
not. The film becomes meta-narrative in a way the book really doesn’t, for
example. But of course a morphic translation – a new mediality – is always
different from another media state. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Anyway,
I do certainly see my poetry as in conversation with performance art. The CDs
are performance art, for example, and I have recorded toward making other CDs
that will eventually exist, barring sudden death. I want to make more
performances, but again: world enough and time. I have a full-time academic
job, and for now performance works happen hither and yon amidst other work. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">A
different way to take up your question is that the interlacings of signs, the
prospects and possibilities of interacting modes, is brought out when something
happens with more than one technical aspect or platform of its possibilities.
So if there is sound with print, or moving bodies with dialog, then engagement
has structured dialectic to work with. When there is modal dialectic, there are
multiplied chances to see, feel, and think. Which might seem to put pressure on
anything apparently mono-modal. Isn’t it okay to read a book, for example? But
there again I would say that the reader is the contrapuntal modality: the
reader’s embodied mind is the performance space of the book’s textual object-event.
In other words, everything is already multi-modal. Performance art torques and
displays and overtly plays the keys of multi-modality. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">It also struck
me that, in the film, the sense of Eula as a wandering, nomadic explorer …begins
to resonate with the character of Girl in </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Tender Girl<i style="mso-bidi-font-style: normal;">…is this a consciously reoccurring
interest…as the outsider, a female (but whose gender seems ambiguously in play
away from any binary) who allows a perspective through which to re-encounter
everyday experience…to estrange and interrogate our accepted experiences? It
reminded me, to an extent, of Scarlett Johansson’s alien abductress in Jonathan
Glazer’s adaptation of Michel Faber’s novel </i>Under the Skin<i style="mso-bidi-font-style: normal;"> (2013).<o:p></o:p></i></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
have not seen that Glazer film. But I can say that once I realized what Wes
Tank wanted to do with Eula, I thought of <i style="mso-bidi-font-style: normal;">Liquid
Sky</i>, the Slava Tsukerman film from the 1970s that made a keen impression on
me when I saw it on video in the 1990s. If you have seen that Tsukerman film
then you can imagine how Eula became a visualization for me in terms of Wes’s
film vision. In terms of picaresque experiences, though, Girl is much more akin
to the Liquid Sky heroine than Eula is, in both the book and the film version
of <i style="mso-bidi-font-style: normal;">Tomorrowland</i>. Oh, things get all
interwrapt! <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Certainly
a predominantly female-figured consciousness in imagined cultural spaces has
become a legible obsession in my works. Hardly surprising, perhaps. I am more
interested in the differentiations in various works than in the type-trace per
se. But it’s possibly interesting to see this androgynous-female figuration
intensify in my work. In the </span><i style="font-family: 'times new roman';">Tomorrowland</i><span style="font-family: "times new roman";">
book Eula isn’t a character so much as a para-narratorial figuration whose name
stands for End User License Agreement and whose position is partly androgynous
contemporary. Similarly but not identically, the other named principles of the
book are not characters but symbolic forces. But Wes had to, or wanted to, work
with human actors, and he set up Eula in a fairly stable body relation to
actors who play the other named principles (ideas, that is, not mains) in the </span><i style="font-family: 'times new roman';">Tomorrowland</i><span style="font-family: "times new roman";"> book, that is: Fasti,
Manda, and Jack.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">What films have
inspired you in the past?<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
suppose it’s worth mentioning that I wasn’t raised with films. I saw possibly
ten films in cinemas before the age of about 14, and after that I went only
somewhat more often until I got into my 30s. I don’t consider that I have much
sophistication or depth of knowledge about film, though in the last decade I’ve
seen a lot of children’s films because of raising my son and mostly watching
movies that appeal to children. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Most
of the time I don’t want to see what is showing at the cinemas because it sounds
too obvious: pre-interpreted dramatic situations of greater or lesser intensity.
However, there are films that have moved me a great deal, and of course film as
a medium has formidable powers of engagement with our bodily (scopic, sonic,
and kinetic) and leisure-motivated (cinema-going) and critical selves. I’ve
just mentioned the Tsukerman film. If I had my way I would almost always watch
strange films, things like Buñuel’s, anime whose resolution isn’t too loud – perhaps
<i style="mso-bidi-font-style: normal;">The Red Turtle</i> is a good contemporary
example, mytho-symbolic as it is, though I saw <i style="mso-bidi-font-style: normal;">Spirited Away</i> when it first came out in theatres and I can’t think
of an anime film I like better.<o:p></o:p></span><br />
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<span lang="EN-GB" style="font-family: "times new roman";">I
should try to answer your question with more specifics. What films have
inspired me? With manipulated dread and nausea: <i style="mso-bidi-font-style: normal;">Pan’s Labyrinth</i>, and its type of film. With desire and curiosity, <i style="mso-bidi-font-style: normal;">Orphée</i>. With discomfited interest,
Theresa Hak Kying Cha’s short films, and similar short works whose makers and
titles I forget because I have simply come across them while scrolling through
ubuweb looking for moving image work. Werner Herzog’s films, too, especially <i style="mso-bidi-font-style: normal;">Fitzcarraldo</i>. Oh and also the
legible-as-film digital kinetics of some of the work in the online Electronic
Literature Collections, the most effective collocation of digital/new media
works that I know of at present, however one might think at least twice about
the ELC’s English-dominant orientations.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The merging of
film and poetry, or the one-in-the-other dynamic, is a really difficult, but fascinating
area – are there any particular coordinates of film or poetry that you look to
as encapsulations of when these two mediums work well together? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">This
is a good question. The problem of language in relation to anything else rises
up acutely. The potential swamping of abstraction by sensory particulars also. I’ve
already talked about multi-modality, so I think here I’ll say something about
control and the open line. I have an essay called “Soft text and the open line”
(coming out in <i style="mso-bidi-font-style: normal;">Axon</i> journal), and I’m
thinking of it now because I know part of my experienced resistance to watching
films is about control and swamping. Except when I go to the movies for what I
call brain candy films, I don’t want to be seized by art; I want to be conscious.
To sustain that consciousness, I want art to leave openings in itself. Such
openings might be what are sometimes judged to be mistakes, which I think is part
of the public pleasure in continuity errors in film editing – modern watches on
the wrists of historical characters, for example, allow or force the audience
to become conscious of the made experience. That consciousness actually
increases the pleasure of immersion in the constructed film, at least for some
viewers. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">But
open lines can happen in more deliberately constructed ways: internally-skewed
aspects of a work can function as waking points, breath moments interposing in
the coherence of a made work. These open moments can be rougher, and perhaps
feel like mistakes, or somewhat smoother and structured into a non-integrated and
yet whole work. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Even
in terms of open lines film and poetry have different “coordinates,” as you are
calling them here. For the sake of considering this question further, I want to
acknowledge yet set aside the expansive possibilities for “film” and “poetry,”
either of which can be almost anything that a maker and context wish to say
they are. So film could be, for example, an audience raising its mobile phones
– in a theatre with no central film showing – and filming what they see for ten
minutes, then declaring the end of “the film.” Or poetry could be a person
being handed slips of language written on tree leaves by another person right
then on a boat, reading the slips aloud, then letting them fly out to sea. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Actually,
though I intended to imagine two examples that are different from a film in a
cinema and a poem on a page being read in a book or on a screen, I find those
imagined examples of ephemerally-focused control-loosening film and poetry to
provide sufficient images of modal “coordinates.” The scopic-experience
orientation of the filmic and the performed-interpretation orientation of
poetry have a great deal to offer each other in terms of exponentializing
dialectic opportunities and therefore mental food. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">You have
mentioned in another interview (on ‘Jack Ross: Opinions’) the writers you are most
often drawn to: </span></i></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">‘certain writers are recurrent for me, sometimes as a
matter of the note I need to have plucked at a moment of thinking. Writers of
excess can help me re-imagine our boundaries and exposures in the world – here
I’m thinking of William Blake, Lautréamont, Friedrich Nietzsche, Laura Riding,
Georges Bataille, Kathy Acker, William Vollmann.’ I was wondering whether the
world-creating and ambitious excess of these writers, which certainly enters
your work in the book-length explorations of </span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">Tomorrowland, Gender City, Tender Girl<i style="mso-bidi-font-style: normal;">, and </i>Symphony for Human Transport<i style="mso-bidi-font-style: normal;">, is something that you think any other
contemporary poets are doing? Who have you read recently that excites you?<o:p></o:p></i></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">It
isn’t poetry, but I read without stopping <i style="mso-bidi-font-style: normal;">The
Stolen Island</i> (2017), Scott Hamilton’s narrative of the pillaged island of ’Ata.
It speaks within alternative histories of places – and I mean alternative ways
of telling and considering histories – with and from a sustained “irrational”
commitment (the way love is an irrational commitment) to Oceania ethics,
identity, and histories. And Erín Moure’s <i style="mso-bidi-font-style: normal;">Kapusta</i>
(2015) is one of my favourite recent books: translingual poetry and prose,
experimental drama, investigation of communal and familial self – it performs
multiply. Alice Notley’s poetry books are go-to readings for stripped encounter,
not to be reductive, but certainly to be summary in terms of your question. By
stripped encounter I suppose I mean poetry written in an unvarnished (hence
“stripped”) self-encountering with many different aspects of life and death and
utter commitment to imagination as thinking bodies. These encounters are of
course artistically considered and shaped, and I’m conscious of imagining how
they were written when I am reading her books. <o:p></o:p></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fRd6WqG6a2Lfz-BAYoTyp1wU2rjX3s1kHqHEF4rXl0xOgsamGoslmLe1Zvpzzc8Rn98mIjylQ1xwvTwn3xsHFGDZVhMcuNv9kE5AnD0D44631V7z961-al4ieJWxJwbuM119CtAjsSyc/s1600/aliced+notley+by+alan+bernheimer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="332" data-original-width="500" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fRd6WqG6a2Lfz-BAYoTyp1wU2rjX3s1kHqHEF4rXl0xOgsamGoslmLe1Zvpzzc8Rn98mIjylQ1xwvTwn3xsHFGDZVhMcuNv9kE5AnD0D44631V7z961-al4ieJWxJwbuM119CtAjsSyc/s320/aliced+notley+by+alan+bernheimer.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alice Notley</td></tr>
</tbody></table>
<span style="font-family: "times new roman";">In
terms of “world-creating and ambitious excess,” well, people create in their
contexts and therefore zeitgeist recurrences zoom out everywhere. I am sure
there are many poets writing now, whether or not I am aware of them, whose work
features this large-creating aspect of imagining that you reference in your
question. Don Mee Choi, for example, has completely entered my zones of
attention: I am moved and discomfited by everything she writes, and she too
writes in multi-modal history and lingual re-making. And in terms of more
writing I am excited by – it’s hard to pause and think of more writers to
mention, but some come up without too much push: Laressa Dickey and Nathanaël,
for example, are both in the new </span><i style="font-family: 'times new roman';">women : poetry
: migration</i><span style="font-family: "times new roman";"> (2017), edited by Jane Joritz-Nakagawa, who has performed a service
for the transnational imaginaries I live in by compiling this anthology. And
the writers included in my own anthology </span><i style="font-family: 'times new roman';">A
TransPacific Poetics</i><span style="font-family: "times new roman";"> (2017, co-edited with Sawako Nakayasu) are resonantly
interesting for me: Don Mee is there, and Melanie Rands and Jai Arun Ravine for
example. And in the new </span><i style="font-family: 'times new roman';">Chicago Review</i><span style="font-family: "times new roman";">
issue, Anne Kawala is a discovery for me; I’d like to find more of her poetry
to read.</span></div>
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<span lang="EN-GB" style="color: #4472c4; font-family: "times new roman"; mso-themecolor: accent1;">- Tāmaki Makaurau/Auckland, February 2018<o:p></o:p></span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-90507705067137470422017-10-28T07:37:00.000-07:002017-10-28T07:46:40.805-07:00Interview with Andrew Kötting<h2>
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<b><span lang="EN-GB" style="font-family: Times;">Light Glyphs 6: </span></b><b><i><span lang="EN-GB" style="font-family: Times; font-size: 18.0pt;">Andrew Kötting</span></i></b><b><i><span lang="EN-GB" style="font-family: Times; font-size: 16.0pt;"><o:p></o:p></span></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOaewIePZYev4RldIM4VpxPmODAUIXe3AB0LMLpDzAwW_CQ3wIHynw__E2g_Bs3OTalbbf2pxIzA1nQRuDsqYEs8i72cJ47P2qLgNEN3mg0SNKFZrv0Xu20b468tMM3ax267XBldHncJ5N/s1600/ark_portrait_2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="900" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOaewIePZYev4RldIM4VpxPmODAUIXe3AB0LMLpDzAwW_CQ3wIHynw__E2g_Bs3OTalbbf2pxIzA1nQRuDsqYEs8i72cJ47P2qLgNEN3mg0SNKFZrv0Xu20b468tMM3ax267XBldHncJ5N/s400/ark_portrait_2015.jpg" width="400" /></a></div>
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<span style="background-color: white; font-family: "times new roman";"><i><br /></i></span></div>
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<span lang="EN-GB" style="font-family: "times";">The first film I
saw by Andrew</span><span lang="EN-GB" style="font-family: "times new roman";"> </span><span style="background: white; font-family: "times new roman";">Kötting</span><span lang="EN-GB" style="font-family: "times";"> was <i style="mso-bidi-font-style: normal;">This, Our
Still Life</i> (2011). After the film finished, I had that rare and fluttering
excitement that what I had just watched would far outlive the duration of my
viewing. I had watched the film on DVD in a flat in London. On leaving the dark
room and out into the street I began to immediately walk towards the <i style="mso-bidi-font-style: normal;">BFI</i> Southbank where I knew they had a
copy of his first feature <i style="mso-bidi-font-style: normal;">Gallivant</i>
(1996). It was one of those moments where, walking beneath an unnervingly blue
sky and in the giddy aftermath of what I’d just seen, everything seemed bustling
for my attention, each thing more vividly itself and newly awake to (re)discovery.
Striding forth to purchase another skittish dose of </span><span style="background: white; font-family: "times new roman";">Kötting</span><span lang="EN-GB" style="font-family: "times";">, bounding after my next fix, caught up in its
afterglow – gratefully infected – seeing within and from its restless energy, following
its propulsive curiosity. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">Taking a mutable form somewhere between documentary,
collage, film-essay and a playfully diaristic recording as the basis for a
visual poetics, <i style="mso-bidi-font-style: normal;">This, Our Still Life </i>centres
around </span><span style="background: white; font-family: "times new roman";">Kötting’s</span><span lang="EN-GB" style="font-family: "times";"> family (specifically his daughter Eden, who
has a rare genetic disorder, Joubert’s Syndrome) as they spend time in a remote
part-time home in the Pyrenees. Taking cues from the changing seasons, the old
farmhouse (deeply and romantically isolated amid forest and mountain) becomes a
rickety locus for family rituals: the daily struggles, frustrations,
intimacies, and joys that build a life and its collaborative explorations in
and as art. The film is edited with </span><span style="background: white; font-family: "times new roman";">Kötting’s characteristic jumps of intuition and scattershot logic; </span><span lang="EN-GB" style="font-family: "times";">itching with humour and eccentric
seriousness, its handheld kineticism eager to be out and among the accidents of
happening. In this unstill ‘still-life’ portrait (if ‘portrait’ is in turn the
departure for makeshift galleries of <i style="mso-bidi-font-style: normal;">moving</i>),
the film’s distracted zest for observation and personal family-footage begins
to perfectly enact a defining focus for </span><span style="background: white; font-family: "times new roman";">Kötting’s filmography: the spaces between ‘outsider’ and ‘insider-art’;
between art, performance, living and film; between a collaged poetics and a
filmed journey; and between people and landscape. </span><span lang="EN-GB" style="font-family: "times";"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH46eKyWL3HpDgaJ2bL7whjRv5IlT5NhHaB89jqpmilXFybS-8P914LFYWssdBGQuyjPYZD57e5EEyQIyjvx3m1SMCzqqtfUWtKBLCi3Fd2On_LjJAdfpnpSGr1ptyJKeXr2EL3Pca_fXf/s1600/Andrew+Kotting+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="179" data-original-width="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH46eKyWL3HpDgaJ2bL7whjRv5IlT5NhHaB89jqpmilXFybS-8P914LFYWssdBGQuyjPYZD57e5EEyQIyjvx3m1SMCzqqtfUWtKBLCi3Fd2On_LjJAdfpnpSGr1ptyJKeXr2EL3Pca_fXf/s1600/Andrew+Kotting+3.jpg" /></a></div>
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<span lang="EN-GB" style="font-family: "times";">This interview
took place after I met Andrew for a Q&A at Tyneside Cinema, he was
introducing <i style="mso-bidi-font-style: normal;">Edith Walks</i>. The film
(like his films <i style="mso-bidi-font-style: normal;">Gallivant</i>,<i style="mso-bidi-font-style: normal;"> Swandown </i>and <i style="mso-bidi-font-style: normal;">By Our Selves</i>) took the form of a journey. A walk-in dialogue with
the spirit of Edith Swanneck, stepped out in séance between Hastings and Waltham
Abbey to reunite the dismembered, battle-torn body of King Harold with his wife.
Undertaken as an improvised pilgrimage, the film curates a troop of fellow
musicians, historians and writers, bringing together: the bearded gnosticism of
Alan Moore, the conspiracy of literary cartography that is Iain Sinclair, the musical
innovations of Jem Finer, and the incarnation of Edith in Claudia Barton – a singer
clad in an increasingly bedraggled dress. The film was accompanied by a
beautiful book (<i style="mso-bidi-font-style: normal;">EDITH (The Chronicles</i>),
a CD of field recordings and music, and touring performances alongside
screenings. <o:p></o:p></span></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJf_Vl7O-9GuqLLT8wvRo8mWehOm41PCX8DPbJAO070KFOf-p85spibTh7_YOocFgwC-bW5J6oR95PAxvmb5HyY7Cut2T9G9oCV-04esqHXyZ35XjGLqXMqqFrdRySXS7pxOIuBBQZjdx/s1600/edithwalks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="576" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJf_Vl7O-9GuqLLT8wvRo8mWehOm41PCX8DPbJAO070KFOf-p85spibTh7_YOocFgwC-bW5J6oR95PAxvmb5HyY7Cut2T9G9oCV-04esqHXyZ35XjGLqXMqqFrdRySXS7pxOIuBBQZjdx/s400/edithwalks.jpg" width="400" /></a></div>
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<span style="font-family: "times";">Andrew's responses came in the emphatic shout of caps-lock, reminding me of the text in <i>This, Our Still Life</i>, I kept it that way as I feel it is in-keeping with the spirit of a 'dirt-under-the-fingernails' bounding, climbing and swimming that runs throughout all of his work...BOLD ELEMENTS OF LANGUAGE UNTETHERED / GATHERED / LAUGHING / LIGHT / WALKING / DRUMS UP / & ONWARDS...</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh_XyQtSr92qipisiaHFfzgltg8DaIt7KM1On5AzIoaN3kwc7cs2dsztm2epTEWjWPSDAp480ChtPN3kCE4Ky0SwYHlarWnK_dVCZEE79Rgl3c1ITyKSJXKu12SFMfbBQkdk4R4q3ZDBXb/s1600/1200.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="180" data-original-width="300" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh_XyQtSr92qipisiaHFfzgltg8DaIt7KM1On5AzIoaN3kwc7cs2dsztm2epTEWjWPSDAp480ChtPN3kCE4Ky0SwYHlarWnK_dVCZEE79Rgl3c1ITyKSJXKu12SFMfbBQkdk4R4q3ZDBXb/s400/1200.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="font-family: "times";">Whether it is in
puncturing the hubris of Pound’s cantos with a small plastic swan (<i style="mso-bidi-font-style: normal;">Swandown, </i>2012), retracing the
pilgrimage of John Clare (<i style="mso-bidi-font-style: normal;">By Our Selves, </i>2015)
or exhuming the lines of Heinrich Heine via strolling song (<i style="mso-bidi-font-style: normal;">Edith’s Walk, </i>2017), poetry continually excerpts
an influence or presence in your films…are there any particular poets that you
read for pleasure, or that are particularly significant to you? <span style="mso-spacerun: yes;"> </span>Do you read much contemporary poetry? <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I READ POETRY
INTERMITTENTLY – BUT INVARIABLY IF IT’S FOISTED UPON ME I’M RESISTANT TO IT –
WE DID A LOT OF WORDSWORTH AND KEATS AT SCHOOL – HOWEVER I HAVE SHARED A STUDIO
WITH A POET AND PUBLISHER OF POETRY FOR ALMOST EIGHT YEARS NOW SO A LOT OF HIS ENTHUSIAM
HAS RUBBED OFF ON ME – I LIKE THE METAPHYSICAL WEIGHT OF POETRY – THE NEED TO
DIG INTO IT – BUT ALSO ITS IMMEDIACY WHEN IT WORKS <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I USED TO LIKE TO
STUMBLE ACROSS POETRY – WHEN I WAS GROWING UP IT WOULD HAVE BEEN RICHARD
BRAUTIGAN – SAMUEL BECKETT AND JOHN COOPER CLARK BUT MORE RECENTLY IT’S KATE
TEMPEST MEREDITH MONK MARGARET ATWOOD AND NICK CAVE – AND THEN OF COURSE JOHN
CLARE – LUCKILY I WAS BULLIED MERCILESSLY INTO RESEARCHING HIS WORK BECAUSE OF
A PROJECT I WAS INVOLVED WITH - <b style="mso-bidi-font-weight: normal;">BY OUR
SELVES</b> - PROFESSOR SIMON KOVESI WOULD KEEP BOMBARDING ME WITH ‘STUFF’ – HE’S
A <i style="mso-bidi-font-style: normal;">CLAREHEAD</i> - THE ASYLUM POEMS ARE
VERY POWERFUL AND INSPIRING – IAIN SINCLAIR HAS OBVIOUSLY BEEN A BIG INFLUENCE
AND ALSO BRIAN CATLING.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhywrMu5L3iKLTTMOTOrtoPIGQ1q56s-kek9k-qPXmOTHepbkYnq1y0t-JuBWK4IQZH3f4GTHcAaQFw8wb8kk94_mX3DoPK_IlusjJ9KHnKzQXkmfDjaTFjmessz0JjU7lWem_wnwvU0MGr/s1600/by-our-selves-2014-005-straw-bear-and-toby-jones-in-field.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1000" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhywrMu5L3iKLTTMOTOrtoPIGQ1q56s-kek9k-qPXmOTHepbkYnq1y0t-JuBWK4IQZH3f4GTHcAaQFw8wb8kk94_mX3DoPK_IlusjJ9KHnKzQXkmfDjaTFjmessz0JjU7lWem_wnwvU0MGr/s320/by-our-selves-2014-005-straw-bear-and-toby-jones-in-field.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-family: "times";">TODAY I FIND
MYSELF TRAVELLING WITH THE WRITINGS OF E.M CIORAN; ‘THE TORUBLE WITH BEING
BORN’ ‘ON THE HEIGHTS OF DESPAIR’ ‘THE TEMPTATION TO EXIST’ ‘A SHORT HISTORY OF
DECAY’ – THE TITLES THEMSELVES ARE LIKE HAIKU POEMS AND THEN THERE’S DAVID
SHIELD’S BOOK ‘REALITY HUNGER’ – I NEVER TIRE OF DIPPING IN AND OUT OF IT – BUT
IT’S NOT ‘PROPER’ POETRY.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I WRITE A LOT OF
PROSE POEMS MYSELF AND INVARIABLY THEY FIND THEIR WAY INTO PROJECTS THAT I’M WORKING
ON; PERFFORMANCES/FILMS/BOOKWORKS/WALL TEXTS AND MY DAUGHTERS COLLAGES AND
PAINTINGS <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">Through using
sound as collage and with an ongoing collaboration with Jem Finer (and subsequent
albums of field recordings), many of your films seem to suggest a kind of sonic
poetics. I’m thinking here of the detailed, careful (dis)arrangement of voices,
the hauntings of one film’s audio in another’s (Gladys and Eden’s voices from <i style="mso-bidi-font-style: normal;">Gallivant</i> as<i style="mso-bidi-font-style: normal;"> </i>recalled in <i style="mso-bidi-font-style: normal;">Swandown</i>, or
the short film, <i style="mso-bidi-font-style: normal;">Klipperty Klopp</i>,
1984, echoed by a character in <i style="mso-bidi-font-style: normal;">Ivul</i>,
2009, who utters the phrase in joking imitation of a horse), and then the
mischievous way in which sound will often complicate or confuse the image. <span style="mso-spacerun: yes;"> </span>Do you <i style="mso-bidi-font-style: normal;">collect</i>
sound as part of a project, in a comparable way to accruing footage, or is
there a more specific method? Are there particular archives you return to, to
gleefully pillage and plunder? Do you approach the cutting up and editing of
sound as a kind of poetics, embodying and furthering a mode of ‘expanded
cinema’?<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">YES – YOUR
QUESTION(S) AND ASSUMPTIONS ARE VERY CLOSE TO REVEALING MY METHODOLOGY; SONIC
POETICS/MUSIC CONCRÈTE/MEDIATED COLLAGIC CHAOS/DRIFT POEMS/CHOREOGRAPHED SOUND/IMAGE
SCAPES AND ‘SPILLAGE’ - I’M ALWAYS REVISITING WORKS – LOOKING TO
RE-IMAGINE/RE-WORK/RE-CONFIGURE/RE-ARRANGE/RE-ALLIGN AND RE-GURGITATE BOTH OLD
AND NEW FOOTAGE WHETHER IT BE MOVING IMAGE OR SOUND.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">‘PILLAGE AND
PLUNDER’ MAKES IT SOUND TOO BRUTAL – I’D LIKE TO THINK THAT THERE’S MORE
FINESSE INVOLVED – A NUANCE OF STRUCTURE – AN EBBING AND FLOWING OF IDEAS – A
TIDE OF UNDULATING ‘IMPLIED’ OR ‘FRAGMENTED’ NARRATIVES – THEMES AND SCHEMES
BUT NOTHING TOO DIDACTIC OR OBVIOUS.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I LOVE SUBSTRATA
AND SUBTEXT – I LOVE THE INFINITE POSSIBILTIES OF REVERSE ENGINEERING - I ALSO
LOVE ATMOSPHERE - I WAS VERY INFLUENCED BY DUB REGGAE WHEN I WAS PRETENDING TO
BE A PUNK – I NEVER FOUND THE 1 2 3<span style="mso-spacerun: yes;">
</span>SHOUTY SHOUTY WAY OF MAKING MUSIC THAT SATISFYING – ALBEIT THAT I WAS QUITE GOOD AT IT AND CAN STILL DO IT TODAY - BUT ONCE I DISCOVERED THE
POTENTIAL OF TAPE LOOPS/REVERB/ DELAY AND ECHO SUDDENLY I WAS UP AND RUNNING
INTO THAT WORLD OF ‘HAUNTOLOGY’ - AS IT HAS MORE RECENTLY BEEN DESCRIBED - YOU
CERTAINLY DIDN’T HAVE TO BE A MUSICIAN TO ‘MAKE MUSIC’ AND JEM FINER HAS ALWAYS
BEEN VERY SUPPORTIVE AND REASSURING IN MY ATTEMPTS TO ‘MAKE MUSIC’. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I AM ALSO VERY
INTERESTED IN MOVING IMAGE ARCHIVE – I HAVE A STRONG RELATIONSHIP WITH SCREEN
ARCHIVE SOUTH EAST AT THE UNIVERSITY IN BRIGHTON – I SPEND A COUPLE OF DAYS A
YEAR CATCHING UP ON NEW AQUISITIONS – IT’S MAINLY HOME MOVIES THAT HAVE BEEN
BEQUEATHED IN THE WAKE OF A FAMILY DEATH – 9.5MM/8MM/SUPER 8MM/16MM - SOMETIMES
EVEN VHS AND THERE IS DAVID LEISTER - WHEN I WAS LIVING IN LONDON – WE WOULD
HEAD OUT TO THE BFI IN BEACONSFIELD AND SALVAGE ANY 16MM PUBLIC INFORMATION
FILMS THAT THEY MIGHT BE THROWING OUT TO MAKE WAY FOR THE NEW HARD DRIVES – IT
WAS LIKE CHRISTMAS – AND DAVID STILL HAS MASSES OF THAT STUFF SCATTERED ACROSS
LONDON IN VARIOUS LOCK UPS BATHROOMS AND KITCHENS – I CONSOLIDATED MY
COLLECTION WHEN I ARRIVED IN HASTINGS 15 YEARS AGO BY TRANSFERRING MOST OF THE
SOUND TRACKS FROM A STEENBECK ONTO DAT TAPES OR MORE RECENTLY MY iPHONE. <o:p></o:p></span></div>
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<span style="font-family: "times";"><br /></span>
<span style="font-family: "times";">You seem very
attentive to the movement between repetition and play, where ‘play’</span><i style="font-family: times;"> </i><span style="font-family: "times";">offers interpretive mobility in
addition to valuing child-like perception (whatever that can or could
encompass) and ‘repetition’ suggests and disrupts patterns in each film, as a
process in which context can re-configure meaning. Does this changeable, open
and chance-led approach interact with your ‘eARTHOUSE Manifesto’?</span></div>
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<span lang="EN-GB" style="font-family: "times";">REPETITION IS
IMPORTANT – AS IS PLAY AND OF COURSE COMEDY – I THINK DADA IS A PART OF MY DNA
– PERHAPS IT’S THE GERMAN GENES – IT ALSO SERVES TO DISRUPT ANY POTENTIAL GRAVITAS
OR SELF-IMPORTANCE - IT ALLOWS FOR OTHER WAYS OF SEEING OR HEARING – CONTEXT IS
THEREFORE GIVEN THE CHANCE TO BE READ DIFFERENTLY AND THUS AMBIGUITY COMES INTO
PLAY – WHICH I’M A VERY BIG FAN OF – IT’S EASY TO GET LOST THOUGH AND
OCCASIONALLY I RESORT TO A REPETITION-OF –ATTEMPT BY WAY OF TRYING THINGS AGAIN
BUT IN A DIFFERENT ORDER! <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">THE <b style="mso-bidi-font-weight: normal;">EARTHOUSE MANIFESTO</b> WAS WRITTEN WITH MY
TONGUE FIRMLY IN MY CHEEK AS A REACTION TO THE <b style="mso-bidi-font-weight: normal;">DOGME MANIFESTO</b> WHICH HAD JUST COME OUT – I THINK BOTH MANIFESTOS
REMIND US THAT THERE ARE OTHER WAYS OF MAKING WORK OUTSIDE OF THE INDUSTRIAL
NORMS – BUT FOR COLLEAGUES AND FELLOW PRACTITIONERS THAT WORK OUTSIDE OF THE
MAINSTREAM FILM GULAG - WE ALL KNEW THIS BUT IT WAS GOOD TO BE REMINDED AND
HAVE IT WRITTEN DOWN – AND OF COURSE THERE WAS THE JUSTIFICATION FOR ME TO <i style="mso-bidi-font-style: normal;">GET MY ARMS OR FEET INSIDE ANOTHER SENTIENT
BEING, ALIVE OR DEAD…</i> <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";"><o:p> </o:p></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrjEv5D-B9mgrDP6MTNrNb3mqU5NtB0DaYlto_e-YWmYZmQ087SRvFx3-aIrPAx7T7cPCUsK6a32MbsWP5CrtpovhQPAR4WI9ZzQ0-2KGAU-hRqM-h-__3TeY1h-WJvkl9a2LwvVcxpoMa/s1600/papafootvertigo.jpg" imageanchor="1" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="591" data-original-width="900" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrjEv5D-B9mgrDP6MTNrNb3mqU5NtB0DaYlto_e-YWmYZmQ087SRvFx3-aIrPAx7T7cPCUsK6a32MbsWP5CrtpovhQPAR4WI9ZzQ0-2KGAU-hRqM-h-__3TeY1h-WJvkl9a2LwvVcxpoMa/s400/papafootvertigo.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="font-family: "times";">It seems like
this would be a good point to question the significance of what is left
unfinished or unresolved in your films. Looping and meandering, the films (like
the journeys they depict) often enact a restless structuring that permits no
final structure but that is left open to continue – a continuing – a going-on…I
was wondering how much of this was linked to your reading of Beckett or E.M
Cioran…or other bleak advocates of the fragment, the decay and the endless
unanswered... <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I THINK THEIR
WRITING HAS HAD A PROFOUND IMPACT – THE WRITING IS OPEN FOR INTERPRETATION AND
MEANING – I ENJOY THE NOTION OF FLUX OR CONTINGENCY – THINGS AREN’T FIXED –
THINGS AREN’T ‘NORMAL’ IN THEIR STRUCTURE.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">THE BIRTH OF MY
DAUGHTER <b style="mso-bidi-font-weight: normal;">EDEN</b> – THROUGH HER PROFOUND
DISABILITY HAS ALSO ‘ENABLED’ ME – SHE HAS INSPIRED ME AND THWARTED ME – MOVED
ME AND ANNIHILATED ME – BECAUSE OF HER I NEVER BECAME THE PERSON THAT I
THOUGHT/HOPED I MIGHT BECOME – SHE CONTINUES TO TEACH ME ABOUT ENDURANCE/HUMILITY/HOPE
AND DESPONDENCY – SHE PUSHES ME INTO TROUGHS OF MELANCHOLY ONLY TO THEN HELP ME
SOAR INTO THE REALMS OF SUBLIMITY – SHE HAS NURTURED MY LOVE OF BOTH THE
PHYSICAL AND THE METAPHYSICAL – LIKE A MUSE OR ILL ADVISED CONFIDENT…. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">BUT ALWAYS THE
GOING-ON….<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">Despite the
improvisation and play that animates much of each film, there is also, it
seems, an interest and investment in ritual, or versions of the ritualistic.
This is apparent throughout your work: from the early and incredible <i style="mso-bidi-font-style: normal;">Hub Bub in Baöbabs</i> (1989) and the
folkloric anthropology of <i style="mso-bidi-font-style: normal;">Gallivant</i>
(1996); the chain of site-specific, inflated tributes of<i style="mso-bidi-font-style: normal;"> In the Wake of Deadad</i> (2006); and through to the re-traced
journeys, honouring and speculating upon obscured histories, in <i style="mso-bidi-font-style: normal;">By Our Selves</i> (2015) and <i style="mso-bidi-font-style: normal;">Edith Walks </i>(2017). It feels as though a
kind of ‘ritual’ might also apply to the significance of collaboration, of
gathering and constellating like-minded people? Or perhaps even your continued
gravitation towards acts of endurance, of making the film a physical, as well
as artistic, endeavour (or erasing those distinctions) …this also seems
connected to a ritualised impulse. Would you agree that non-religious ritual is
something that consciously shapes your approach?<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">YES – A
PRE-CHRISTIAN ANTI-MONOTHEISTIC APPROACH IS VERY IMPORTANT – IT’S ONLY DURING
THE LAST TEN YEARS THAT I’VE ATTEMPTED TO ARTICULATE MY LOATHING AND DREAD OF
‘THE BIG-BOOKIST-BRAIN-WASHERS’ – A MALE DOMINATED/ALL POWERFUL/SUPERSTITIOUS/ANTI-HUMANISTIC
APPROACH OF CONTROLLING FREEDOM OF SPIRIT – I LOVE THE FOLKLORIC – THE METAPHOR
OF MYTHOLOGY AND THE POWER OF RITUAL – THE MARRIAGE OF THE CORPOREAL AND ‘REAL’
EXPERIENCE WITH THAT OF THE CEREBRAL – THE CONTEMPLATIVE MEDITATIVE POWER OF
BEING-IN-LANDSCAPE – THE MULLING OF <b style="mso-bidi-font-weight: normal;">DEEP
TIME</b> – AS ARTICULATED BY JEM FINER’S 1,000 YEAR-LONG MUSIC COMPOSITION <b style="mso-bidi-font-weight: normal;">LONGPLAYER</b> OR ALAN MOORE’S THINKING…. THE
SHAMANISTIC POTENTIAL IN ALL OF US IS SOMETHING THAT I’M ALSO INTERESTED IN.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">SO THE WORKS ARE CONSISTENTLY
CONCEIVED WITH ENDURANCE OR JOURNEYING AS A CATALYST OR AMBIITION AND THIS IS
SOMETHING THAT IAIN SINCLAIR HAS BEEN DOING FOR A VERY LONG TIME – WE CONNECTED
WHEN I MOVED TO HASTINGS AND FOUND A WAY TO CELEBRATE OUR KINDRED SPIRITEDNESS
THROUGH COLLABORATION – HIS GENEROSITY OF MIND RE-CHARGED MY BATTERIES AND TOOK
THE WORK INTO A DIRECTION THAT I HAD INTUITIVELY BEEN DABBLING WITH WHEN I MADE
<b style="mso-bidi-font-weight: normal;">JAUNT </b>AND <b style="mso-bidi-font-weight: normal;">GALLIVANT</b> BUT NOT FULLY REALISED - HIS MORE RECENT PROSE MANAGES TO
CONSTRUCT POETIC THOUGHTSCAPES USING JUST WORDS TO GREAT EFFECT – I FIND THEM
SPELLBINDING - MY PROCESS INVOLVES MOVING IMAGE/SPOKEN WORD/SOUND AND MUSIC BUT
ULTIMATELY I’M ALSO TRYING TO CAST SPELLS.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">IT IS THROUGH
COLLABORATION THOUGH THAT MUCH OF THE WORK ATTAINS ITS’ MAGIC AND POTENTIAL –
I’VE ALWAYS WORKED WITH PEOPLE THAT I HAVE A FONDNESS FOR REGARDLESS OF WHETHER
THEY ARE ‘GOOD AT THEIR JOB’ OR ‘PROFESSIONAL’ – IT IS MORE ABOUT RELATIONSHIPS
AND BEING-ABLE-TO-SPEND-TIME-TOGETHER – SOME OF THOSE EARLIER COLLABORATORS
HAVE DRIFTED AWAY BUT THAT INVARIABLY HAS MORE TO DO WITH GEOGRAPHICAL DISTANCE
– ALTHOUGH IN A FEW INSTANCES IT HAS ALSO HAD SOMETHING TO DO WITH A
MEANESS-OF-SPIRIT IN THEIR AMBITION FOR WANTING ME TO BECOME MORE MAINSTREAM
AND ACCESIBLE.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">Following on from
the mention of endurance, I was wondering whether you are ever tempted to
explore the viewer’s endurance? It seems that, whilst your own endurance or
pursuit of physical and feet-on-the-ground experience (extending to those
around you in the filming process) is paramount, the films do not necessarily
demand a reciprocal endurance in the viewer… in terms of shot-length and
duration (a slowness that emerges, say, in Ben Rivers work), or the resistance
of abrasive imagery or uncomfortable visuals…do these cinematic approaches
interest you at all? <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">THEY DO AND WITH
BEN’S WORK IN PARTICULAR – I THINK WE ARE BARKING UP A SIMILAR TREE BUT BEN IS
BRAVER WHEN IT COMES TO THE DURATIONAL – HE’S VERY INTO THE MATERIALITY OF FILM
- OF CELLULOID – I BLAME IT ON THE FACT THAT HE HAND PROCESSES MUCH OF THE WORK
AS WELL AS THE LENGTH OF A HAND CRANK TO A 16MM BOLEX.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">A LOT OF MY
EARLIER WORK WAS A PRETTY HARDCORE BARRAGE OF SOUND AND IMAGE – MY RYTHMS WERE
ERRATIC AND AT TIMES TOURETTES-LIKE – I’VE SLOWED DOWN AS I’VE GOT OLDER
LOOKING FOR A DIFFERENT ORDER – AND I’VE NEVER BEEN AFRAID OF ‘UNCOMFORTABLE
VISUALS’ - WORKS LIKE <b style="mso-bidi-font-weight: normal;">ANVIL-HEAD THE
HUN/FLESHFILM/NUCLEUS AMBIGOUS/ME/ABOVE THEM THE WORLD BEYOND </b>AND<b style="mso-bidi-font-weight: normal;"> THIS FILTHY EARTH</b> - I THINK MY NEW
FILM <b style="mso-bidi-font-weight: normal;">LEK AND THE DOGS</b> IS QUITE AN
UNCOMFORTABLE RIDE IN PLACES BUT THE IMAGES ARE MEDIATED THROUGH A LESS ERRATIC
VIEWING EXPERIENCE – IT FEELS LIKE A HYBRID; A PIECE OF WORK IN WHICH THE <b style="mso-bidi-font-weight: normal;">JOURNEYWORKS</b>; <b style="mso-bidi-font-weight: normal;">GALLIVANT/SWANDOWN/BY OUR</b> <b style="mso-bidi-font-weight: normal;">SELVES/EDITH
WALKS </b>MERGE WITH THE AMBITION OF THE <b style="mso-bidi-font-weight: normal;">STORYWORKS</b>;
<b style="mso-bidi-font-weight: normal;">THIS FILTHY EARTH</b> AND <b style="mso-bidi-font-weight: normal;">IVUL</b>. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";"><o:p> </o:p></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7P85OxUKgp5cEojhemXa9HJKHa9DDbnp0urDUSZJSMVhLBs9EKJB21_yhtsBNPXJJ356GhLptTKvcaBRcKkYOo4kE_vT0zavB5rJLnT0z25_FIqog6GSjGk2JcfIjgN_DBD4DSCekUo-Q/s1600/above+them.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="476" data-original-width="600" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7P85OxUKgp5cEojhemXa9HJKHa9DDbnp0urDUSZJSMVhLBs9EKJB21_yhtsBNPXJJ356GhLptTKvcaBRcKkYOo4kE_vT0zavB5rJLnT0z25_FIqog6GSjGk2JcfIjgN_DBD4DSCekUo-Q/s320/above+them.jpg" width="320" /></a></div>
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<span style="text-align: center;">Having just said
asked about ‘abrasive imagery’ and the possibility of uncomfortable viewing
experiences, I have just remembered two of your short films that </span><i style="text-align: center;">do</i><span style="text-align: center;"> delve into this area: </span><i style="text-align: center;">Me </i><span style="text-align: center;">(2000) and </span><i style="text-align: center;">Above Them the World Beyond</i><span style="text-align: center;"> (2013). Both of these films, in very
different ways, approach frightening levels of discomfort and make for
challenging, and impressively unhinged, viewing. Do you find yourself drawn to
darker implications and sequences in your films and then having to later cut
back, or edit out (as with </span><i style="text-align: center;">Me</i><span style="text-align: center;">, which
was originally to be included in </span><i style="text-align: center;">Gallivant</i><span style="text-align: center;">)?</span></div>
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<span lang="EN-GB" style="font-family: "times";">I THINK I’VE
EXPANDED ON SOME OF THIS WITH THE ANSWER TO THE PREVIOUS QUESTION – BUT YES I’M
ALWAYS REVISITING WORKS – LOOKING TO
RE-IMAGINE/RE-WORK/RE-CONFIGURE/RE-ARRANGE/RE-ALLIGN/RE-GURGITATE OLD AND NEW
FOOTAGE WHETHER IT BE MOVING IMAGE OR SOUND – OLD AND NEW ANSWERS ARE NO
EXCEPTION!<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">To what extent you see your films as an extension of
performance-art…or the documentation of performance art? I feel as though the
suits you wear (<i style="mso-bidi-font-style: normal;">In the Wake of Deadad </i>/
<i style="mso-bidi-font-style: normal;">Swandown </i>/ <i style="mso-bidi-font-style: normal;">Edith Walks</i>) signal the initiation, in costume, of a performance or
persona…or is ‘the suit’ (in its changing guises) perhaps another instance of
ritual?<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">MUCH OF THE WORK
IS ROOTED IN PERFORMANCE ART – I WAS BESOTTED BY JOSEPH BEUYS STAURT BRISLEY
AND GINA PANE WHEN I WAS AT ART SCHOOL – THERE WAS AN ATMOSPHERE ABOUT THEIR
WORK – THEY PERFORMED MAINLY FOR THE GALLERY SPACE BUT MY ANTICS WITHIN THE
PUBLIC SPACE HAVE PROVIDED RICH MATERIAL FOR BOTH THE
INSTALLATIONS/FILMS/PERFORMANCES THAT I MAKE THEREAFTER - THE SUIT REPRESENTS A
MINDSET OR CHARACTER – AN INVITATION TO ENJOY THE RIDICULOUSNESS OF AMBITION
AND BY INHABITING THE SUIT I FIND MYSELF COCOONED OR COMFORTED – A PROTECTION –
I THINK IT WAS INSPIRED BY BOTH MY GERMAN GRAND FATHER WHO WOULD ALWAYS BE
MENDING THE CAR OR GARDENING IN HIS THREE PIECE SUIT OR THE FILM <b style="mso-bidi-font-weight: normal;">THE MOON AND THE SLEDGEHAMMER</b> – I LOVED
THE IDEA OF THE MEN OF THE <b style="mso-bidi-font-weight: normal;">PAGE</b>
FAMILY WEARING SUITS WHILST HARD-AT-WORK IN THE LANDSCAPE – IT FELT INCONGOROUS
AND EXCITING - ON ANOTHER MORE MUNDANE LEVEL IT ALSO MEANS THAT I NEVER HAVE TO
THINK ABOUT WHAT TO PUT ON IN THE MORNING. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I was wondering
if you could say a bit about the Earth trilogy? With <i style="mso-bidi-font-style: normal;">This Filthy Earth </i>(2001) you mutated elements from John Berger’s <i style="mso-bidi-font-style: normal;">Pig Earth </i>and Zola’s ‘La Terre’ to
create a mud-soaked community wed to the earth, and in <i style="mso-bidi-font-style: normal;">Ivul</i> (2009)<i style="mso-bidi-font-style: normal;"> </i>a fractured
family leads to a young boy’s self-imposed exile from touching the earth – into
an existence in the treetops. Is <i style="mso-bidi-font-style: normal;">Lek and
the Dogs </i>the final in this proposed trilogy? Do you feel much has changed
in your practice from the first ‘Earth-instalment’ to now, with its completion
in sight?<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I TOUCHED ON THIS
IN THE ANSWER TO AN EARLIER QUESTION BUT INDEED A LOT HAS CHANGED FROM WHEN I
MADE <b style="mso-bidi-font-weight: normal;">THIS FILTHY EARTH</b> – TO MAKE
THAT ‘TYPE OF FILM’ TODAY WOULD BE A LOT HARDER – AT THE TIME I WAS SEDUCED BY
ALL THE ATTENTION I WAS BEING PAID IN THE WAKE OF THE SUCCESS OF <b style="mso-bidi-font-weight: normal;">GALLIVANT</b> AND ALSO A SELF-CONFIDENCE OF
BEING ABLE TO ‘TELL-A-STORY’ ON A GRANDER SCALE WITHIN A POETIC (MADE-UP)
LANDSCAPE – I WOULD HAVE BEEN LOST WITHOUT THE SUPPORT OF SEAN LOCK WHO WROTE
IT WITH ME – BUT ULTIMATELY THE FILM IS A FRAGMENTED NARRATIVE DELIVERED WITH A
WANTON DISREGARD TO THE COVENANTS OF CONVENTIONAL CINEMATIC STORY TELLING – I
REMEMBER SEAN COMING OUT OF THE FINAL SCREENING WITH HIS HEAD IN HIS HANDS
BEMOANING; ‘WHAT THE FUCK HAVE YOU DONE?’ – I DID IT AGAIN WITH <b style="mso-bidi-font-weight: normal;">IVUL</b> – ALWAYS LOOKING TO REVERSE
ENGINEER NEW/DIFFERENT MEANING INTO WHATEVER THE PROJECT STARTED OUT AS – IT
MUST BE VERY FRUSTRATING FOR MY COLLABORATORS – HOWEVER AS THE BODY OF WORK HAS
GROWN I THINK THAT PATTERNS ARE APPEARING THAT WERE MOST EVIDENT IN MY FIRST
PERFORMANCE/LAND ART/PISS TAKE FILM; <b style="mso-bidi-font-weight: normal;">KLIPPERTY
KLÖPP</b> – IN WHICH A MAN (ME) IS SEEN RUNNING ROUND AND ROUND IN CIRCLES IN
THE LANDSCAPE CARRYING A PAINTING OF A PRE-HISTORIC HORSE TO THE POINT OF
EXHAUSTION – A MONOLOGUE AS VOICEOVER ATTEMPTS TO MAKE SENSE OF WHAT IS
HAPPENING BUT ULTIMATELY FAILS TO GIVE ANY RATIONALE OR ORDER TO THE EVENT – IT
WAS SHOWN MANY MOONS BACK AS AN INSTALLATION AT THE CENTRE POMPIDOU AS PART OF
A SAMUEL BECKETT EXHIBITION WHICH MADE ME HAPPY HAPPY HAPPY – AND HAS COME TO REPRESENT
MANY OF THE THEMES AND AMBITIONS THAT STILL INFORM MY WORK TODAY.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times";">LEK AND THE DOGS</span></b><span lang="EN-GB" style="font-family: "times";"> FURTHER DEVELOPS MOST OF MY PREOCCUPATIONS THROUGH A
MONOLOGUE (INSPIRED BY KRAPP’S LAST TAPE) <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">- THE THEMES OF
ISOLATION/ENDURANCE/ RELIGIOUS BELIEF SYSTEMS/LANDSCAPE/PLACE/RITUAL/REPETITION/ARCHIVE/ATMOSPHERE/BEASTIALITY/DOGS/ETERNITYAND
HOPE<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";"><span style="mso-spacerun: yes;"> </span>To return to writing, specifically poetry, you
have yourself written a series of what could be called experimental essays and
prose-poems, many of which accompany your daughter Eden’s art. Beyond a
collaborative input with Eden’s published sketchbook, <i style="mso-bidi-font-style: normal;">This Illuminated World is Full of Stupid Men</i> <i style="mso-bidi-font-style: normal;">(2015-2016)</i>, and the books that accompany your films, do you have
any desire to further publish your writing? How do you view your own writing?
Is it always in service of, or inspired by, another project…or do you often
write as an activity separate and autonomous from your film and art? <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times";">I’VE NEVER SEPARATED WHAT I DO WITH MY PROSE-POEMS
AND OTHER WRITINGS FROM WHAT I DO AS AN ARTIST – THEY ARE PATHETIC ONGOING
ATTEMPTS AT BEING NOTICED OR REMEMBERED – AT ONCE ONE AND THE SAME AS ALL THE
OTHER ‘STUFF’ THAT I MAKE – I’D LIKE TO THINK THAT AT SOME POINT BEFORE I DIE I
MIGHT PUBLISH THEM MYSELF THROUGH <b style="mso-bidi-font-weight: normal;">BADBLÖODANDSIBYL</b>
WITH CONTRIBUTIONS FROM AS MANY OF THE PEOPLE THAT I’VE LOVED AND WORKED WITH
OVER THE YEARS AS POSSIBLE. <o:p></o:p></span></div>
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Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-60892508504025814382017-06-13T13:55:00.000-07:002017-06-26T11:05:45.466-07:00Interview with John Adams<div class="MsoNormalCxSpFirst">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;"><br /></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;"><br /></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">Light Glyphs 5: <span style="font-size: x-large;">John Adams</span></span></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7DX3aN0m09r0h_G0rzyTiOVXBo5NRdzAiA0X63EJC1irb3f2FvQfQxhEJ_oc6NWW2O8Xk2Z_CQsqDVDL7ijtXAfmYpU5MdVObXAsuCJLu4t1SWFjRqk54GZ_Ae3z057ym0m7lIAWZhx6b/s1600/Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="780" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7DX3aN0m09r0h_G0rzyTiOVXBo5NRdzAiA0X63EJC1irb3f2FvQfQxhEJ_oc6NWW2O8Xk2Z_CQsqDVDL7ijtXAfmYpU5MdVObXAsuCJLu4t1SWFjRqk54GZ_Ae3z057ym0m7lIAWZhx6b/s320/Art.jpg" width="218" /></a></div>
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<span lang="EN-GB" style="font-family: "times new roman";">In
his 1985 film, <i style="mso-bidi-font-style: normal;">Intellectual Properties, </i>John
Adams created a work that is at once intimately redolent of its time and eerily
prescient to a range of contemporary experiences: of politics and the virtual; advertising
and the personal; escalations of capitalism and the value of art beyond, before
and because of economic value; time and the desire for narrative as seduced by
the media and its narratives of desire: and, of course, that time-honoured and
lesser-known artistic pilgrimage of Newcastle to Boston…the transatlantic
journey. Originally presented as a 6-monitor installation and later edited as a
single one hour film, <i style="mso-bidi-font-style: normal;">Intellectual
Properties</i>, jostles between 16mm footage and video-editing. It uses looped
repetition to re-contextualise and manipulate reoccurring motifs, encouraging
(or teasing) a sense of possible (and pluralised) narrative and itching between
vocabularies of noir, surveillance, travelogue, documentary and advertising. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Throughout all of this, Adams maintains
glances of wry humour and witty awareness that make the film accessible, and
then, reflexively apprehensive of <i style="mso-bidi-font-style: normal;">what</i>
and <i style="mso-bidi-font-style: normal;">how</i> such ‘accessibility’ is
enabled: invoking a constant and anxious parallel in media strategies of
pathos, narrative and association. In perhaps one of the most memorable
sections, the visual seemingly disappears altogether leaving a black screen and
white text – playing with voiceover and its tensions with text (and textual
inconsistency) to compel and question rhythms of attention. It is an attention
that is acutely bound and poised with turns of the comic as, in this case, the
voiceover’s vignette seasons its dark account of an attempted overdose in
McDonalds with throwaway puns: “one of his hang-ups was telephones”. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Combining an acute and characterful
manipulation of language and sound, alongside film and video manipulation,
Adams’ work has been screened widely and abroad since 1982. His work is held in
major collections, including: Museum of Modern Art, New York; Centre Georges
Pompidou, Paris; Art Gallery of New South Wales; BBC and National Gallery of
Ontario. <i style="mso-bidi-font-style: normal;">Intellectual Properties</i> has
been revisited recently, screening in Tyneside Cinema’s Gallery (24<sup>th</sup>
May – 18<sup>th</sup> June, 2017, <a href="https://www.tynesidecinema.co.uk/whats-on/art/events-exhibitions/john-adams">details here</a>), offering a chance to engage again with this
rewarding, playful and worryingly relevant marker in British experimental film.
<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">Could you say a bit about your involvement in
the Newcastle-based art collective ‘The Basement Group’? Beyond the programmed
events (of which there were apparently over 230!) did the group have a
presiding aesthetic or share a particular artistic approach and did this extend
to political/social objectives?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">There’s a lot of
history between then and now. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">I studied fine
art at Newcastle Polytechnic between 1976 and 1979. It was an extraordinary
time to be a student there. Many of the lecturers were visionary and forward
looking, inviting a swathe of visiting practitioners from a number of
disciplines. It so happened also that my year group was very strong. I recall
that there were 9 firsts in that cohort on graduation, something that had not
happened before. Some of those students working in performance and video art
were encouraged by lecturers Roger Wilson and Stuart Marshall, to set up an
exhibition space, following the demise of the Ayton Basement*. And so the
Basement Group formed. We presented a wide range of work by students, emerging
and established artists. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Generally
speaking, much of that work was ephemeral, questioning the notion of art as
commodity and the values of broadcast television at the time. The Basement
Group evolved into Projects UK and subsequently Locus Plus, which still
operates today as an internationally respected commissioning agency.
Throughout, the organisation has been led by Jon Bewley, who appears in <i style="mso-bidi-font-style: normal;">Intellectual Properties </i>as the
commentator on copyright.<span style="mso-spacerun: yes;"> </span>My own
involvement over the years has been largely peripheral, serving on the board of
trustees.</span><span style="font-family: "times new roman";"> </span></div>
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<span style="font-family: "times new roman";">*A comprehensive
essay by Richard Grayson,<span style="mso-spacerun: yes;"> </span>outlining the
history and development of the organisation can be viewed here:<o:p></o:p></span></div>
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<span style="font-family: "times new roman";"><a href="http://www.richardgrayson.co.uk/texts/TWNHWYEssay.html"><span style="color: #1155cc;">http://www.richardgrayson.co.uk/texts/TWNHWYEssay.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "times new roman";">History of Locus
Plus: <a href="http://www.locusplus.org.uk/information/history"><span style="color: #1155cc;">http://www.locusplus.org.uk/information/history</span></a><o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Essay on the
emergance of video art in the UK by Stuart Marshall: <a href="http://www.luxonline.org.uk/articles/video_installation_in_britain(1).html"><span style="color: #1155cc;">http://www.luxonline.org.uk/articles/video_installation_in_britain(1).html</span></a><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">Throughout your films (I’m thinking here
specifically of Sensible Shoes, 1983, Intellectual Properties, 1985, and Goldfish
Memoirs, 1993) there is a reflexive preoccupation with film and/or video
(probably a significant distinction) as a way to draw attention to how
mercurial the same image(s) can be…always contingent, shifting in relation to
sound, voice, text and context. Yet, rather than this being a structuralist
tool interrogating the medium or a deconstruction of film-as-material, your
repeated or re-visited rhythms of footage seem more engaged with just how vulnerable
the viewer is to narrative and its suggestion. In Intellectual Properties we
encounter the term ‘Mediaocracy’ and each chapter of the work is followed by
the advertising quip “We’ll be back after these messages…” To what extent do
you feel that the film’s anxiety around media representation, and the contexts
of image manipulation, was specific to its time of making, in the 80s…and how,
for you, has it changed and escalated?</span></i></b><span style="font-family: "times new roman";"> </span></div>
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<span style="font-family: "times new roman";">Anyone who works
in film and video, is naturally interested in the nature and properties of the
media. In the case of the latter particularly, evolution of the form has
essentially followed technological development. My contemporaries were largely
exploring the properties and limits of the existing technologies, as was I. However,
for me that wasn't enough. We are all engaged by stories - telling them, listening
to them and sharing them. So I was looking for different ways to tell stories
using approaches which were not conventional and certainly not mainstream. It
occurred to me that the interpretation of moving images might be influenced and
contextualised by the accompanying soundtrack and that by applying this concept
in a number of ways, there was an opportunity to create multi-layered
narratives. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Arguably, it is
the task of the filmmaker to manipulate the feelings and thoughts of the
audience and as an editor, I would always ask myself, ‘What is the viewer
thinking now?’ Encouraging the viewer to modify those thoughts and
interpretations, to reflect on and change that thinking during the course of
the film, was an interesting notion for me. And that approach applies to the
three works that you mention, to a degree. Structurally, to achieve that in <i style="mso-bidi-font-style: normal;">Intellectual Properties, </i>was a rather
complex post-production process - and in fact was pushing the available
technology to its limits. So I was definitely concerned with the properties of
the medium in that sense.<o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Regarding the
manipulation of the media, I was very interested in that. Immediately before
working on <i style="mso-bidi-font-style: normal;">Intellectual Properties, </i>I
was editing for Trade Films, (one of Channel Four regional workshops at the
time) cutting videos supporting the union movement during the miners’ strike.
The strike was lost in an avalanche of mainstream media propaganda and I was
very aware of that. Moving to the USA to make the film, I was looking at the
way mainstream media was being employed there. In the more or less the same way
of course but overwhelmingly to sell products. It seemed inescapable - and in
the land of plenty there was certainly lots of things to buy. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Looking out from
the centre of capitalism, I was also thinking a lot about the future. My own,
as a struggling artist and more generally the way the world was shaping up. It
seemed to me unlikely that I could make a living in this way as the odds were
stacked against the creator, for the most part. Hence the theme of copyright
and intellectual property. From this viewpoint, it seemed that the world would
be governed by business and therefore by privately owned media. I coined the
term ‘mediaocracy’ to frame this and it seems, that is the way things have
turned out. So in answer to your question, media rules - but interestingly it
is social media which we have happily allowed to invade our private lives.
Without coercion we seem willing and able to let the world know everything
about us. So Orwell was a little wide of the mark I suppose. He couldn’t have
guessed that 1984 would be the year that Mark Zuckerberg was born. When this
bright spark conceived Facebook at Harvard, he probably was thinking more about
getting laid than becoming Big Brother. But that’s the way it has turned out.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">Watching Intellectual Properties now in 2017 (as
it is currently screening at Tyneside Cinema, 24<sup>th</sup> May – 18<sup>th</sup>
June) has a lot of disarmingly uncanny points of resonance for a contemporary
audience: you have a gun-toting celebrity (John Wayne) reincarnated to run for
presidency as a hologram; a vignette about banks collapsing and public funding
of the arts; a company that delivers awkward or distressing phone calls on
behalf of people, introducing corporate service into personal interaction; and
surveillance, detachment and acting become the default states of a paranoid
existence. There is also a sense in which the music and footage seem to play
into current nostalgic obsessions with past versions of the future, the
synth-squelch sci-fi of yesterday’s tomorrow…consequently Intellectual
Properties seems to speak simultaneously to much of today’s concerns and to
equally evoke film and media’s current turn to the 70s/80s in their varying and
often sickly venerations of the retro. Since making the film have you been
tempted to return to its increasingly prescient and threatening ideas for other
projects?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">The preoccupation
with a vague retro past in music and film is a rather depressing notion. As if
the ideas bag is somehow empty. It would be rather exciting to see a revolution
in either medium and I think that it is long overdue. On the other hand, there
is plenty of game-changing going on in the fields of science and technology. We
are on the edge of something that will give many of us a bumpy ride. In self
driven cars that we won’t own probably. Developments in artificial intelligence
and robotics will have a major impact on society in the next 30 years and we
can see already that social media is shaping politics and the cultural climate.
Encouragingly, it appears too that for the young at least, the days of tabloid
newspapers moulding public opinion are over. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";"><o:p> </o:p></span><span style="font-family: "times new roman";">So there is
plenty to think about and speculate on. Witness the young couple on the sofa.
She is wondering where the relationship is going and says to him, ‘Don’t you
think that it’s time we had a discussion about the future?’ He says, ‘What, you
mean about flying cars and all that?’</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">Could you talk through some of your points of
influence for the film? Were there any British filmmakers at the time that
interested you – or more literary/textual points of reference?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">There are plenty
of British filmmakers and artists that I admire but I can’t say that they
influenced me directly. The work of Jean-Luc Godard and Chris Marker stood out
for me as a student and Michael Snow’s <i style="mso-bidi-font-style: normal;">Wavelength
</i>seemed to be a rather important film also. Probably writers have a greater
impact on my thinking; Kurt Vonnegut and Haruki Murakami come to mind. The
latter being one of the great living writers I think. <i style="mso-bidi-font-style: normal;">The Magus </i>by John Fowles was in mind whilst I was making <i style="mso-bidi-font-style: normal;">Intellectual Properties. </i>Bob Dylan’s
words and music have been in my head since I was 13, so there is no doubt that
my output has been slanted by his way of looking at the world.<i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Sans Soleil </i>(dir. Chris Marker, 1983)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-IUJ6p5cgZf0HN5y-dcPnL-xAEACMPZQeuNpdf6Ly07oUbZfM4zsbNU6KFdge488XKQGkAR3Fm3C8-ja-dYEPhopiVV5O71glM1RSQ7tteqQGxYrzFZ-iv5PQolsC16s2MLDkI4wM4py/s1600/st_20090827_164_500x400.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="370" data-original-width="500" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-IUJ6p5cgZf0HN5y-dcPnL-xAEACMPZQeuNpdf6Ly07oUbZfM4zsbNU6KFdge488XKQGkAR3Fm3C8-ja-dYEPhopiVV5O71glM1RSQ7tteqQGxYrzFZ-iv5PQolsC16s2MLDkI4wM4py/s320/st_20090827_164_500x400.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Wavelength </i>(dir. Michael Snow, 1967)</td></tr>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">The film uses footage from both Newcastle and
Boston (I like the idea of a sign that might read: North Shields – twinned with
Harvard!), returning often to the outsider figure journeying…could you talk a
bit about your experiences filming in America? Did you get a sense of any
particular art communities while you were over there, or discover anything in
particular that has fed into your creative practice?<o:p></o:p></span></i></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman";">Intellectual Properties </span></i><span style="font-family: "times new roman";">was made possible by a grant from
Massachusetts Council on the Arts and Humanities. A condition of the grant was
that the work should be produced there. It was my first visit to the US and I
was very fortunate to be offered accommodation with a talented and connected
artist, Jane Gillooly. Jane introduced me to the wider community of artists and
musicians in Boston and Cambridge. I was grateful to be welcomed by that
mutually supportive group, many of whom contributed to the film and a few years
later to a second more ambitious project, <i style="mso-bidi-font-style: normal;">Jamaica
Plain. </i>I was treated very kindly as a guest there and subsequently drove
across the country twice, generally finding a particular generosity of spirit
in American people. However, I also became very aware of my own Englishness,
something that I had never thought about before. I think that cultural
difference informed <i style="mso-bidi-font-style: normal;">Intellectual
Properties </i>and later work also.</span><span style="font-family: "times new roman";"> </span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">In the section entitled ‘Medioacracy’, a
voiceover relates the scenario of a therapist and her patient, a writer, and
within this narrative the voiceover then follows a second narrative in which
through meandering attention the writer recalls an attempted overdose in a
McDonald’s toilet (on a literal seat of capitalism). It is perhaps the film’s
most immediate and compelling section, despite there being no images – only
white text on black. The style of prose feels consciously American, in an
almost hard-boiled meets anecdotal/beat manner…were there any particular
writers or scenarios you were drawing from here? <o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">Well, I had read
Kerouac, Burroughs, Ken Kesey, Tom Wolfe, Vonnegut and so on before then, so
subconsciously any of those might have influenced the style. Elmore Leonard too
perhaps. Who knows? We all pick up stuff as we go along and it lodges there in
some part of the brain. But consciously no. Reagan was president then,
graduating from acting to politics with ease. I was thinking about that,
wondering if he was really just a performer delivering the lines written for
him. It was then that I began looking into the life of John Wayne, the now
deceased Hollywood actor who seemed to embody the idea of the great American
hero. Eventually after all of that musing one day it all came out on the page.
Others say that they don’t know where writing comes from - as if the writer was
just some kind of conduit - that rings true for me and I think that is
certainly true of that story. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";"><o:p> </o:p></span><span style="font-family: "times new roman";">‘Mediaocracy’
was narrated by an American (Jane Gillooly) so I was aiming for an authenticity
of voice and phrasing. I asked Jane to check the script and advise me on that.
For example, Percodan, the drug used in the overdose, was at the time the drug
of choice for suicide attempts in the US at the time and ‘Drop Kick Me Jesus
Through the Goalposts of Life’ was the corniest country and Western song title
she could think of. I couldn’t though, quite bring myself to spell words like
‘colour’ in the American way.</span></div>
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<span style="font-family: "times new roman";">It was a little
sci-fi story really, taking a punt at a future possibility. That future hasn’t
quite happened yet but It seems quite possible that one day there will be a
holographic president - or a robot. We aren’t that far from it really. The word
‘Mediaocracy’ came to me as a term which might describe the state of things in
that particular world. Thirty odd years later we now live in one, certainly.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">There are moments of disjunction between the
text and voiceover – where the heard voice will betray the seen text – can you
talk a bit about this process and how it might relate to revealing the tactics
of narrative – what is said and what is implied? With the overarching
‘narrative’, or organizing principle, of Intellectual Properties being
copyright, does the text and voiceover offer a different angle specific to
language? The writer’s problem is, as the voiceover assures us, ‘he had
absolutely nothing to say’, and yet, departing from the voiceover, the text at
that point reads ‘he had committed the sin of plagiarism’…</span></i></b></div>
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<div class="MsoNormal">
<span style="font-family: "times new roman";">It was an
experiment, something that I hadn’t seen done before. I was surprised by the
psychological effect of overlaying voice with text. I was playing around with
the timing and displacement of words and voice initially, then introducing
mismatches between the two, silences, blank screens and so on. Stuff designed
to encourage the viewer to pay attention. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Regarding the
specific example, plagiarism remains a cardinal sin in the creative community.
A breach of intellectual property. Worse of course, if you are found out. My
Sweet Lord, I hope it never happens to me.</span><span style="font-family: "times new roman"; mso-fareast-font-family: Times;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">The situation of psychoanalysis reoccurs in Goldfish
Memoirs (1993) in which one of the interviewees describes psychoanalysis as a
damaging way to negotiate the past, the film also describes the clichés of a
self-help tape and interviews a psychologist on her interest in delusions.
Returning to Intellectual Properties, the therapy scene is introduced with the
text: ‘She doesn’t believe in the couch | for her, analysis should be | a
cinematic experience’…to what extent do you agree with this? The recurrent
presence of psychoanalysis (in both Goldfish Memoirs and Intellectual
Properties) is paired with the significance of memory, I was wondering, along
with the use of photographs and concepts of journeying, is this a point of
connection with the films of Chris Marker? <o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman"; mso-fareast-font-family: Times;"><o:p> </o:p></span><span style="font-family: "times new roman";"> </span></div>
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<span style="font-family: "times new roman";">Psychoanalysis
had its origins over 100 years ago but when I first visited US in 1984, the
idea of voluntarily undergoing therapy seemed to be a purely American
preoccupation.<span style="mso-spacerun: yes;"> </span>The possibility that a
working class bloke from Yorkshire would indulge in something like that would
be laughable. Of course, what happens over there eventually happens here and so
it has. I’m not sure whether any practitioner uses film as a tool to explore
the psyche but the if the question is that it could psychoanalysis be a
cinematic experience, then I would say why not? In the story, however that was
just a device to introduce John Wayne, who starred in <i style="mso-bidi-font-style: normal;">Red River</i> the film being shown in the session. The film
incidentally was the subject of a lawsuit by Howard Hughes, against producer/
director Howard Hawks. Hughes claimed that Hawks plagiarized a scene from an
earlier film <i style="mso-bidi-font-style: normal;">The Outlaw </i>and forced a
re-edit prior to release. <o:p></o:p></span></div>
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<span style="font-family: "times new roman";">As I later
discovered, a fundamental of psychoanalysis is the exploration of memory, one
of my abiding interests. So in <i style="mso-bidi-font-style: normal;">Goldfish
Memoirs,</i> a film about bipolar disorder, it was natural to explore themes of
memory and analysis. Chris Marker’s film <i style="mso-bidi-font-style: normal;">Sans
Soleil </i>is an exploration of memory and the human condition, so to some
extent there is a connection between that and <i style="mso-bidi-font-style: normal;">Goldfish Memoirs</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman";">He writes
interestingly about that film here:<o:p></o:p></span></div>
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<span style="font-family: "times new roman";"><a href="https://chrismarker.org/chris-marker/notes-to-theresa-on-sans-soleil-by-chris-marker/"><span style="color: #1155cc; mso-fareast-font-family: Times;">https://chrismarker.org/chris-marker/notes-to-theresa-on-sans-soleil-by-chris-marker/</span></a></span><span style="font-family: "times new roman"; mso-fareast-font-family: Times;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman";">Goldfish Memoirs
can be viewed here:<span style="color: #222222;"> </span><a href="https://vimeo.com/130437025"><span style="color: #1155cc;">https://vimeo.com/130437025</span></a><u><span style="color: #1155cc;"><o:p></o:p></span></u></span></div>
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<span style="font-family: "times new roman";"><a href="https://vimeo.com/130437025"></a></span><u><span style="color: #1155cc; font-family: "times new roman"; mso-fareast-font-family: Arial;"><o:p></o:p></span></u></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">A recognisable trait in all of your works is the
presence of humour, through dry anecdotal wit or in protracted jokes there
seems to be a continual and wry comedy at play. Sometimes, through puns or
comic (mis)hearing, you seem to draw parallels between jokes as constructed and
artificial devices and the trappings or manipulation of narrative – could you
say a bit about these elements in your work?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">I am very fond
of using irony, humour and jokes in my work. Specifically, jokes have a
particular relevance in <i style="mso-bidi-font-style: normal;">Intellectual
Properties </i>in that they are passed around and shared freely. Generally,
they are not subject to copyright and have long been viral before the term was
coined in the modern context. Many jokes are also constructed to deceive and
misdirect an audience, so it seemed appropriate to include them in a film which
manipulates the viewer in a similar way. Humour often has a way of encouraging
us to reflect on the human condition and perhaps <i style="mso-bidi-font-style: normal;">Intellectual Properties </i>makes some efforts in that direction.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">You recently completed an MA in Creative Writing
at Newcastle University…I would be fascinated to know what you think of
‘Creativity’ as a taught and institutionalised discipline, given the reflective
nature of your engagement with creativity in your films: appearing, as it does,
in tension with the concept of a profession; in relation to commerce; politics;
funding; and mental well-being. How does writing and film relate for you, as
they are both clearly fundamental to your creativity? <o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">I have to say
that I enjoyed the Creative Writing course immensely. For me it reaffirmed the
fact that I could derive great joy from making up stories, from sometimes
managing to put down appropriate words in the right order. However, the major
lesson learned during that period of study, was how very difficult it is to
make a living from writing. The tutors at Newcastle are highly talented and
respected authors, poets and playwrights, yet they necessarily have to teach in
order to survive. Nothing wrong with that of course and in my case I had no
particular ambition to become a financially successful writer. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "times new roman";">Regarding the
question of whether creativity can be taught in any particular institution, I
would doubt that. However, it can be encouraged and developed in the right
environment, any kind of education is a good thing as far as I am concerned.
For me writing, filmmaking and ceramics - which I studied for some years - are
all part of the same thing. A desire to make stuff and say something to the
world. <o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_gjdgxs"></a><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-fareast-font-family: Times;">What projects are you working on at the moment –
and do they continue to move between the linguistic (and/or literary) and the
cinematic? <o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">After half a
lifetime of making videos and multimedia for commercial clients perhaps it is
time to return to art for art’s sake. There is a half-written novel that I have
to finish and I’m trying to solve some technical/software issues in order to
make a new video installation. But what I really want to do is build a straw
bale house.<o:p></o:p></span></div>
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Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-30990545080981778632017-03-08T10:09:00.002-08:002017-06-13T13:57:37.941-07:00Interview with Redell Olsen<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Light Glyphs 4</span></i><span lang="EN-GB" style="font-family: "times new roman";">: </span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><span style="font-size: x-large;">Redell
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<span lang="EN-GB" style="font-family: "times new roman";">It is
impossible to discuss the intersections between contemporary poetry and film in
Britain without mentioning Redell Olsen. Olsen has continually turned to the
extensions and echoes of poetry in the art world in service of broadening and
complicating the possibilities of her work. Avant-garde history, feminist
theory, modernist poetics, and the temporal and spatial politics of everything
therein, all are dissected and redirected in Olsen’s traversals across art,
text and visuals. <span style="mso-spacerun: yes;"> </span>Her readings have explored
site-specific performance and blurring the parameters of academic and artistic
presentation; confusing and pushing form to bear the trace of its dialogues and
multiplicity. In addition to her poetry, Olsen has edited the influential <i style="mso-bidi-font-style: normal;">How2 </i>journal that has explored,
showcased and archived experimental writing by women for over three decades
(since 1983). She is also Professor of Poetry and Poetics at Royal Holloway. What
remains so important and inspiring about Olsen’s multi-disciplinary poetics is
its intelligent and unflinching commitment to the tensions that complicate and
constitute moving between forms.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I wanted to
begin by asking you about your experimentation with narrative in ‘Corrupted by
Showgirls’ (in Secure Portable Space, Reality Street Editions, 2004). You seem
to transpose filmic jump-cuts into syntax, questioning both language and film
in the collapsing and condensing of narrative – or, as Drew Milne phrases it,
the poem ‘re-animates the narrative grammar of noir femininity’. What were the
main inspirations behind this? At times, I felt as though Abigail Child’s film
sequence Is This What You Were Born For (1981-89) was being evoked, especially
through the poem’s use of genre and its interrogation of gender – <span style="mso-spacerun: yes;"> </span>was this a point of reference for you?<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
think that these are interesting ways of describing what I was doing in this
particular sequence of poems…In terms of how they were written some were based
on notes taken while writing through various <i style="mso-bidi-font-style: normal;">Noir </i>films in real time and others in response to existing critical
writing on these films – including synopses. I do indeed admire Abigail Child’s
films and writing although she wasn’t a direct influence at the time -- some
years after I wrote ‘Corrupted by Showgirls’ I wrote an essay about her films (<a href="http://www.abigailchild.com/index.php?/books-1/">see here</a>).<span style="mso-spacerun: yes;"> </span>Joan Retallack’s ‘Memnoir’ which I reviewed
when it came out – again after the fact of writing my poem - could also be
compared to them in terms of related ideas (</span><span lang="EN-GB" style="font-family: "times new roman"; mso-bidi-font-size: 12.5pt;">“Joan
Retallack’s Memnoir,” Poetry Project Newsletter # 201, December/</span><span lang="EN-GB" style="font-family: "times new roman";">January, 2004-2005)</span><span lang="EN-GB" style="font-family: "times new roman";">). I was also interested in Cindy
Sherman’s early ‘Untitled Film Stills’
<a href="http://www.tate.org.uk/art/artworks/sherman-untitled-film-still-48-p11518">(see here)</a>. An
on a very different tack, Barbara Guest’s work was very instructive for its
shaping and refracted sense of lines and she has also written some wonderful
prose poems that relate very directly to film. Another influence over ‘Secure
Portable Space’ as a whole book is the poet Charles Olson. </span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Throughout
‘Corrupted by Showgirls’ you twist language into the cinematographic (via its
sense of editing techniques of cuts or montage, in addition to its content)
only to veer out and bare its mechanisms –inviting a parallel in the formalist materiality
behind the composition of film and of language; no longer simply ‘narrative
film’ or ‘poetry’ but the materiality of such constructs at work. Do you feel
this to be a poetics interacting with legacies of Language poetry, or some of
the Structuralist or formalist work in the London Filmmakers’ Co-Op? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">These
are all important reference points for this poem. However, I see this as being
work that is primarily influenced and in tension with possibilities of Language
writing (which was the subject of the Phd that I was writing at the time - <i style="mso-bidi-font-style: normal;">Scripto-Visualities: Visual Arts and
Contemporary Writing by Women</i>). <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">There is a great quote by Carla Harryman
where she says, “I prefer to distribute narrative rather than to deny it…” (“Toy Boats,” <i style="mso-bidi-font-style: normal;">Poets Journal</i> 6, 1986) that
was productively on my mind when I was writing. I am also very interested in
the film and live performances of Carolee Schneeman who I know was associated
with the London Filmmakers’ Co-Op - also the traditions of the Nouveau Roman as
it developed in relation to film through writing by Marguerite Duras and Alain
Robbe-Grillet. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Did you begin to
work in film after writing poetry – or did the two always exist in tandem for
you? I feel as though one is always scored through with the other in your work,
as though never entirely present as film or poetry in a confined sense.<span style="mso-spacerun: yes;"> </span>The poetry often acts like a trace left by
the, now absent, visual happening or film (like ‘Era of Heroes’ or the
collected works in Film Poems) and therefore the work seems to always play with
incomplete-ness? Or what cannot be contained? This is really exciting as it
certainly feels closer to the permeable dialogue or ‘hybridized form’ that many
other works purport to exercise…but that, unlike your work, instead become
ekphrastic or like short-sighted asides in representation. <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">That is very astute, thank you. My
parents are both painters so I grew up with a strong commitment and
understanding of the visual - that was the given that I could move out from and
choose to return to. I am deeply indebted to my parents for an understanding of
process in the making of work. Various contexts have obviously been important
since: I studied English Literature for my first degree at the University of Cambridge
and J.H. Prynne supervised my dissertations. I also attended Rod Mengham’s
lectures that made links between contemporary writing, theory and American
poetics. I was interested in the poetry that I read and heard at Cambridge at
CCCP events in the early 1990s: a mixture of British, French and American
influences. I subsequently studied for a foundation in Art and Design and then
a Masters in Fine Art – where I worked mainly with photography, performance and
installed texts. Later on I completed an academic PhD at the University of London
(with Prof. Robert Hampson)….<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">This is all a round about way of saying
that I work with various forms of text: both image and language and have done
for most of my life. The balance changes in relation to the contexts of
production, distribution. In terms of the recent film poems that I have made it
varies in terms of what comes first. I wrote ‘Bucolic Picnic’ as one draft and
then cut the found footage together and wrote more with the knowledge that it
would be performed live in relation to that footage. For ‘Sprigs and Spots’ I
slowed the film down and then had to cut down the text that I had. I was also
very concerned with that film poem that it should also make reference and be
considered visually in relation to the page of the book itself. So, the text is
mediating a sense of its possibility in the space of film and live performance
but also the performance of the work on the page – something that conventional
script work even of the experimental kind doesn’t usually tend to do.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>I
am actually really interested in the possibilities of <i style="mso-bidi-font-style: normal;">ekphrastic </i>writing and have a sequence that I wrote in 2012 called,
‘Performances for Paintings’ that responded to particular paintings with
directions for a parallel performance or action that might actually never be
fully realised. Their deliberate ‘incompleteness’<span style="mso-spacerun: yes;"> </span>(somewhere between documentation and score)
was in part triggered by a sense of frustration with some of the limitations of
a tradition that often seemed to offer very literal ‘translations’ of paintings
- rather than what I wanted to write which were conceptual provocations in
dialogue with existing works of art. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Do you think
that the notion of ‘interdisciplinary’ or ‘hybridized’ forms are often valued
more in theory than in practice or execution? I’m thinking here of the
discourse surrounding funding bodies and academia in which the
‘interdisciplinary’ is conceptually worshipped…but its actual existence often
seems fairly rare…as though there are polite and accepted forms of
‘interdisciplinary’ practice that do little else than safely confirm a division
between mediums: e.g. here are some poems-about or in response to [insert
non-specific art project]…whereby poetry or text is reduced to an ornamental or
meditative reflection, as opposed to embodying any active interaction.<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Yes
that is a problem. I suppose that you have to make the work that you are
interested in making and hope that the culture around you likes it enough to
want to support its development.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">What writers or
artists do you think are currently doing interesting work actively crossing
between film and poetry? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">There
are a number of very good recent graduates from the MA in Poetic Practice and
subsequent practice based PhD programme at Royal Holloway such as Nisha Ramayya
and John Sparrow who are making interesting work that crosses film / performance
and the digital. I am also interested in the current film and text work being
made by my friend, the artist Gillian Wylde who had a show at the Arnolfini in
2016. The live version of Caroline Bergvall’s ‘Drift’ is an impressive
collaboration between her and a musician and artist that involves music, poetry
and film. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Could you say a
little bit about the context or inspiration behind Punk Faun: A Bar Rock Pastel
(Subpress, 2012)? The book’s blurb entangles its synopsis with: a commission by
Isabelle d’Este; the art book ‘THEY CALLED HER STYRENE’ by Ed Ruscha; a
screening of Matthew Barney’s ‘Cremastser’; the installations of Max Neuhaus; a
mutation of the pastoral, at once mythic and modern; an experience in a karaoke
bar; and the ‘plight of deer on the roads of Europe and North America…would it
be fair to say, that in busy disorientation the book finds its (non-locatable)
point of departure, ‘in which even the title was against itself’?<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">These
are indeed some of the points of reference and certainly to me <i style="mso-bidi-font-style: normal;">very locatable</i> points of departure! I wanted
to write a kind of baroque vision (hence the bar rock obviously) through which
to think about the contemporary. And yes, everything is in contradiction or
against itself: the faun/fawn (a colour, a deer, a gesture of subservience) and
the day-glo of punk possibilities set in impossible relation to the
Renaissance. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I imagined the whole as a series of texts
to be streamed on a wall, partly in reference to Isabella D’Este’s ‘studiolo’ -
which is a domestic and secular space for which she commissioned artists to
make work on the walls and ceilings of her rooms - and more mundane
considerations of public spaces of contemplation such as the arcade, the mall… The
book’s starting point is a reimagining of this studiolo as book – the poems as
possible texts to be installed that make reference to recent art,
contemplation, performance, life, gender, power… <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi294FbomdcHBjbEAPhyGIwPUUuy02wzUfstzRLnFm1R3I7vSwBMaI8ESyAsFEyxIwyslHGnuI0jcHPmylH_9Os8tXh3fmQ4E67-cCqPT0WEgZueuvZpHpM6hbMwbsFyNE2vEGP6fPwJoKk/s1600/photo-copy2-e1347619892541.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi294FbomdcHBjbEAPhyGIwPUUuy02wzUfstzRLnFm1R3I7vSwBMaI8ESyAsFEyxIwyslHGnuI0jcHPmylH_9Os8tXh3fmQ4E67-cCqPT0WEgZueuvZpHpM6hbMwbsFyNE2vEGP6fPwJoKk/s400/photo-copy2-e1347619892541.jpg" width="400" /></a></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
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<b><i><span lang="EN-GB" style="font-family: "times new roman";">In the use of
repetition and rhythm, especially in ‘variants marked points of’ and ‘snares
for silence in required voice’, the poetry seems to find a real mischievous
enjoyment through introducing formal codes from the pastoral into a realm of
avant-garde instability. Does this element of time, moving between an arcane or
outmoded form or work (I’m thinking here too of ‘A Newe Booke of Copies’), and
a more contemporary poetics, also inform your film work?</span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">That
is very interesting, yes – although I don’t see these as arcane or outmoded
forms but forms that can be called upon, utilised and brought into dialogue
with more contemporary rhythms and sounds – hopefully to make new forms of
poetic practice that acknowledge their relationship to a variety of forms and
existing traditions. The film work often uses found material from different
periods also. I suppose in each I am interested in establishing and expanding
on connections and threads that might link apparently disparate or at first
glance redundant images and ideas. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">How does
engaging versions of the historical (whatever that might be…!), or
destabilising its narrative, influence your practice?<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Certainly
in <i style="mso-bidi-font-style: normal;">Punk Faun</i> I was interested in
engaging with alternative time frames and multiple possibilities of reference
and juxtaposition – often in fluid simultaneity. It is a way of working that
certainly has implications for the possible destabilisation of the various
histories, source materials or forms that it draws on. Hopefully the work
begins to stand in relation to these borrowings rather than become one with
them. I hope that in juxtaposition new relationships and possible connections
are established that might go some way to returning the found, the historical,
the past, the overlooked to a having a direct relevance to the contemporary
moment of production not to stand in place of this. I am not interested in the
work being nostalgically ‘about’ any of these sources - they are materials /
forms with which to engage in the contemporary.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Who have been
important artists for influencing your approach? As your work spans and draws
from film, poetry, academia and the visual arts – is there a particular medium,
field or figure that ever takes precedence? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">It is
true my work - as I do, draws on practices from different genres. Allen
Fisher’s work in all its visual and verbal crossing is exciting to me and I am
always excited to encounter new work by writers such as Lisa Robertson, Juliana
Spahr, Judith Goldman and Jena Osman. Each of them is making (very different) work
with reference points that continually step outside conventional frames and all
engage with what I feel is a highly constructive and relevant poetics for the
contemporary.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-EjAy0LErqhJeDoyIAUA43UKCYdhoAR2g-S9aOHjdSZOLBB_AKvS8MiRxXSGkeJwGHmmTfE1ccTQmOdbdRzKc78lQevvg7rIjIy_oYsAST5dO-kokNETGGnpzFDpW5MH1QN6-uiWkc0L3/s1600/spahr300.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-EjAy0LErqhJeDoyIAUA43UKCYdhoAR2g-S9aOHjdSZOLBB_AKvS8MiRxXSGkeJwGHmmTfE1ccTQmOdbdRzKc78lQevvg7rIjIy_oYsAST5dO-kokNETGGnpzFDpW5MH1QN6-uiWkc0L3/s200/spahr300.gif" width="200" /></a></div>
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<b><i><span lang="EN-GB" style="font-family: "times new roman";">Are you working
on any new projects? What is currently interesting you?</span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
have a bookwork in an exhibition that is currently in London (curated by Susan
Johanknecht and Finlay Taylor). The book is called ‘Mox Nox’ and amongst other
things it borrows from mottoes for sundials as a starting point for some of the
writing. It uses images from 19<sup>th</sup> Century sources detailing Arctic
exploration. It also involves a different kind of the filmic than the one that
we have mostly been discussing here – in the case of this book a film of
photosensitive adhesive paper that has been applied to various parts of the page
so that it changes colour temporarily in daylight, so in theory the text should
alter as you read it. I suppose that is also an important sense of what<i style="mso-bidi-font-style: normal;"> film</i> is for me – the almost
imperceptible and often porous surface between entities, ideas, images, words –
different forms of practice. <o:p></o:p></span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-34571150032032411422017-02-06T07:04:00.003-08:002017-02-10T04:44:41.776-08:00North x North West Poetry Tour Collaboration - with Harry Man<div class="MsoNormal">
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<span style="color: #1a1a1a; font-family: "times new roman"; mso-ansi-language: EN-US;">As part of S.J. Fowler's "North X North
West Poetry Tour" I was paired with the poet, Harry Man. <a href="http://www.manmadebooks.co.uk/Harry_Man/Home.html"><span style="color: #757575; text-decoration: none;">Harry</span></a> is
a terrific poet whose interests seek often to bridge the totalizing
and tribal division between 'on-the-page' and 'performance' in a poetics that
jostles with great wit, absurdism, and humour - often drawing upon timelines of
science and vocabularies from other disciplines. Needless to say, it was a real
joy to work with him. Our piece took the contradictory notion of the
"clinamen"'s deviation and the "Pacemaker"'s regularity to
unify in a pattern that breaks the pattern...or the impossibility of
conceiving of an irregularity that does not, at the same time, imply that (regularity) against which it reacts...we were not in chaos...but in organised chaos,
which hopefully, unlike the anguish of 'organised fun', could tease out some
genuine surprise or interest. That was a premise that, true to its spirit, was
soon left behind. Instead what followed was an improvised rifling through
quarries of 'maybe this' and 'I'd forgotten that' in dialogue with an archive
of Arcade Game manuals. Harry's publications can be found <a href="http://www.manmadebooks.co.uk/Harry_Man/publications.html"><span style="color: #757575; text-decoration: none;">here</span></a>. <o:p></o:p></span></div>
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<!--EndFragment--><br />
<div class="MsoNormal">
<span style="color: #1a1a1a; font-family: "times new roman"; mso-ansi-language: EN-US;">The reading took place on January 13th (Friday the
13th that is, minus the teen slashers and festive gore) at City Screen, York.</span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<i><span style="color: black; font-family: "times new roman"; font-size: 14.0pt;"><br /></span></i>
<i><span style="color: black; font-family: "times new roman"; font-size: 14.0pt;"><br /></span></i>
<i><span style="color: black; font-family: "times new roman"; font-size: 14.0pt;">Clinamen Pacemaker</span></i><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">1.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">open the window to let in some air. any air, new air;
movement, something.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">a. </span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">You have three men in pursuit of Bigfoot who is
standing </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">on top of his mountain domain.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Kharkhari Nahar is a village on the outskirts of
Delhi.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">It has a population of around 2,000. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">90% people from the village are working in government
jobs.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Only one player will succeed in getting three men on
the mountain to be Bigfoot’s friend for life.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">2.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to write lists & predictably plan to reform your
life</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">as predictably as you then neglect those plans &</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">perhaps most importantly, like now, making more of
your habits</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">than is proportionally faithful to their flimsy &
unreliable cameos</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">in this disorder you ‘habitually’ inhabit. it is part
of this performance.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">like the version of yourself you present to the
camera, or celebrities</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">who appear as themselves in films & then
spectacularly fail</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<i><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to be themselves</span></i><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;"> in ways that only they
can manage.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">b. </span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">An underwater volcano has erupted and an island is
sinking into the sea! </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Unless they escape in time, all the inhabitants are
doomed!</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">A Soft tissue injury (STI) is the damage of muscles,
ligaments </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">and tendons throughout the body. Common soft tissue </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">injuries usually occur from a sprain, a strain, a one
off blow</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">or overuse of a particular part of the body. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Soft tissue injuries can result in swelling, bruising,</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">loss of function. You can get there </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">by boat or by swimming. When the game ends </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">whoever has the most survivor points is the winner.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">3.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">transcribe intuition as with opening the window.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">something</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">less
bullied by its interior.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">c.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The year: 3010</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The place: Battlesat 1, the military weapons satellite
station </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">designed to protect earth from asteroids and meteors. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Senior Systems Scientist Robert Driscoll replaces a
keyboard in the hull wall of the sunward docking bay. Suddenly Jani Allan...</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">4.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to coincide like dancers in a mirror.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">d. <span style="mso-bidi-font-weight: bold;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="background: white; color: #111111; font-family: "times new roman";">Object: accumulate the most points</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">5.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">shit me avuncular moose the kids don’t want clouds</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">they want venereal truths served up like crowbars</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">& am i not a kid?</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">e.<span style="mso-bidi-font-weight: bold;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Donkey Kong is my story about </span><span style="background: white; color: #252525; font-family: "times new roman";">a small ground frog </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #252525; font-family: "times new roman";">found around coastal swamps in
eastern Australia. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #252525; font-family: "times new roman";">It’s nice to know places like that
still exist.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #252525; font-family: "times new roman";">WARNING: Read instructions before
assembling ape.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">6.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">ghost writer at the banquet: i eat grapes & cannot
feel my legs.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">it is a form of blank. it is.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">f. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Winning the game at the end of the game you will need
the abecedarium (Abecedary)—along with Catechismus (Catechism)— the first
printed book in Slovene. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">It is an eight-leaf booklet for helping people </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to learn to take drilling rigs out of the drawer </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">and place them in the holes provided in the corners</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">on top of the game. (Note: These holes are not part of
the playing surface).</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">7.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">habits in the guise of a swerve take note of electric
loose rigging of sun</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">cable to shimmying lattice on underside of water’s
shift.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">g.</span></b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;"> <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Jurassic Park’s dinosaurs have Karnataka State Highway
35 in Bangalore, roll the dinosaur die.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">8.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">systematic avoiding of the avoidance involved </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">in any workable, & so necessarily unworkable,
imagining</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">of this irregular pulse.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">h.
<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">If you roll a double immediately move </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">the Land and Labour League formed in 1869;</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">eat ‘mostest’ baked beans.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">9.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Overhearing conversations can be crushing.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">In a bad mood, especially, small talk can sound like
lemmings</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">jubilantly discussing holiday plans as they stroll
over a cliff.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">j. <span style="mso-bidi-font-weight: bold;"> </span></span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Alien. Shave.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Invaded 1736 BC the year of the sack of Babylon.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Use your alien to eliminate the astronauts of other
players.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">10.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">not here to rate the heart or unduly weigh the end or
start.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">no plug, no graph, no viable means except as what it
cannot be</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">but still a circuitry. a maybe.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">k. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Return to Central Perk with the Friends Umbrella card.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">No. 1 Deansgate is the tallest all-steel residential
building in the United Kingdom, </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">and one of the most expensive addresses in Manchester.
</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The player performing charades keeps the umbrella
card. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Example: a) Joey accepting the soap opera award for
best co-star.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">11.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">insist upon something until it becomes.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">l. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">When the deck of planet cards have been used up, the
discards should be shuffled and placed face down for further use. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">12.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">curtains</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">m. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">hyperjump</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">13.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">some of us have jobs, homes, families.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">n. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Once in jail. <i> </i></span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">14.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">leftovers audition their sentimental value</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">in a studio of piled crusts and dead air,</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">the soundtrack to a daytime police drama from the 70s,</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">featuring a blind veteran and his incongruous pet
falcon</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">can always almost be heard, sifting </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">through chemistry text-books</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">and conceding to the logic of velcro. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Upsetting, in its way.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">o.</span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Move your own centipede through the winding</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Mushroom field, Carlos Bulosan said, “Yes, I will be a
writer </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">and make all of you live again in my words.” </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Spin free choice and you can pick </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">the move you want to make.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">15.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Alfred Jarry on an exercise bike.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">yawns of derision jam the spokes that aren’t there,</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">a derivative turn</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">of pedals, manic in the step, suspended</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to say LOOK movement, movement anchored </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to such ordinary carpet.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">p. </span></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">You may be able to give him bionic powers.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Your assignment: be the first player to </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">the Canterbury A&P Show,</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">the largest agricultural and pastoral show in New
Zealand, </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">attracting over 7,000 livestock.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt;">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">16.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">marry me? fuck you.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">q.
<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">One may refer to it.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">17.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">at this point it is customary to</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">r.<span style="mso-bidi-font-weight: bold;"> <o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Adults are yellow with wiggly white lines across their
wings.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">18.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">a dawn song expressing the regret of parting lovers at
daybreak: <i>Plasmodium,</i></span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">for example, enters a human body through a
zucchini-shaped form</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">known as the paleolithic belief that flesh was
strength and blood was life</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">& this</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">s. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The player with the greatest number of escaped
Altanteans. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">A diathetic alternation, the greatest number of
escapees. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The greatest Atlantean escapee number.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Boats may not pass through a space occupied by another
boat</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">or an octopus.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">19.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">pie will be served & pie will be eaten,</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">as in: pie begets pie clumped wise in munch</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">down slide to mouth geodes & roof into living room</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">tongue latched and gifting: far be it from me </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to disclose the contents.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">t.
<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Carefully break off all the plastic parts.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">20.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">like in Peter Manson’s <i>Adjunct </i>or Lyn Hejinian
‘s <i>My Life </i>or Lisa Robertson’s <i>Cinema of the Present </i>or Ben
Lerner’s <i>Mean Free Path - </i>like how Gertrude Stein says <i>‘Then we have
insistence insistence that in its emphasis can never be repeating, because
insistence is always alive and if it is alive it is never saying anything in
the same way’ </i>& so they are not the same but return their lines as
reawakening versions nudged open or apart by the context & like</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">u. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The player on your right will be the moderator. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The moderator draws the card you must use the
prodilidine an opioid analgesic </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">and a ring-contracted analogue of prodine.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">It has little abuse potential.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">21.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">i hope you know that there is nothing, nothing more
than knowing there is nothing.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">v. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Opex is an ongoing cost for running a product</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">22.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">compose lists in order to reassure myself of existing.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">w. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">These are all moveable pieces. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">23.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">a recalcitrant duck defies the fleet to mow the
river’s slate alone.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">x. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">The 2003-4 Harvard Crimson women’s ice hockey season.
Nicole Corriero tied former Crimson player Jennifer Botterill’s record for most
points in one NCAA game with ten. Pieces must move around lakes.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">24.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">noting, nothing of note. fraudulent claims &
overheard</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">opinions, creatures smeared in jellied cultures –</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">the beginnings of a revolution</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">nattering in a petri dish, something unseen</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">gathering – stars as seen by surveillance cameras</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">& this vacancy, cheated of its final scene.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">y. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Ratu Tanoa Visawaqa was a Fijian Chieftain who held
the title Vunivalu of Bau and </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">was the magnetized digit shown on each piece. The
opponent must give warning by saying aloud, ‘Check’.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">25.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">my engagement in political activism is limited to
actively discussing my failure to engage with political activism: phrases like
‘part of the problem’, ‘voluntary paralysis’; words like ‘privilege’,
‘pessimism’, ‘neoliberalism’, ‘clicktivism’, & ‘inter-passivity’; buying
into an increased awareness & listening <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">to the hiss and crackle of haunted audio <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">as it becomes mainstream; saying this, saying this, <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">saying this between sips of a white americano in pret;</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">considering an almond croissant <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">& the sensation of guilt </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">like music heard through a wall.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">z. <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">Here it is: the world just waiting for you to conquer
it. Example 1: Red controls Australia, in addition to the reinforcements she
received, for controlling her territories Red also gets the USS Chauncey
(DD-296) a Clemson-class destroyer built for the United States Navy during
World War I and Nesopupa eapensis a species of very small air-breathing land
snail. You now have all the rules you need so start playing!</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">26.</span></b><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">so many windows to close. failing. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">back to. failing to back up. backed up </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">with wanting backwards what dreams itself as forwards.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">growing homesick for homesickness, claiming </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">other people’s postcards as your own </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">scrolling flat advertising fall out of friendships</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US;">marketised to smile, caught jumping mid-air on beaches</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";">and playing along,
playing along just fine. </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-2172089142311628532017-01-30T13:24:00.004-08:002017-01-30T13:36:10.549-08:00Gallivant<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY31f54K7BMt6Agad27jfwvyGvcilERGzcRTmxIGFMnOz0gK8VTIzfKlFyVHZfjYOI_26nIo8Y4QMeH6a0nBRH4gIkJwJ2RChCvud5Pma6_a25BzHBt7lb6wkEvZJTq1yoM9Tl-kk48cjJ/s1600/2034.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY31f54K7BMt6Agad27jfwvyGvcilERGzcRTmxIGFMnOz0gK8VTIzfKlFyVHZfjYOI_26nIo8Y4QMeH6a0nBRH4gIkJwJ2RChCvud5Pma6_a25BzHBt7lb6wkEvZJTq1yoM9Tl-kk48cjJ/s320/2034.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Andrew
Kotting’s 1996 film, <i style="mso-bidi-font-style: normal;">Gallivant</i>,
charts a ragged journey around the entirety of Britain’s coastline. Parallels
could be drawn with the psychogeographic impulse of Iain Sinclair (who has
worked with Kotting and written on his films), or the films of Chris Petit and
Patrick Keiller. However, where Sinclair itches with an underground literary
neurosis (all occult alleyways and hidden districts, writers and places
feverishly constellated as steps are taken and retaken along the overlooked)
and Keiller’s <i style="mso-bidi-font-style: normal;">Robinson</i> films wryly
observe a kind of flat documentation (I have yet to see any Chris Petit, but
Sinclair’s essay ‘Big Granny and Little Eden’ persuasively draws them all
together as a generation of filmmakers that were reinvigorating a way of
seeing/travelling Britain), Kotting is a more mischievous and bounding
presence. The film is a lovingly stitched home video where both travelogue and
diary are spun into a hand held odyssey: at once poetic and absurdist, itching
with energy and yet accommodating the possibilities of an essay film (Chris
Marker’s <i style="mso-bidi-font-style: normal;">Sans Soleil</i> was an important
touchstone for Kotting). Pockets of contemplation appear without thesis, pagan
giants and sword dancing twist into lugworms and washing lines, there is no
time for the bland coherence of any one singular thread – all is fraying and
brought together, unrelated but somehow speaking. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">It is
an improvised journey, restlessly awake to the ‘happenstancial’ of chance and accident;
zipping through lanes in a camper van and led with boisterous humour and energy
by Kotting himself, bringing together his 85-year-old grandmother Gladys and
his 7-year-old daughter Eden in a madcap trip that explores generational and
geographical distance but never succumbs to sloppy metaphor. Where and when
proximities bridge and blur the distance of miles or years, Kotting’s film
eagerly jumbles its strands in a bricolage of communities, landscapes and
conversations, held together by the film’s driving cohesion: the growing bond
between Gladys and Eden. This is a relationship that incorporates and extends
many of the film’s preoccupations: language, age, mobility, change, tradition,
signs…</span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Eden
has Joubert’s Syndrome, a genetic condition that causes ataxia, sleep apnia,
hyperpnea (abnormal breathing patterns) and (among other symptoms) a
disturbance of balance and coordination. The life expectancy is drastically
reduced, a grim prognosis which Eden Kotting has gone on to continuingly defy.
There is a sense with Gladys, at 85, of a stoic realism in facing the remaining
years that, like Eden, could be cut short in the film’s imagined future: an off
the map kinship that heightens the significance of their travelogue. Yet
Kotting never exploitatively dwells on this, there is no sentimentalism wrung
from their time together and no contrivance of a narrative beyond the journey’s
own circularity. What <i style="mso-bidi-font-style: normal;">is </i>brought out
is the fizzing drama and comedy of communication: where Eden communicates
through high pitched monosyllables and a form of sign language, Gladys witters
earnestly or remarks with frank and piercing humour. A family trait. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhts_OvfvIOMUeI0hH2EyF9sIJVWm0wYeJB4mWROHLf58M6o28iF8juGiGZ5vq0Ht0GTSzcur9CbvTWKLu4LKZiUQx7UM-7IGoz0xN_GMvIOMStpvWdGIKCN-MVwmfkN3h3kcV2tGZvLDgx/s1600/ark_portrait_2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhts_OvfvIOMUeI0hH2EyF9sIJVWm0wYeJB4mWROHLf58M6o28iF8juGiGZ5vq0Ht0GTSzcur9CbvTWKLu4LKZiUQx7UM-7IGoz0xN_GMvIOMStpvWdGIKCN-MVwmfkN3h3kcV2tGZvLDgx/s320/ark_portrait_2015.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">The
film opens with a man that appears to be standing in front of a weather map, or
a map of England, or both. He appears to be signing as a clipped voiceover
introduces the film in a prologue that adopts the tones of public service
broadcasting. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span>G A L L I V A N T<span style="mso-tab-count: 2;"> </span>the title appears as though
glimpsed<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span>etched<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">lettered
in a window’s grime, found<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span>dirt
on the lens</span><span style="font-family: "times new roman";"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Throughout
language is unmoored, Eden signs broken sentences, place names appear and
disappear, subtitles suggest ‘mystical thematic threads’ which in turn suggest little
more than the suggesting property of language used in this context,
communicating, trying to point, but as one sign encountered warns, ‘DO NOT
ANCHOR BETWEEN SIGNS’. The man that is seen signing at the film’s start is revisited
later, the camera draws out and reveals his vocal counterpart: “This is the
shabby second hand symbolism of our times that my grandson has been driven
too!”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">The
film’s sound is a collage of sampled loops, what sound like the quaint and
informative broadcasts of lost radio stations, or public service messages,
circulating conversations, echoes, Kotting’s own observations, sound effects, cut
& paste relics from bygone transmissions, parodies, pastiche, and the
constant performance of a kind of ‘Britishness” … or, more provincially, a
Queen’s English that seem to grow exclusively around the early BBC…as though
spawned between a microphone and a tea cup, poised between efficient upper
class news anchor and the ‘nudge, nudge, wink, wink’ of a carry-on
travesty…these sounds, these scraps of audio tradition, they all crowd and
swirl in and out of the film’s consciousness –memories that arrive in flurries
to announce their own departure, disappearing allusions, names and artefacts
drawn to obscurity, eroding with the coast –<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJm-RI-INZu27dNB1ZdXERYsTeqGonaTKztqJWjuEa33t6jcbGehKltVcCbAAAu5WVKohtF7XjBbT6Mm_7s8wNNL7qZLu-VahA61oXMmoJQ8ngddJoIP6Mm0fMD6F8frVZptCwHFXFc-mv/s1600/p2.jpg-c_300_300_x-f_jpg-q_x-xxyxx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJm-RI-INZu27dNB1ZdXERYsTeqGonaTKztqJWjuEa33t6jcbGehKltVcCbAAAu5WVKohtF7XjBbT6Mm_7s8wNNL7qZLu-VahA61oXMmoJQ8ngddJoIP6Mm0fMD6F8frVZptCwHFXFc-mv/s1600/p2.jpg-c_300_300_x-f_jpg-q_x-xxyxx.jpg" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">The
film shifts between 35mm and Super 8 with the giddy wheeling of a child’s
perception (recalling the diary films of Stan Brackhage, or, more contemporary
to Kotting, the phantasmic cut, zoom & paste of Guy Maddin). We are
constantly split between the desire to document and a desire to escape
documentation, into something more unpredictable and reckless. Kotting will
often film someone or something from a relatively conventional stasis, and then
follow up with a more haphazard wheeling of macro sequences… whether it is a
person speaking <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">“keep away from Swansea on a
Saturday night, </span><br />
<span lang="EN-GB" style="font-family: "times new roman";"> its like the Wild West”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">“I
think about dying a lot”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 4;"> </span>“what
happens after –<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">“You
don’t see the Welsh on TV<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span>“Who
the fuck is Gladys?”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">“The
tide always goes out<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span>dunno
where it goes<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>but it always comes back.”<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span>“you
can fuck off back down South”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">“The
only thing I hate is a thunderstorm, thunderstorm and mice”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span>“My hat is a
tea cosy –<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">“ –
on a day like this you can almost hear the ghosts…”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">or
playing an accordion in Grimsby as the tide begins to swill around muddied
shoes: the camera first observes, and then, as if unable to hold back any
longer, Super 8 dives into close ups and a frantic barrage of textures,
colours, skin, bristle, thistles, bees, tongue…all but forced into the mud of
each moment… calling out its character into a tactile frenzy of detail. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">allotments,
terrace housing, burial grounds, makeshift football pitch, power plants,
bridges, upturned boats, tent, camper van, kite, beach, sky, clouds, sea, sun,
jumping, water, surf, blown foam, hillside, grass, condensed milk, how to say,
how to say, heritage? can you ken </span><span style="font-family: "times new roman";">John
peel, left, left to “pure chance”, shattered ankle, layabouts, government,
countryside, roadside, smoke, housing, box, cube, rust, hand on tiller,
graffiti on the pavilion, laughter, water, time-lapse, “Dadda”, postcards,
public toilet, 99 flake, “in London they’re all too busy”, pagan, gurning,
fish, red coat, bucket and spade and </span><span style="font-family: "times new roman";"> </span><span style="font-family: "times new roman";">and
</span><span style="font-family: "times new roman";"> </span><span style="font-family: "times new roman";">and</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Lindisfarne:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span>Eden runs toward the
camera, her movement all the more triumphant and free having earlier witnessed
the milestone of her first unaided steps, and now she is armed confidently with
a bucket and spade, Gladys is in the background flying a kite, everything is
slowed down, the beach opens up<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">“One
imagines some of the earliest experiences<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">of
two small children<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span>the other an
old person<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span>near the end
of her life<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">They
leave you the feeling there’s nothing more to be said –<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">There
they all were, in the warm sunshine”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3io8YEB5G8QTXrigZTU0TQUTcPc46dW_bGbKpYzBimYyZq3ghE3JeZrIUuQsTqjHXodk2p44txGTeVUyjwf_mLlXhKHoaOFBKb68L_s_cMU0xLUtV5J41hk4OfAM6lg-AI57QaUEunEsH/s1600/gallivant-1996-001-grandmother-girl-beach-00n-4y1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3io8YEB5G8QTXrigZTU0TQUTcPc46dW_bGbKpYzBimYyZq3ghE3JeZrIUuQsTqjHXodk2p44txGTeVUyjwf_mLlXhKHoaOFBKb68L_s_cMU0xLUtV5J41hk4OfAM6lg-AI57QaUEunEsH/s320/gallivant-1996-001-grandmother-girl-beach-00n-4y1.jpg" width="209" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Towards
the end of the shared voyage, Kotting pushes for an eccentric alliance between
Gladys, Eden and himself and three oddly chosen symbolic figures. The mundane
hi-vis and glamourless stalwart of road safety, the lollipop lady, is fetishized
and made to become an ambiguously elevated model of quaint Englishness…or
simply an appealingly comic uniform and another strange tradition. Gladys is benighted
in lollipop lady garb. The Virgin Mary has accompanied their winding journey in
the form of a small figurine tacked to the dashboard. In this eccentric
alliance, Eden dons the religious cloth. Meanwhile, as Kotting himself
frequently insists – much to the confusion of interviewees – he is the monk.
This unholy trinity of travel: Lollipop, Mary and Monk are united, to what
purpose and for what reason, remains necessarily unclear. This is ritual,
dress-up and performance cut loose from any corresponding contours of
recognisable belief – it is a playful refusal to ‘ANCHOR BETWEEN SIGNS’ and to
celebrate that unresolved territory as its own ‘gallivant’. </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTAU4y6FRnuNWLY6aI85C8sslLxMV_kco6pcs6IBmjJUQVfPWV_k7vX75kL1hHf5N9UJ9mis93itY-Onon_tcMAZj0NTzQeF89EwUCxafOYrbFOwf5jSBtPQfV8XFdLH_u4txDaGC9E5j_/s1600/trio.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTAU4y6FRnuNWLY6aI85C8sslLxMV_kco6pcs6IBmjJUQVfPWV_k7vX75kL1hHf5N9UJ9mis93itY-Onon_tcMAZj0NTzQeF89EwUCxafOYrbFOwf5jSBtPQfV8XFdLH_u4txDaGC9E5j_/s320/trio.png" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">This is where the
film’s charm exists, as an infectious adventure</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 8;"> </span>picked
up and turned over<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">spit,
wind and soil, <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">broken
bones<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">and
words failing<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">but
trying<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-spacerun: yes;"> </span>scavenged along shorelines <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 6;"> </span>pieced
together, joyously <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 6;"> </span>taken
apart<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">between
people and landscape and the memories of both<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">where
the proud public toilet seeks a plaque<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 7;"> </span>in
the friendly collision<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">dirt
splash and "daft as they make 'em"<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">as
unpretentious as a dead fish<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span>and buoyant, carrying
forward<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 5;"> </span>(armchair
held aloft, silhouettes <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">hold
hands <span style="mso-tab-count: 3;"> </span>towards
John O’Groats<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 3;"> </span>going
on <span style="mso-tab-count: 1;"> </span>and on<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">over
the moors<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">sun
setting<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span>making<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">the
verve of happening<span style="mso-tab-count: 1;"> </span>happen<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">the
film is <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">as
the journey<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">imagined<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">with
the strength<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">of agile
improvisation,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">keen-eyed,
open<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span>the fun<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span>fooling<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">between
affirming and defiant<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>where perspective is<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> shared </span>between<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>the very old and very young<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>‘populated by the old, the timeless<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">and
the anachronistic. It belongs<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">to
the iconography of the seaside.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Pensioners
queuing<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">For the
<i style="mso-bidi-font-style: normal;">Spring Serenade,<o:p></o:p></i></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Grandchildren
milling around <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Waiting
for Rod Hull and his Emu’ – A. Kotting<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvfPWgG9M3gEOupC4V5juZQO9AApNJFxcbVO-dL8NPqBFtxo6XIbffI2xJHcWg60AajbEtXRAI-gu2-jGcWRFxmJjiQR_a95kLHGwr3wlSDNz1DIbu6jlnfFNo8XAZEX_RnzoKLu8P5XN6/s1600/red+coats.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvfPWgG9M3gEOupC4V5juZQO9AApNJFxcbVO-dL8NPqBFtxo6XIbffI2xJHcWg60AajbEtXRAI-gu2-jGcWRFxmJjiQR_a95kLHGwr3wlSDNz1DIbu6jlnfFNo8XAZEX_RnzoKLu8P5XN6/s320/red+coats.jpg" width="320" /></a></div>
<br />
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-68354395496095083022016-12-17T06:31:00.001-08:002016-12-17T07:07:45.149-08:00My Little (Turin) Pony<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dvy6fSvf5pbOWYZ5OSu8A5bwPQ1d7RQizI70hz8Me_EtlnG8eqPfMRmEmh8Capp3bp8-DMxmMCJl-TvFRH2Sk6BLNNdyO_VDJVlS3UPgL6e5BEMf6kL1_m1ZTNt-5z894Et2ibPHvuXa/s1600/pony.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dvy6fSvf5pbOWYZ5OSu8A5bwPQ1d7RQizI70hz8Me_EtlnG8eqPfMRmEmh8Capp3bp8-DMxmMCJl-TvFRH2Sk6BLNNdyO_VDJVlS3UPgL6e5BEMf6kL1_m1ZTNt-5z894Et2ibPHvuXa/s320/pony.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"A joke is the epigram on the death of a feeling"</td></tr>
</tbody></table>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
<div class="MsoNormal">
<i><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;">My Little (Turin) Pony</span></i><i><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><o:p> </o:p></span></i></div>
<br />
<span style="font-family: "times new roman"; text-align: justify;"><br /></span>
<span style="font-family: "times new roman"; text-align: justify;">be it lessons of friendship or markets of
lunacy, </span><span style="font-family: "times new roman"; text-align: justify;">Princess Celestia or the lion</span><br />
<span style="font-family: "times new roman"; text-align: justify;">wearing a snake like Laocoön, </span><span style="font-family: "times new roman"; text-align: justify;">prowling
the mountains </span><br />
<span style="font-family: "times new roman"; text-align: justify;">to brush against the rabble of disciples, </span><span style="font-family: "times new roman"; text-align: justify;">judging each and every
poncho, </span><br />
<span style="font-family: "times new roman"; text-align: justify;">each and every sheepskin overcoat </span><span style="font-family: "times new roman"; text-align: justify;">or that fabled under-achieving </span><i style="font-family: 'times new roman'; text-align: justify;">Ubermensch</i><span style="font-family: "times new roman"; text-align: justify;">, </span><br />
<span style="font-family: "times new roman"; text-align: justify;">be it unctuous maxim or sequined
foal – scrying fortunes in the water, </span><br />
<span style="font-family: "times new roman"; text-align: justify;">be it dead, saddled, or shop-bought and
sown on to a kimono, </span><br />
<span style="font-family: "times new roman"; text-align: justify;">these hooves are beating me down, screaming</span><br />
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">life’s too short<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-spacerun: yes;"> </span>on answers<span style="mso-spacerun: yes;"> </span></span></i></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">but<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;">
</span><o:p></o:p></i></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">longing like the punchline for
a better joke <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">– say, that each “cutie mark”
that dots the hock or flowers on the gaskin <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">is nothing more than hundreds
and thousands, distracting from the hollow legs, <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">interchangeable and
necessarily misunderstood.<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">My
Little</span></i><span lang="EN-GB" style="font-family: "times new roman";">
(Turin) <i style="mso-bidi-font-style: normal;">Pony</i> calls me human,
all-too-human; <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">the artist’s sense of truth
shits with the door open, <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">to be regal, appalling; my
utopia, he said, the ennoblement of degradation, <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt; text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman";">imagine something about the
official merchandise pillowcase; she has a rainbow mane <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt;">
<span lang="EN-GB" style="font-family: "times new roman";">and a nosebag of locusts… i collapse dreaming of sleep and the
way i look<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt;">
<span lang="EN-GB" style="font-family: "times new roman";">beaten by the responsible commitments of <i style="mso-bidi-font-style: normal;">getting by </i>in stable, for example, circumstances,
crying of grazed knees in an apple</span><span style="font-family: "times new roman"; text-align: center;"> </span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span>
<span lang="EN-GB" style="font-family: "times new roman";">store <span style="mso-spacerun: yes;"> </span>–</span></div>
<div align="center" class="MsoNormal" style="tab-stops: 191.4pt; text-align: center;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 191.4pt;">
<span lang="EN-GB" style="font-family: "times new roman";">praying for a receipt and keeping a receipt for prayers
spent <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 191.4pt;">
<span lang="EN-GB" style="font-family: "times new roman";">whinnying for proof on glittered moors.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><o:p> </o:p></span></i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKzln1AGJreJ1J37TMOWnnUQozohxYTOpnsfBbnXPQLg2ps7rSemZ2TCzl7YzoVj96p1mXmj2cB03s_FXmoJARDr9h9ApeHo_au8XlHRh-mJdGRp5hsQdztF96eUytolQ8EZjWQ01rFtg/s1600/pony+2.jpg" imageanchor="1" style="font-family: 'Times New Roman'; font-size: 16pt; font-style: italic; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKzln1AGJreJ1J37TMOWnnUQozohxYTOpnsfBbnXPQLg2ps7rSemZ2TCzl7YzoVj96p1mXmj2cB03s_FXmoJARDr9h9ApeHo_au8XlHRh-mJdGRp5hsQdztF96eUytolQ8EZjWQ01rFtg/s400/pony+2.jpg" width="400" /></a></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-63024726544616936282016-10-04T12:35:00.005-07:002016-10-04T12:38:19.031-07:00MISCHIEVOUS GOAT REPENT!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZSTFd35zyfZnDtJhn_6pvh_acH5FxK_xn3VFNqv55-OJpIav0HUhNP2VzvENJ9YrsCXkZF6icobiIrDDIxEAc9wlcYhGp98eyizSGGYEgojViyiFRm5qKJbQZYwCWzumEKYssN8rRO1bC/s1600/IMG_0007.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZSTFd35zyfZnDtJhn_6pvh_acH5FxK_xn3VFNqv55-OJpIav0HUhNP2VzvENJ9YrsCXkZF6icobiIrDDIxEAc9wlcYhGp98eyizSGGYEgojViyiFRm5qKJbQZYwCWzumEKYssN8rRO1bC/s400/IMG_0007.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sept. 2016 - <i>for Mason</i></td></tr>
</tbody></table>
<br />The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-5892443531142837572016-09-29T08:01:00.003-07:002016-09-29T08:05:16.522-07:00An Interview with Sophie Mayer<div class="MsoNormal" style="margin-left: 18.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">LIGHT GLYPHS 3: </span></i><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; font-size: 26.0pt;">SOPHIE
MAYER</span></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaMIyOpNZ4R-9DG3pjE0o9iM2KP4asvEgdbHes7SeQssRsJ5jRPs_n01LjzI3QpkT0Gv3R689iL5U2T1pnq_qQt7Pjqr5-8qLldj6grnk_XZ73Jqgs3mFzg7K0ZBsR28ef8Dy-GqPDFRVw/s1600/14453935_10154626192702139_2040278135_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaMIyOpNZ4R-9DG3pjE0o9iM2KP4asvEgdbHes7SeQssRsJ5jRPs_n01LjzI3QpkT0Gv3R689iL5U2T1pnq_qQt7Pjqr5-8qLldj6grnk_XZ73Jqgs3mFzg7K0ZBsR28ef8Dy-GqPDFRVw/s320/14453935_10154626192702139_2040278135_o.jpg" width="240" /></a></div>
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<span style="font-family: "times new roman"; mso-ansi-language: EN-US;">Sophie Mayer has six collections of poetry, several
chapbooks and has appeared in and edited numerous anthologies, in addition to
which she is consistently writing some of the best film criticism around. In
2009, Mayer’s <i style="mso-bidi-font-style: normal;">The Cinema of Sally Potter:
A Politics of Love</i> provided one of the first scholarly accounts of Potter’s
unique and challenging work in film. More recently in 2015, <i style="mso-bidi-font-style: normal;">Political Animals: The New Feminist Cinema </i>arrived,
offering a much overdue and masterful exploration of what has come to
constitute the active counter tradition of feminist cinema and its innovation.
From out of the dialogues between feminist thinking, the exclusionary and
insidious politics of representation, and the poetics of film that in turn
question film in and as poetry, Mayer’s own collections of poetry have continued
to pierce and problematize.<o:p></o:p></span></div>
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<span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Her poems are drawn to tensions between the
corporeal and the conceptual, between the body and its language; these are
spaces, at once vulnerable and violent, that Mayer’s poetry returns to with
sharp intelligence. On top of which, her poems are often shot through with dark
wit or mischievous humour. Able to communicate nuanced readings of the body and
its experiences, her poetry manages to successfully challenge and express the intellect
without ever renouncing physicality and its embodied attentions…or perhaps,
more perceptively, refuses any such polarity. This is then added to Mayer’s
scholarly fluency in film, creating a body (and it is emphatically a<i style="mso-bidi-font-style: normal;"> body</i>) of poetry that examines text and
screen in the politics of our own personal encounters. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">In a recent interview, concerning the intersections
between film and poetry, you suggested that there is:<o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; font-size: 10.0pt;">a resistance to connections between
poetry and cinema in the UK in anything other than an almost-music video form,
but the feminists in each community share so many concerns about the limits of
conventional language and the excitement of experiment that I want to be a
mediator, rather than focus on one form.<o:p></o:p></span></i></b></div>
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<b><i><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">I recognize the ‘almost-music video’ approach: so
often a painful exercise in literalism, where metaphors are visualized and a
self consciously ‘poetic’ aesthetic is invoked as opposed to an active poetics.
However, as you detail in your essay ‘Cinema mon Amour: How British Poetry Fell
in Love with Film’, there are poets incorporating cinema in ways that clearly
resist this narrative. Are there any contemporary British poets and filmmakers
you feel are particularly engaged in this dialogue? If so, what is it that
interests you about them?</span></i></b></div>
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<span style="font-family: "times new roman";">With the increase in artist-filmmakers producing
feature-length films, there has been an incredible flowering of awareness about
the possibilities of bringing film and poetry together: John Akomfrah’s </span><i style="font-family: 'Times New Roman';">The Nine Muses</i><span style="font-family: "times new roman";"> and </span><i style="font-family: 'Times New Roman';">The Stuart Hall Project</i><span style="font-family: "times new roman";"> and Sarah Turner’s </span><i style="font-family: 'Times New Roman';">Public House</i><span style="font-family: "times new roman";"> stand out for me. Interestingly, in both </span><i style="font-family: 'Times New Roman';">The Stuart Hall Project</i><span style="font-family: "times new roman";"> and </span><i style="font-family: 'Times New Roman';">Public House</i><span style="font-family: "times new roman";">, William Blake’s poetics
are to the fore. The revival of interest in Blake as a visual poet or
poet-artist, as someone for whom verbal and visual forms were inextricable, is
incredibly important to both film and poetry cultures in the UK. Both Akomfrah
and Turner are committed to a liberatory politics similar to Blake’s, one that
is both grassroots and ecstatic.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfx0Pl8OUml2hxKfsKOnq5MazTaOx-92ovKNmKfKjBxUaxDH8iA5Eh-2ReAoq4DLtPnZIjoRA9U8Cb-_EdvtQ4jcJi76rvE8qtfYBDuI1qBWs6EhL_o6q4fu-gQDh9Aoj4aViesF9SzMq/s1600/nine+muses.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfx0Pl8OUml2hxKfsKOnq5MazTaOx-92ovKNmKfKjBxUaxDH8iA5Eh-2ReAoq4DLtPnZIjoRA9U8Cb-_EdvtQ4jcJi76rvE8qtfYBDuI1qBWs6EhL_o6q4fu-gQDh9Aoj4aViesF9SzMq/s320/nine+muses.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Nine Muses </i>(dir. John Akomfrah, 2010)</td></tr>
</tbody></table>
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<span style="font-family: "times new roman";">That’s what interests me in hybrid work: when poetry
explores and draws on cinema’s collective and active spectatorship; and when
film engages poetry’s tradition of apostrophe and of formal innovation. There’s
a temptation for each form to mimic or be drawn to the most mainstream and
obvious iteration of the other; but when, for example, Redell Olsen recuts early
documentary footage of commercial lacemakers and writes in response to both the
movement of the lacemakers’ bodies and the movement across the cuts in the film
(in </span><i style="font-family: 'Times New Roman';">Film Poems</i><span style="font-family: "times new roman";">), that is a thrilling
expansion of the possibilities of both forms, and one that also draws attention
to the forgotten, obscured and under-seen.</span></div>
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<span style="font-family: "times new roman";">I’m hoping that the incredible box set, curated by
Sarah Neely, of the work of Margaret Tait will follow up on the amazing work
done by Peter Todd in drawing attention to Tait’s utterly unique body of work –
and its connections to many threads in post-war British arts. While Tait died
in 1999, the persistence, revival and recovery of her work makes it very much
of the present – not least that the revival belongs both to work by the Scottish
poetry community and the British film community.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">How
significant do you believe the London Filmmakers Co-op was (and perhaps is, in
its influence) in considering the experimentation between British poetry and
film? As ‘Cinema mon Amour’ did not look to address this question, I was interested
in whether this was a conscious choice made in resistance to certain
patriarchal histories of the avant-garde? <o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">As From Reel to Real: Women, Feminism and
the London Film-Makers’ Co-operative showed (this past weekend at Tate Modern),
it is indeed the histories, and not the history, that is patriarchal. Women
were deeply involved in the Co-op, starting in the 1970s with Gill Eatherley,
Annabel Nicolson and Sally Potter (whose later feature-length works I do
discuss in the essay), as well as Lis Rhodes, Tina Keane, Jayne Parker, Nina
Danino, Tania and Alia Syed, Sandra Lahire, Sarah Pucill, Sarah Turner (whose
new feature </span><i style="font-family: 'Times New Roman';">Public House </i><span style="font-family: "times new roman";">I mention
above), Ruth Novaczek, Cordelia Swann, Vanda Carter and more. Many of these
women were also involved with Four Corners, and/or with the distribution co-ops
Circles and Cinema of Women. But they have been written out of histories of
British artists’ film and video, absolutely.</span></div>
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<span style="font-family: "times new roman";">The essay was written for a history of
British and Irish poetry, so my focus was on the literature and orature of
poetry, as it responded to film and was responded to in film, rather than on
the complex discussion of film’s own poetics and the definition of a filmpoem
(or poemfilm). The word ‘poetic’ is used extremely loosely to refer to any film
that does not subscribe to mainstream aesthetics (and thus uses ‘poetic’ to
mean some insidious, reductively Romantic notion somewhere between non-linear,
pastoral, lyric, imagistic, etc.) In more rigorous ways, avant-garde filmmakers
have sought to loosen the strictures of mainstream film ‘grammar’ (particularly
influenced by film semiotics), for example through the structuralism that was
the LFMC’s initial credo.</span></div>
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<span style="font-family: "times new roman";">There is definitely more research and
writing to be done on parallel trends in experimental poetry and experimental
film, but my essay focused on where the two came together in a single text –
and I tried to focus on film work that would be readily available to readers
approaching the question of film and poetry from the poetry side. I wish I’d
had the opportunity to talk, for example, about Lahire’s 16mm black and white
film ‘Lady Lazarus,’ an invocation and summoning of Plath and her poetry.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieJ03-zRPXUNwYpZrB4nluNby5xx0hxrdADJkx6c1bJmypYeh9Nb7s6Es66foXCy60vP1GuKMrXu2PpToHnZaecoVDDCYjHXxjBHnN8oLUWz71wE4Un6hGa-7X9E6HQdUMlrCVi_UNrdHd/s1600/lahire-lazarus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieJ03-zRPXUNwYpZrB4nluNby5xx0hxrdADJkx6c1bJmypYeh9Nb7s6Es66foXCy60vP1GuKMrXu2PpToHnZaecoVDDCYjHXxjBHnN8oLUWz71wE4Un6hGa-7X9E6HQdUMlrCVi_UNrdHd/s320/lahire-lazarus.jpg" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lady Lazarus </i>(dir. Sandra Lahire, 1991)</td></tr>
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<b><i><span lang="EN-GB" style="font-family: "times new roman";">In
writing for Sight & Sound, you have consistently sought to combat what you
have called the ‘myth of scarcity’ in discussing female filmmakers. You have
also appeared in the Shearsman poetry anthology Infinite Difference: Other
Poetries by UK Women, a book that dispels this ‘myth of scarcity’ in a poetic
context. How do you feel your experience of film and poetry communities compare
in supporting under-represented identities?</span></i></b></div>
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<span style="font-family: "times new roman";">I’m taking the phrase the ‘myth of
scarcity’ from an article by the poet Jill McDonagh that appeared on VIDA,
titled ‘Believing in Plenty.’ The comment you quote in q.1 could equally refer
to the way in which feminist artists are brought together across the boundaries
between media and practices by this drive toward believing in plenty. Feminist-oriented
experimental poetry spaces such as POLYply were also multimedia, screening
films by American poet-filmmaker Abigail Child (and one of the leading
theorists of feminist filmpoetics), for example.</span></div>
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<span style="font-family: "times new roman";">There’s no homogenous “film” or “poetry”
community: there are different actions and movements at different times in each
community, and I’m most interested in where they cross over, or where feminist
community formations trump those around an artform or genre. I grew up in zine
culture, where verbal, visual and sonic arts moved in alignment and hybridised
with each other, and I see that returning in contemporary projects such as </span><i style="font-family: 'Times New Roman';">gal-dem</i><span style="font-family: "times new roman";">.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Aside
from swiftly buying your new book Political Animals: The New Feminist Cinema,
what advice would you give to people looking to read or see more work that
explores experimentation alongside, or inseparable from, contemporary feminism?
Could you maybe explain a bit about the role of Club Des Femmes?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">Club des Femmes is a queer feminist film
curation collective based in London, founded in 2007 by Selina Robertson and
Sarah Wood, who are both programmers and filmmakers. It emerged from their
passion for feminist experimental cinema (and the collective and discursive
ways in which it was made), and their frustration at a lack of spaces in which
it could be screened in context and conversation.</span></div>
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<span style="font-family: "times new roman";">Over nearly a decade, Club des Femmes has
been part of a huge shift towards communitarian curation (partially enabled by
digital projection) with an emphasis on foregrounding alternative and
experimental cinema within event-based programming. There are new queer film
festivals such as FRINGE! (London), SQIFF and GLITCH! (both Glasgow), as well
as spaces like Liverpool Small Cinema, which is curated by a collective
including Elsewhere Cinema, which programmed 58%, foregrounding films by women,
trans and non-binary filmmakers. LUX and Cinenova, which distribute
experimental and feminist films respectively, have just moved to a new venue
with a screening space. So I think this is an incredibly exciting moment for
people to access films outside the mainstream.</span></div>
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<span style="font-family: "times new roman";">In addition, many intersectional feminist
collectives such as </span><i style="font-family: 'Times New Roman';">gal-dem</i><span style="font-family: "times new roman";"> screen
films as part of their events and online presence; video diaries,
documentaries, music videos, animation, experimental shorts – these are a core
part of the language of fourth-wave feminism, and they are often channelling
the influence of all kinds of historical feminist experimentation. If you
watched Beyoncé’s </span><i style="font-family: 'Times New Roman';">Lemonade</i><span style="font-family: "times new roman";">, you
watched a film influenced by the LA Rebellion cinema of Julie Dash, and you can
see the restoration of her film </span><i style="font-family: 'Times New Roman';">Daughters
of the Dust</i><span style="font-family: "times new roman";"> at the London Film Festival (and hopefully touring thereafter)
this October.</span></div>
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<span style="font-family: "times new roman";">You can also see the restoration of
Lizzie Borden’s legendary feminist science fiction film </span><i style="font-family: 'Times New Roman';">Born in Flames</i><span style="font-family: "times new roman";"> at the same festival, which was one of Club des
Femmes’ very first screenings. The words ‘experimental’ and ‘feminist’ sound
challenging, but this is work that has permeated our culture.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I
think you have mentioned ‘poethics’ in an interview I read somewhere…I was
wondering – given your contribution to Catechism: Poems for Pussy Riot and your
continued engagement with active voices of feminism, queer poetics and issues
of misrepresentation (across cinema and poetry) – <span style="mso-spacerun: yes;"> </span>what your views on poetry as activism are? <o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">Poethics is feminist poet and scholar
Joan Retallack’s word; she talks about the ‘poethical wager’ in her 2003 book
of the same name. Ethics – and activism – begin in language for me, and hence
there is no poetry (or communication) that is not activism. Take citational
practices, for example: whose work you foreground, how and where you name them,
what gets footnoted and what doesn’t, whose work you
reference/foreground/epigraph/pastiche and how. These are political acts.</span></div>
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<span style="font-family: "times new roman";">Of course, they’re not the only political
or ethical acts, but too often we assume a capital-P Political, both as part of
a spectrum of significance with Political Poetry (generally satire or war
poetry) at the top; and as part of a binary, as if there were Political Poetry
and all other work were apolitical (by design). If language is political and
ethical, then you can choose to ignore that, but then your work inscribes
dominant politics as a matter of course.</span></div>
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<span style="font-family: "times new roman";">So my activism begins at the level of the
word. But I am also an avowedly activist writer, although that means different
things at different times – collective editing work, collaborative writing work
(with Sarah Crewe), bringing poetry into alternative spaces (like experimental
feminist film screenings), teaching radical histories of poetry, reviewing and
advocating for other activist writers and publications, and being activist within
my own creative practice.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">In
<u>Her Various Scalpels</u> (Shearsman, 2009) you begin with a sequence
entitled ‘star poems’, each is ‘after’ a film (Lynne Stopkewich’s <u>Kissed</u>,
Michael Winterbottom’s <u>9 songs</u>, Anthony Minghella’s <u>The English
Patient</u>, Sally Potter’s <u>The Gold Diggers</u>, Rebecca Miller’s <u>The
Ballad of Jack and Rose</u>, Sofia Coppola’s <u>The Virgin Suicides</u>, and
Lucrecia Martel’s <u>La Niña Santa</u>). Though this initially seems like an
explicit dialogue, the poems are inventively skewed. The mentioned films seem
to become tonal indicators for how to enter the poetic space, rather than a
more familiar ekphrastic response of about-ness…what was it that drew you to
these particular films? They would make for a fascinating programme of
screenings!<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">I wrote those poems over a decade ago, so
I’m reconstructing from memory. </span><i style="font-family: 'Times New Roman';">The Gold
Diggers</i><span style="font-family: "times new roman";"> was out of circulation for a very long time – from its initial
release in 1983 until its DVD release in 2009. I was lucky enough to see it on
video in 2005, when I was first researching my book on Sally Potter, and it
made a very deep impression on me. I think that was the kernel of the series,
which posed a question (as the film does) about the female performer as star –
literally, as a light source. That visual metaphor is present in </span><i style="font-family: 'Times New Roman';">Kissed</i><span style="font-family: "times new roman";">, where it refers to a spiritual
experience of female sexuality, and in </span><i style="font-family: 'Times New Roman';">The
Virgin Suicides</i><span style="font-family: "times new roman";">, where the remembered Lisbon sisters appear to emit light.
These female performers draw attention to themselves, and thus to the film as
film, and to our responses to watching film – they are asterisks, textual
markers as well as astronomical bodies.</span></div>
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<span style="font-family: "times new roman";">I’m not a big fan of about-ness, in the
sense of a narrative centred on a character or theme. What interests me about
the ekphrastic is the formal challenge of moving image language from one medium
to another – but even more than that, the potential for disruption. In epic
poetry, ekphrastes are interruptions: a pause in a dramatic scene to look
closely at a visual detail that might present a counter-narrative, prophetic
insight or thematic parallel, but is also often riotously sensual and attentive
to the skill of the visual artist (and thus offers parallels for the poet’s
skill). It’s reflexive, hybrid and a form of poetics: not just description. Or
rather, description is never just description, it’s a theory of optics,
narratology, form, relation, etc.</span></div>
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<span style="font-family: "times new roman";">Each of the poems begins by looking at
the films’ ‘about-ness’ (</span><i style="font-family: 'Times New Roman';">9 Songs</i><span style="font-family: "times new roman";"> is
about a straight couple having sex and listening to bands) and then asks what
else there is to a film, other than a plot summary – the films I chose have a
strong sense of their own reflexive use of the medium, their critique of
about-ness. I love the oblique use of sound in </span><i style="font-family: 'Times New Roman';">La Niña Santa</i><span style="font-family: "times new roman";">, for example, and the chaptering of </span><i style="font-family: 'Times New Roman';">9 Songs</i><span style="font-family: "times new roman";"> which is really quite stringent
and structuralist. All of them are (now I think about it) also films about
loss, but none of them are elegiac (or in </span><i style="font-family: 'Times New Roman';">The
Virgin Suicides</i><span style="font-family: "times new roman";">, the masculinist elegiac is somewhat satirised); instead,
they vividly summon what has been lost (which is almost always female or
feminine) into presence; often, as in </span><i style="font-family: 'Times New Roman';">The
English Patient</i><span style="font-family: "times new roman";">, that summoning exceeds the frame that is meant to hold it
– and that excess, I guess, became what fed the poems.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I
find the eroticism that runs throughout many of your poems a really interesting
element – one that is able to prickle with wit, but also playfully enjoy
itself. Do you ever find that the ‘playful’ – as a dynamic that is restless/mobile/mutable
– can speak to queerness as well as maybe a kind of Surrealism? Could eroticism
be a space in poetry and film for gender and sexual fluidity to explore, and be
explored by, kinds of Surrealism?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">There’s a lot of terms imbricating each
other here: eroticism, playfulness, queerness, Surrealism. I think they all
have historied relations to one another that are complex and worth drawing out:
for example, Breton’s dismissal of Cocteau from the Surrealist movement because
of his sexuality.</span></div>
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<span style="font-family: "times new roman";">Rosalind Krauss’ writing on Surrealism
has been very influential on my critical thinking, as have the scholars of
women Surrealists. The big Angels of Anarchy show at Manchester Art Gallery in
2009, which I loved, made it clear that many women (and many queer women)
operated under the banner of Surrealism, often making the most inventive and
persuasive work by putting gender and sexual fluidity and fantasy at the
centre, like Eileen Agar or Dora Maar or Meret Oppenheimer or Frida Kahlo
(although she disclaimed identification with Surrealism). So I think that those
possibilities have already been realised, but have been written out of the
standard histories and gallery accounts.</span></div>
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<span style="font-family: "times new roman";">Angela Carter and Kathy Acker were hugely
influential writers that I discovered as a teenager, and both of them were
unabashed in their erotic play with literary form. And there are similar
feminist erotics of form in the work of Lizzie Borden, Cheryl Dunye, Sandra
Lahire, Chantal Akerman, Ulrike Ottinger, Hito Steyerl, Tejal Shah… the list
goes on.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I
LOVE your collection (O) (Arc, 2009), the poem ‘Silence, Singing’ was, for me,
a particularly stunning beast! As quite a long poem, taking its form in
fragments of prose, it plays with the essay form and though your collection
mentions both Susan Howe and Anne Carson, I was wondering whether essay-films
may also have had an influence on its style and rhythms? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Absolutely.
But both Howe and Carson have written about film: Carson particularly about
Antonioni (and particularly his lesser-known documentary work, in her essay
Foam, in <i style="mso-bidi-font-style: normal;">Decreation</i>), and Howe about
Marker, in <i style="mso-bidi-font-style: normal;">Sorting Facts, or Nineteen
Ways of Looking at Marker</i> (who was a book designer as well as a filmmaker…).
So the 21<sup>st</sup> century feminist poetic essay is already infused with
the essay-film – and vice versa. One of the first essay-films is Forough
Farrokhzad’s ‘Khaneh sia ast’ (‘The House is Black’), from 1962 – Farrokhzad
was a poet as well as a filmmaker, and a truly revolutionary artist.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">‘Silence,
Singing’ is actually one of the least consciously cinematically-inflected
pieces of writing I’ve done, although I think the fragmentary form, and the
movement between thoughts, is definitely shaped by an immersion in the work of
filmmakers such as Sarah Turner, Sarah Wood, John Akomfrah, etc. There’s only
one directly filmically imagistic moment in it, and it’s quite hidden: when I’m
overlaying Iphigenia and Bathsheba standing at the military camp, my internal
visualisation was shaped by Michael Cacoyannis’ film <i style="mso-bidi-font-style: normal;">Iphigenia</i>. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The
last poem in that collection, a signature poem no less (‘The Mayer’) has some
of the most dizzyingly wonderful collisions: </span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">‘Albus
Einstein’s particles and Gertrude / Stein’s participles’ <i style="mso-bidi-font-style: normal;">being a particular favourite! Film and poetry can play with time in
varying ways – are there any particular poets or filmmakers that for you offer
exciting new ways to experience or understand time? Apologies – I know the list
could be endless…but it just seemed like the ending of (O) was significantly
drawn into this question, looking into </i>‘this ever-present. (O) dazzle of
mayhappening’.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></b></div>
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<span style="font-family: "times new roman";">It’s an answering (or bracketing)
signature poem: the opening poem is called Sophia. So it’s definitely about
enfolding and cyclicity, as the section titles of the book suggest (I Do, I
Undo, I Redo). It’s a stand against time’s arrow and the insistent eschatological
linearity of colonial heteropatriarchy. We need to think about this aspect of
time, it’s critical – and political. It’s a theory of history as much as
anything.</span></div>
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<span style="font-family: "times new roman";">I love Agnès Varda walking back… back…
back… surrounded by mirrors in </span><i style="font-family: 'Times New Roman';">The
Beaches of Agnès</i><span style="font-family: "times new roman";"> (and her precise jokes with time in </span><i style="font-family: 'Times New Roman';">Cléo de 5 à 7</i><span style="font-family: "times new roman";">). The spirals of time, repetition, and remembering in
Sally Potter’s </span><i style="font-family: 'Times New Roman';">The Gold Diggers</i><span style="font-family: "times new roman";">. The
incremental seriality of Inger Christensen’s </span><i style="font-family: 'Times New Roman';">It</i><span style="font-family: "times new roman";"> (translated by Susannah Nied). </span><i style="font-family: 'Times New Roman';">Always Coming Home</i><span style="font-family: "times new roman";"> and ‘A Fisherman of the Inland Sea’ by Ursula K.
Le Guin. Maya Deren’s handling of space-as-time in ‘Meshes of the Afternoon’
and ‘At Land’. Allison Adele Hedge Coke’s unwriting of colonial time and
reinscription of indigenous (including non-human) temporalities in </span><i style="font-family: 'Times New Roman';">Blood Run</i><span style="font-family: "times new roman";">.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Beaches of</i><i style="font-family: 'Times New Roman'; text-align: start;">Agnès</i><span style="font-family: "times new roman"; text-align: start;"> (dir. </span><span style="font-family: "times new roman"; text-align: start;"><span style="font-size: x-small;">Agnès Varda, 2008)</span></span></td></tr>
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<i><span lang="EN-GB" style="font-family: "times new roman";">Blood Run</span></i><span lang="EN-GB" style="font-family: "times new roman";"> and <i>It</i> are both book-length sequences that offer cosmogonies and cosmic
time, although their sequentiality is quite differently structured. Ambitious
without being overbearing, generous yet rigorous: I think the feminist long
poem/book-length sequence, as it works through and deconstructs both the
realist novelistic narrative and the militaristic nationalist epic (going back
to Howe and Carson from the previous question, but also Bhanu Kapil, Claudia
Rankine, Karthika Nair, Liz Howard, Lucas de Lima) is where the unwriting of
time is at in contemporary poetry.</span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Are
there particular poets or filmmakers that you return to for inspiration? What
films or books kick-start the imagination or restore your faith in all things
cine/poetic?<o:p></o:p></span></i></b></div>
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<span style="font-family: "times new roman";">See above! What I like about working as a
curator and critic and teacher and editor, as well as an artist, is getting to
cross back through works or artists I’ve previously encountered, but from a
different perspective, or framing them differently, or with a different
audience. Pairing Rankine’s </span><i style="font-family: 'Times New Roman';">Citizen: An
American Lyric</i><span style="font-family: "times new roman";"> with Marker’s </span><i style="font-family: 'Times New Roman';">Sans
Soleil</i><span style="font-family: "times new roman";"> for a class this year, for example, to think about what bell hooks
calls ‘black looks.’ Or screening Abigail Child’s film about Mary Shelley, </span><i style="font-family: 'Times New Roman';">A Shape of Error</i><span style="font-family: "times new roman";">, with readings by
Sophie Robinson and Isabel Waidner. It’s about activating the re-readings or
re-encounters as much as anything.</span></div>
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<span style="font-family: "times new roman";">For private sustenance, I do return
frequently to Le Guin’s </span><i style="font-family: 'Times New Roman';">The Dispossessed</i><span style="font-family: "times new roman";">,
to Charlotte Brontë’s </span><i style="font-family: 'Times New Roman';">Villette</i><span style="font-family: "times new roman";">, to
Audre Lorde’s </span><i style="font-family: 'Times New Roman';">Sister Outsider</i><span style="font-family: "times new roman";">,
Chrystos’ </span><i style="font-family: 'Times New Roman';">In Her I Am</i><span style="font-family: "times new roman";">: books I
encountered in my late teens and early 20s, when I was working things out. (And
Tori Amos lyrics.) I’m also always quoting Judith Butler’s </span><i style="font-family: 'Times New Roman';">Precarious Life</i><span style="font-family: "times new roman";"> (it’s the epigraph to </span><i style="font-family: 'Times New Roman';">(O)</i><span style="font-family: "times new roman";"> ).</span></div>
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<span style="font-family: "times new roman";">After writing </span><i style="font-family: 'Times New Roman';">Political Animals</i><span style="font-family: "times new roman";">, which discusses over 500 films, my relationship
to cinema has changed somewhat – there’s a certain fatigue, particularly with
mainstream cinema. Probably the film I’ve rewatched most from the films I talk
about there is </span><i style="font-family: 'Times New Roman';">Belle </i><span style="font-family: "times new roman";">(Amma Asante),
but it was also a cue to revisit films I’d seen at festivals and
half-remembered like </span><i style="font-family: 'Times New Roman';">The Time We Killed</i><span style="font-family: "times new roman";">
by Jennifer Reeves. Festivals and curated programmes are where I do a lot of my
viewing now: it’s quite social, and as much about context as content. That
said, I am very excited to see the restorations of </span><i style="font-family: 'Times New Roman';">Born in Flames </i><span style="font-family: "times new roman";">and </span><i style="font-family: 'Times New Roman';">Daughters
of the Dust</i><span style="font-family: "times new roman";">, and the first features by Margaret Salmon and Hope Dickson
Leach, and Desperate Optimists’ </span><i style="font-family: 'Times New Roman';">Further
Beyond</i><span style="font-family: "times new roman";">, at the LFF. I’ve fallen in love with the work of American short
filmmaker Jennifer Reeder over the last year, and Thai filmmaker Anocha Suwichakornpong.</span></div>
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<span style="font-family: "times new roman";">In poetry, what excites me here and now is
the relation of new writing to editorial and curatorial projects: for the UK
alone, Dorothy Lehane and </span><i style="font-family: 'Times New Roman';">Litmus</i><span style="font-family: "times new roman";">,
Sarah Crewe and </span><i style="font-family: 'Times New Roman';">aglimpseof</i><span style="font-family: "times new roman";">, Andrea
Brady and Archive of the Now, Theo Chiotis and </span><i style="font-family: 'Times New Roman';">Futures</i><span style="font-family: "times new roman";">, Eleanor Perry, Juha Virtanen and </span><i style="font-family: 'Times New Roman';">Datableed</i><span style="font-family: "times new roman";">. Nisha Ramayya, Eley Williams, Prudence Chamberlain and
Generative Constraints. Sam Solomon, Joe Luna, Natalia Cecire and The Sussex
Poetry Festival. And so many more. The inventive, joyous effervescence of creating
alternative spaces for embodied, political poetics.</span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-29227526741874165202016-09-15T14:49:00.002-07:002016-09-15T14:51:20.703-07:00An Interview with John Ashbery<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">LIGHT GLYPHS 2: </span></i><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 26.0pt;">JOHN ASHBERY<o:p></o:p></span></i></b></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">‘… Movies show
us ourselves as we had not yet learned to recognize us—something in the nature
of daily being or happening that quickly gets folded over into ancient history
like yesterday’s newspaper’<o:p></o:p></span></i></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 9.0pt;">Ashbery,
‘The System’ (<i style="mso-bidi-font-style: normal;">Three Poems</i>, 1972)<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">The
American poet John Ashbery has accumulated a vast and unique body of work: with
over twenty volumes of poetry; several plays; a collaborative novel (<i style="mso-bidi-font-style: normal;">A Nest of Ninnies</i>, written with James
Schuyler); collected prose and art criticism; two collections of French
translations (in addition to translating Rimbaud’s <i style="mso-bidi-font-style: normal;">Illuminations</i>, Pierre Reveredy’s <i style="mso-bidi-font-style: normal;">Haunted House,</i> much of Giorgio de Chirico’s <i style="mso-bidi-font-style: normal;">Hebdomeros</i> and Pierre Martory’s <i style="mso-bidi-font-style: normal;">The
Landscapist</i>); and, most recently, re-imagining a ‘lost film’ screenplay for
Canadian director Guy Maddin.<i style="mso-bidi-font-style: normal;"> </i>Widely
translated, influential and bedecked with almost every award (including a
Pulitzer and, more recently, the National Medal of Arts awarded by Barack Obama
in 2011), Ashbery’s poetry continues to beguile, enchant and confuse with its amorphous
ventriloquism of American life. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">In the spring of 2009, the Harvard Film
Archive organised ‘John Ashbery at the Movies’, a series of films curated in
celebration of his passion for cinema. This included filmmakers who have
acknowledged Ashbery as an influence (Abigail Child, Nathaniel Dorsky, Phil
Solomon) and films chosen by Ashbery himself. In addition to the active role of
film in his poetry, one of the other (many) reasons that this programme came
into being was Ashbery’s illuminating prose on cinema. His essays, on Jacques
Rivette, the phenomenon of <i style="mso-bidi-font-style: normal;">Fantômas, </i>Val
Lewton’s <i style="mso-bidi-font-style: normal;">The Seventh Victim</i>, and
Edgar G Ulmer’s <i style="mso-bidi-font-style: normal;">Detour</i>, are all
insightful, clearly wrought and downright infectious in their palpable
enthusiasm. This conversational impulse between mediums can be traced back to
early collaborations with the filmmaker and photographer Rudy Burckhardt, to
the close friendship with Frank O’Hara (who in turn often collaborated with
filmmaker Alfred Leslie), the invigorating artistic circles gathering around
the Tibor de Nagy gallery in 1950s and 60s New York, and, in Ashbery’s
formative and frequent cinema trips during his time living in Paris. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">However, it is not simply as a point of
superficial reference that cinema emerges but in the shifts of attention that a
reading of his poems can induce. For instance, the syntactic disjunction of <i style="mso-bidi-font-style: normal;">The Tennis Court Oath</i> (Ashbery’s boldly
experimental second collection, 1962) has been discussed by critic Daniel Kane<i style="mso-bidi-font-style: normal;"> </i>as a poetic equivalence of the editing
techniques of surrealist film. The productive instability of both ‘surrealism’
and ‘film’, as concepts <i style="mso-bidi-font-style: normal;">and</i>
experiences, generates a mobile ambiguity that Ashbery’s poetry has long
embraced. Rather than simply referring to film, it is instead in the ability of
his poems to enact and inspire experiences that, moving between understanding
and its sensation or a moment and its expression, poetry and cinema can both be
brought into permeable awareness. The crossing of artistic boundaries and
contexts, gleefully tickled or blurred, is also clearly at work in Ashbery’s
interest in collage – which is where this discussion begins…<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Do you feel your
engagement with visual collages (having now had four exhibitions to date) has
changed at all since the summers spent with Joe Brainard, and even earlier
experiments throughout college? <o:p></o:p></span></i></b></div>
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<span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">I suppose my engagement with collages has expanded now
that I am able to show them at a gallery. I’ve been working on them quite a bit
this summer and hoping there will be another show.</span><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;"> </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Could you possibly say a bit about the
collaged play, The Inn of the Guardian Angel (using New York Times obituaries
and Hollywood fanzines) that you apparently lent to Guy Maddin during his
Seances project? <o:p></o:p></span></i></b></div>
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<span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">He and I were fans of each other's work before we ever
met and conversed. His recent <i>Seances</i> is beautiful, and of course I love
<i>Archangel</i>, <i>My</i> <i>Winnipeg</i> and <i>The Saddest Music in the
World</i>, one of my all-time movie favorites. </span><span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">Yes, <i>The Inn of the
Guardian Angel</i> is an abandoned project. The title taken from a children’s
book by the 19<sup>th</sup> century French (or Russian) children's author
Contesse de Ségur. I abandoned it and sent it to Guy telling him he could
“strip mine” it for his next movie. I don’t think I wrote anything but the “How
to Take a Bath” section in his last film.</span><span style="color: #191919; font-family: "bookman old style"; mso-ansi-language: EN-US; mso-bidi-font-family: "Bookman Old Style";">
</span><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">The actor in that film [Louis Negin] who tells an off-color joke (one
that I heard in grade school many a year ago) is a sort-of <i>objet trouvé</i>
of Guy's, whom he, Guy, has used in a bunch of films.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">I've always been a fan of movies, and, even more than
that, I think the idea of them has somehow informed my work. Do you know my
poem ‘The Lonedale Operator’ in my book <i>A Wave?</i> I realized one day that
nobody had ever written a poem on the all-important subject of the first movie
they ever saw, so I proceeded to do so. It sort of wobbles away from that
subject towards the end as my poems tend to do! </span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">Could you say a bit about </span></i></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">‘John Ashbery at the Movies’,</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;"> </span></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">the programme of films coordinated by
Haden Guest and Scott Macdonald at the Harvard Film Archive?<o:p></o:p></span></i></b></div>
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<span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">First off, ‘John Ashbery at the Movies’ was quite
interesting to me, as I had forgotten some of the films and not seen others.
The younger filmmakers who were apparently influenced by me were particularly
appealing, notably Abigail Child, who is famous but whom I didn't know before
then, and I especially liked Phil Solomon’s film <i>The Exquisite Hour</i>. Also
the Busby Berkeley and Daffy Duck films were just as I remembered them. I was a
little disappointed in a French film called <i>Adieu Léonard</i>, which I had
seen many years ago in Paris and remembered as a bizarre and delightful comedy.
It was just OK. It was made during the Occupation and has some of the creepy
brilliance of many of the films of that time. (One I particularly recommend is
Called <i>Douce</i> by Claude Autant-Lara, a 19<sup>th</sup> Century romantic
tear-jerker that features the famous character actress Marguerite Moréno as an
obnoxious old rich lady).</span><span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXyZyy1do6js4lm2iPz6iH9oVeR8xt2Ghc2j805i7tH6ghbUYxzNiPB0GrHgtuyyHba324-B-JgzKCGixPsUGryvts2eBxzkJ7u-mZlI9WL9qpsVbxYJul2twHo7vH8GbS2GKOYLAcwhLS/s1600/douce.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXyZyy1do6js4lm2iPz6iH9oVeR8xt2Ghc2j805i7tH6ghbUYxzNiPB0GrHgtuyyHba324-B-JgzKCGixPsUGryvts2eBxzkJ7u-mZlI9WL9qpsVbxYJul2twHo7vH8GbS2GKOYLAcwhLS/s320/douce.jpg" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Douce' (1943)</td></tr>
</tbody></table>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">I once read somewhere that you
recommended The Psychotronic Encyclopedia of Film (Michael Weldon), do you
still have this? I have a copy (as a result of that recommendation), it’s an
absolute treasure-trove of trash! I love it. Do you have any other books about
or on film that have been important to you?<o:p></o:p></span></i></b></div>
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<span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">I hope I do still have a copy of <i>The Psychotronic
Encyclopedia of Film</i>, though I haven’t seen it around lately. I can’t think
of other books on film that have been important, except for the Hallowell
guides and Leonard Maltin’s guides for catching films on TV. That book was
useful when I wrote a poem, “They Knew What They Wanted,” where every line was
a movie title that began with “they.”</span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Are there any other poets that share your
particular taste in movies? Or poets whose work flirts with film in ways that
interest you? <o:p></o:p></span></i></b></div>
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<br /></div>
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<span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">Frank O’Hara and I both were on the same wavelength
with regard to movies. Also John Yau has written an essay on going to the
movies with me, which I haven’t read in a long time, but is quite probably very
informative. Robert Polito writes interestingly about film in his poetry.</span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Two of your favourite films, On Approval
(1944 and Dead of Night (1945), showcase the charms of British actress “Googie”
Withers (Georgette Lizette Withers) …<o:p></o:p></span></i></b></div>
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<span style="color: #0c0c0c; font-family: "Times New Roman"; mso-ansi-language: EN-US;">By coincidence I saw <i>On Approval</i> and <i>Dead of
Night</i> just a few weeks ago on TV. The marvelous channel Turner Classic
Movies had a sort of mini Googie festival, which also included <i>It Always
Rains On Sunday</i>, which as its title would suggest is rather dreary.</span><span style="color: #191919; font-family: "Times New Roman"; mso-ansi-language: EN-US;"> I
first saw <i>Dead of Night</i> sometime in the late forties, at a time when I
used to view movies serially. I probably saw it around 20 times along with such
other faves as René Clair's <i>Le Million</i> and Clive Brook’s <i>On Approval</i>,
maybe my all-time favorite. Bea Lillie was magnificent as the wealthy spinster
Maria Wislack and Googie Withers perhaps even greater as the nice person in the
movie. It’s funny about <i>Dead of Night</i>. When I first saw it in Boston in
the 40s the golf links sequence wasn’t shown, I had to wait until my 16<sup>th</sup>
or 17<sup>th</sup> viewing in order to see it. Googie again gives her all,
especially when she is about to be strangled by her husband and looks in the
antique mirror to discover a strange interior and manages to break the mirror
just before her husband, whose name momentarily eludes me, almost does her in.
I forgot to mention Cocteau’s <i>Orphée</i>, which was also part of my
compulsive cinema-going.</span><span style="font-family: "Times New Roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<b><i><span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></i></b></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg93j4PoYp3EF3r36F0EkO8_b5FV_me_KYfqYWS3_QlzoqckGJcJ_r1GF4052kggOhl2k_T6M86PMwK6UYZ5u8alx7-QNfsa9Ls0bSITcTJvW0XDpTjRjZYf_DLzmrjuGpWtdiECG5ZYU3v/s1600/googie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg93j4PoYp3EF3r36F0EkO8_b5FV_me_KYfqYWS3_QlzoqckGJcJ_r1GF4052kggOhl2k_T6M86PMwK6UYZ5u8alx7-QNfsa9Ls0bSITcTJvW0XDpTjRjZYf_DLzmrjuGpWtdiECG5ZYU3v/s320/googie.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>from </i>'Dead of Night' (1945)</td></tr>
</tbody></table>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Having written with affection on Val
Lewton’s films (produced for RKO pictures), specifically The Seventh Victim
(1943), I was wondering if films from the 40s seem to retain a certain
resonance or significance for you, and if so, why? <o:p></o:p></span></i></b></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;"> </span><span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">I suppose 40s films have a certain
“resonance or significance” for me, perhaps because that was the period of my
adolescence when I was starting to go out and see things on my own and draw my
own conclusions about them. <i>The Seventh Victim</i> is one of my all-time
favorite movies, not just for its dark and forbidding atmosphere but for the
sort of endearing clunky-ness it was made with. The totally obscure actress
Jean Brooks exerts a mysterious magnetism.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">There seems to be a certain way of
appreciating a film that relates a sense of Surrealism to interpretive
reception and not the film’s design, often a more potent experience than
watching any self-declared ‘Surrealist’ film. In prioritising our own
attentions as viewers, as opposed to a film’s original intentionality, certain
details become lyrical: you describe the portrayal of New York in The Seventh
Victim in this way, and the background décor and genius loci of Feuillade’s
Fantômas films. Can you think of any other films that have struck you in this
way…arguably all film, in the right moment or frame of mind!?<o:p></o:p></span></i></b></div>
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<span style="color: #0c0c0c; font-family: "times new roman"; mso-ansi-language: EN-US;">Offhand, a film I saw last night for the first time,
again on TCM, a 1946 film noir titled <i>The Dark Corner</i>, starring Mark
Stevens, Lucille Ball (in her pre-Lucy days--she was quite good in a straight
role) as well as reliable villains Clifton Webb and Kurt Kreuger. Actually, t</span><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">he
boundary between surrealist films and just any films is sort of undefinable.
That's what draws us to movies I guess. I'll try to remember some partially
surreal films for you. There is a very good short one called <i>La Perle,</i>
written by the surrealist poet Georges Hugnet. More recently there are of
course the wonderful films of Jacques Rivette, of which I am particularly fond,
especially <i>Out One/Spectre </i>and<i> Céline and Julie Go Boating</i>.</span><span style="color: #191919; font-family: "bookman old style"; mso-ansi-language: EN-US; mso-bidi-font-family: "Bookman Old Style";"> </span><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">And of course Guy Maddin, whose
surrealism is closely linked to his extreme nostalgia for old films.</span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">In a 2002 interview with Mark Ford, you
made a very interesting observation in which you related the ‘disintegration’
of Language poetry to that of Surrealism – suggesting ‘there’s a certain hard
kernel that can stand the pressure for only so long, and then it starts to
decay, giving off beneficial fumes.’ Are there any poets who particularly stand
out for you, in their reaction to, or incorporation of, this fruitful
‘disintegration’ of Surrealism?</span></i></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></i></b></div>
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<span style="color: #191919; font-family: "times new roman"; mso-ansi-language: EN-US;">I've always felt that most surrealist poetry is
disappointing when compared to the vague feelings that the word surrealism
conjures up, even in daily, TV man-on-the-street interviews— “Hurricane Sandy
was really surreal.” This admittedly inchoate concept is curiously more useful
than the glacial surfaces of Breton and Éluard. I do love the poetry of Jacob
and Reverdy, but they weren't “officially” surrealists, as far as I know.
Perhaps they would be “poets who particularly stand out in their reaction to,
or incorporation with this fruitful disintegration,” though they seem much less
decadent than that would imply.</span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p> </o:p></span><span style="color: #0c0c0c; font-family: "times new roman";"> </span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">‘<i style="mso-bidi-font-style: normal;">[T]o
communicate only through this celluloid vehicle that has immortalized and given
a definitive shape to our formless gestures; we can live as though we had
caught up with time and avoid the sickness of the present, a shapeless blur as
meaningless as a carelessly exposed roll of film.’<o:p></o:p></i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 9.0pt;">Ashbery,
‘The System’ (<i style="mso-bidi-font-style: normal;">Three Poems</i>, 1972)<o:p></o:p></span></b></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-84041431339676095512016-08-31T12:49:00.000-07:002016-08-31T12:49:07.507-07:00Collages - August 2016<div class="separator" style="clear: both; text-align: center;">
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<br />The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com1tag:blogger.com,1999:blog-721612652187116625.post-14516882884422873282016-08-21T04:08:00.002-07:002016-08-21T04:09:43.622-07:00An Interview with Guy Maddin<div class="MsoNormal" style="background: white; margin-top: .1pt; mso-line-height-alt: 9.65pt; mso-para-margin-top: .01gd;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">LIGHT GLYPHS 1</span></i><span lang="EN-GB" style="font-family: "times new roman";">: </span><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 26.0pt;">GUY
MADDIN</span></b><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">To
be able to begin the ‘Light Glyph’ series of interviews with Canadian filmmaker
Guy Maddin is a real privilege. There exists no better inauguration than to
dive into the ideas and perambulations of one of modern cinema’s most
inventive, entertaining and consistently original practitioners. His films itch
and explode with the busy extravagance of Von Sternberg, yearn with the aching
melodramas of Douglas Sirk and libidinously exhume the spirit of early Buñuel.
Adopting the orphaned and outmoded in cinema’s history, as digested by his own
humour and obsessions, Maddin quarries a lovingly warped archaeology of film with
which to ferment and reinvent personal mythologies. The near-occult dynamics of
family and the primacy of childhood become points of ritual, never far from
troubled or vulnerable desire and, as all else in Maddin’s foggy cartography, encountered
most frequently in and as memory. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Though his filmography demonstrates
recurrent themes and visual preferences, he has nevertheless accumulated a
diverse body of work: from the midnight-movie, cult success of <i style="mso-bidi-font-style: normal;">Tales from Gimli Hospital</i> (1988), a film
that had critics equivocating between allusions to <i style="mso-bidi-font-style: normal;">Eraserhead</i>, Man Ray and John Waters, to the labyrinthine ambition
of his latest feature <i style="mso-bidi-font-style: normal;">The Forbidden Room</i>
(2015).<i style="mso-bidi-font-style: normal;"> The Forbidden Room</i> is a
propulsive, vast and hallucinatory feat of of narrative contortion; like a
Russian-doll raconteur evoking the writing of Raymond Roussel, it features an
‘outer-onion’ framing device scripted by the American poet John Ashbery. Ashbery
has often cited Maddin’s <i style="mso-bidi-font-style: normal;">The Saddest
Music in the World </i>(2003) as a favourite film, and, in addition to admiring
each others work, they also shared a recent collage exhibition (2015) at the
Tibor de Nagy gallery, New York.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">In this interview I wanted to ask Maddin
about aspects of this poetic collaboration and to hear more about his own
relationship with poetry. It was also a chance to consider the visual
manipulation, newly explored with co-director Evan Johnson, in digital form;
outside of its own innovation in digital film, <i style="mso-bidi-font-style: normal;">The Forbidden Room </i>was also accompanied by a pioneering online
incarnation, <i style="mso-bidi-font-style: normal;">Séances</i> (2015).<i style="mso-bidi-font-style: normal;"> Séances </i>is an interactive project based
on a method of ‘algorithmic storytelling’, allowing viewers to ‘conjure’ filmic
episodes (some of which appear in <i style="mso-bidi-font-style: normal;">The
Forbidden Room</i>) whereby each viewing witnesses a uniquely sequenced and
un-repeatable composition. An emphasis on cinema as the <i style="mso-bidi-font-style: normal;">medium</i> for ghostly collision suggests Maddin’s often innately
poetic interest in movements between presence and absence in film, each constantly
haunted by the other. It is also through exploring the unexpected, in
combinations of chance, that <i style="mso-bidi-font-style: normal;">Séances </i>reveals
an impulse to collage. For Maddin, a poetics of collage becomes central not only
to film but to the articulation and experience of everyday perception. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">David Spittle: <i style="mso-bidi-font-style: normal;">I know Michael Silverblatt introduced you to
John Ashbery but I wondered whether there were ever any other poetic
discoveries that have become comparably important for you? In the tradition of
George Toles and Michael’s chaperoned book guides (and like the loving and
solemn ritual of a mixtape between friends) if you were to compose a list of
poetry recommendations, what might be on it?</i></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Guy Maddin:</span></b><span lang="EN-GB" style="font-family: "times new roman";"> Well, I like the prose
poetry, if that’s what it is, of De Chirico’s <i style="mso-bidi-font-style: normal;">Hebdomeros</i>. And I like Jules Laforgue’s <i style="mso-bidi-font-style: normal;"><span style="color: #252525;">Moralités légendaires</span></i><span style="color: #252525;"> (1887)</span>, which contains prose poetry
biographies of Hamlet, Salome, Perseus and Andromeda, and Lohengrin.<span style="mso-spacerun: yes;"> </span>I love the prose too of Osip Mandelstam – his
Egyptian Stamp is the best. Maybe it’s just prose, not even prose poetry -- who
can tell, because now I’m thinking of how much I love Pasternak’s <i style="mso-bidi-font-style: normal;">Safe Conduct</i>, which is just prose,
though redolent of poesy! Gimme the prose of<span style="mso-spacerun: yes;">
</span>Nerval and Mallarmé, -- did Mallarmé even write any prose? -- and, um,
Frederick Seidel. He’s a poet! I guess I love prose that yanks the rug out from
under my feet and leaves me floating somewhere. For that reason, I also love
Ezra Pound’s apparent complete rewrite-within-a-translation of Paul Morand’s <i style="mso-bidi-font-style: normal;">Open All Night</i>. I know these don’t all
add up to Ashbery, but I love them all and Ashbery too. Silverblatt and Toles
both guided me through the first decades of my reading. The stories Michael
recommended that most affected me were the Beckett novels and Flann O’Brien’s <i style="mso-bidi-font-style: normal;">At-Swim-Two-Birds</i>. I love this latter
book so much it hurts. I can’t believe it took me thirty years to read
O’Brien’s <i style="mso-bidi-font-style: normal;">The Third Policeman</i>, which
might be one of my top five favourite books of all time. Or top fifty, now that
I think of it, but top, way up there – so dreamy-dream-dreamy!<span style="color: #252525;"><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The shared Tibor de Nagy exhibition of
your collages with Ashbery’s seemed like such a natural and exciting match, at
what point did you start sharing your collages with Ashbery? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I can’t remember if I ever showed him any. I was a longtime
fan of his, and I must have show him something because he suggested I approach
the Tibor with my stuff – but I never did! Wait, no, I did! I ran some of my
stuff in the <i style="mso-bidi-font-style: normal;">Sienese Shredder</i>, a
fantastic arts annual put out by Ashbery friends Brice Brown and Trevor
Winkfield. I was so proud to be included among the artists who peopled its pages.
There was stuff by Ron Padgett, James Schuyler, Jasper Johns – and me!
Ridiculous!<span style="mso-spacerun: yes;"> </span>Then one day I just got an
invitation from the director of Tibor asking me – no, telling me – I had a
joint show with Ashbery at the gallery if I wished. Just send in some collage,
Guy! I didn’t have any left, so I had to host a few collage parties to get some
made. I know Ashbery always works on his scissoring and gluing alone, but I
always do it in social situations. I get lonely easily and nothing comes! So I
bought some wine and cheese, and some new LPs, and soon I was happily crafting
the crap out of some old magazines until I had my share for the show done. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Your collages from around the period of
Keyhole, like the film itself, seemed darker and more psychosexual than your
later collages in the Tibor exhibition. How much was the change in style a
reaction to the different tone of The Forbidden Room and Séances, and how much
was influenced by Ashbery’s collages and the nature of your collaboration?</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman";">
<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Ashbery had a huge influence on me. I love how his collage
work is often the result of just one move, just one image combined with another
to form a new visual meaning or some kind of delight. He made me simplify my
collage. Also, with <i style="mso-bidi-font-style: normal;">Keyhole</i> in the
past, my mood brightened considerably. In recent months my collages are almost
exclusively in colour. I hate to supply reductive reasons but my life seems
happier and more stable now, plus I decided to challenge myself with the formidable
task of contriving palettes for the work. I went to the paint store and asked
for one of their “colour complement” wheels and made the new work with that
wheel by my side all the time, for handy complement double-checking. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I’m now hooked on colour, and making things pretty, and
putting one thing on top of another. The whole world is a collage, or so it
seems now, and everyone in it is Ashberian, or everyone is a part of speech in
Ashbery’s singular vernacular! Now I see everything that delights me in terms
of the component parts of a collage, the unlikely collision of two things,
sounds, events, flavours. I’m especially into the titles randomly generated by
the program running Séances – <span style="color: black; mso-themecolor: text1;">at
the end of each viewing experience a film cemetery of titles created and lost
by this site is listed. </span>If you sit through a movie and take
screen-captures you’ll find a fairly high batting average of near-Ashberian
charm. It’s up to the reader to impose his own Ashberian qualities onto these
things, but I swear they’re there! Also, I love what-if collages involving one
musician, a long-dead one, doing a cover of a song written since their death. I
can go on forever with this one. I really want to hear Leadbelly covering
ScHoolboy Q’s “Big Body.” I want Nat King Cole to sing “King Kunta”! You know,
it can’t happen, it never will, but it MUST!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Could you say a bit about Ashbery’s
script for his collage-play, The Inn of the Guardian Angel (according to the
questionable omnipotence of Wikipidea, this was given to you by Ashbery, and is
collaged from New York Times obituaries and Hollywood fanzines…it sounds
amazing!)</span></i></b><span lang="EN-GB" style="font-family: "times new roman";">
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">The play is an incredible piece of writing. Not to mention
typewriting! It’s 83-pages long, typed, single-spaced, and it’s all Ashbery. I
think wiki got it as right as I did. I think I’m even the source for that wiki
entry – how often do you find someone willing to admit he’s the source for a
wiki entry? From what I recall John told me he collaged the play together from obituaries
and fanzines, but my memory is terrible, and who knows how much he was
spoon-feeding me with his explanation – I’m only a filmmaker, I spend all my
time stressing to John how much of an outsider I am when it comes to poetry.
John generously included the rights to film <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>The Inn of the Guardian Angel </i>along with
our legal document giving me the right to shoot his adaptation of the lost
Dwain Esper film <i style="mso-bidi-font-style: normal;">How to Take a Bath</i>,
which we shot way back in the summer of 2010 and then later included as the
framing structure that held , sort of held, together our 2015 feature film <i style="mso-bidi-font-style: normal;">The Forbidden Room</i>. Esper was a
sexploitationist who also shot <i style="mso-bidi-font-style: normal;">Reefer
Madness </i>and <i style="mso-bidi-font-style: normal;">How to Undress in Front
of Your Husband</i>. He also took over the distribution of Tod Browning’s <i style="mso-bidi-font-style: normal;">Freaks</i> when the film was banned. So in
1937 he made a film with the titillating tile <i style="mso-bidi-font-style: normal;">How to take a Bath</i>. It apparently compared how married and
unmarried women bathed – that’s when the word spinster was still used on
driver’s licenses to describe the unmarried. Anyway, I think the married bathed
with much more lubricity, while the spinsters’ soapsuds lacked the nacre.<span style="mso-spacerun: yes;"> </span>I picture the whole thing in split screen, a
great excuse for Esper’s art department to pile suds just so high on the chest
of an actress. John’s adaption is a total rewrite. I love it so, and I’m so
proud to have his words in our feature. Wow. I wish John wrote screenplays more
often. I love his plays, which are hard to get – what’s that one of his adapted
from a Rin-Tin-Tin movie, but with humans playing and speaking the roles of the
digs? So dreamy! I have it somewhere in my apartment, or one of my subletters
took it. Things are always disappearing around here! I begged John,
shamelessly, to write more screenplays for me, but to get rid of me he sent me
this <i style="mso-bidi-font-style: normal;">Inn of the Guardian Angel</i>. Every
day during the 2010 production of my feature <i style="mso-bidi-font-style: normal;">Keyhole</i> I had actors read aloud from the <i style="mso-bidi-font-style: normal;">Inn </i>while I video-recorded them. It was so difficult for the actors
to understand the play, to give the lines any welcoming sense they were
understood. Mind you, some of these actors were having trouble with their
normal lines, and most of them enjoyed it far too much whenever I read the
morning paper out loud to them during hair and make-up. <o:p></o:p></span></div>
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<span style="font-family: "helvetica"; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Starting with Keyhole and certainly
continuing in The Forbidden Room and in the Seances project, it seems like more
horror inflected elements are entering the Maddin universe…would you agree?
Obviously we’re not talking unequivocal ‘genre’ horror, but I feel with some of
the new visual techniques you’re exploring and alongside a constant interest in
hauntings, and altered, delirious, trance-like or frenzied states, more eerie
moments are appearing…<o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
wish I were working in genres. I’d be doing myself a favour, from the funding
point of view anyway. Man, I was always so proud of being described as sui
generis, genre-free, but I was proud of something that was screwing me over
completely. I might as well have been proud of being the most financially
unsuccessful, or the most impossible to sell, filmmaker of them all. What a
maroon! But I am delirious, always delirious, obsessed with my own amnesias. <span style="color: #222222;">I connected with amnesia plots in melodrama and soap
operas even in childhood, and believe me I wasn’t thinking in analytic terms
back then. They just hit me. I guess I’ve always had the kind of dreams while
sleeping that stayed with me long into the day, the feelings they produced
anyway, and for as long as I can remember I’ve dreamt about things I missed the
most. I’d dream about my dead brother come alive, my dead Chihuahua come alive,
my dead grandmother, dad and Aunt Lil. All of them got regularly restored to me
in my sleep. The cottage at the lake, which I was only taken to in the summer
would be restored to me all winter long, and the happy feelings they produced
in me would stay with me well into the day, past lunchtime sometimes. I saw
these dreams as a forgetting. I’d forgotten all the funerals, the deaths. I’d
forgotten it was no longer summer, at least while I was sleeping. I’d forgotten
people were dead, and the feelings of seeing them again, that’s what I
remembered. In a way, forgetting is not just the flip side of remembering, but
an important part of remembering. I’d forget one thing, the absence, and that
would permit me dream access the memories of things long removed from me. It
was like getting handed a telescope in my sleep, so I could see and feel things
up close I would never be able to conjure up as simple daytime memories, not
without the vividness of dreams. Conversely, by day I’ve always been a
stupefied cotton-headed groper through waking life, always forgetting the most
serious problems pressing, really pressing, for real, in on me. I’d forget to
do homework, forget to do chores around the house, forget the time as it passed
in front of the TV.<span style="mso-spacerun: yes;"> </span>I’d forget as a
young man I was a father, and fall short in my duties there. As a young father
I’d frequently forget my wedding vows, forget to file taxes, forget my manners.
Mix all that up with my bumper crop of dream amnesias and I was one confused
person, I don’t know how I got across the street, so befuddled was I, and
remain to this day, so frequently getting my feet tangled up in memories,
always flipping back and forth between past and present, never involving the
future in my intoxicated reveries. Yes, I was drunk on such reveries,
obsessions with the past, almost a sublime connoisseur of the past’s flavours
as they mingle with the present’s. I learned later Falkner believed the past
and the present exist simultaneously, “the past ain’t even past” or something
like that he said. I was chilled and giddy when I read his words on the
subject. In short, amnesia, the forgetting of the past and the present to bring
me closer to one and remove me more from the other, has been my constant state
for emotions my whole life. I can remember thinking that way back to my
earliest memories. Not sure why, I’ve often mentioned I was brought home from
the hospital the same day the family got its first TV, which had only started
broadcasting in Winnipeg 2 years before my birth. Reception was all rabbit ears
and very snowy. Together we, the TV and I, learned to communicate with each
other. And there were only two channels. But on some mornings, before the
Winnipeg channels went on the air, I could see distant snowy transmissions from
North Dakota or Minnesota come and go in blizzards of evanescent images, the
sound roaring up into an unstable clarity for a few seconds, sometimes a few
minutes even, before being suddenly yanked from me, as suddenly as waking from
a dream, or as sudden as a death. The experience of watching TV was every bit
as dream-addled, every bit as intoxicating as the amnesias in which I accepted
myself as immersed. These broadcast interventions alloyed themselves to the
melodramas of the soaps, sitcoms and night-time dramas I watched obsessively,
and like the leopards in Kafka’s famous parable, the leopards that interrupted
a sacred ceremony so often they were finally just incorporated into the
ceremony, these broadcast interruptions, and my memory interruptions, just
became an accepted part of every TV story and my reactions to it. I feel lucky,
I got an enriched version of all the programming that probably just bored
everyone else. So when as an adult I started to watch noir – and I think it was
film writer Lee Server who once called amnesia noir’s version of the common
cold, I had no trouble as seeing – I didn’t even need to “interpret it” –
amnesia as the natural state of mind for these post-war PTSD protagonists. The
old trope gave me a swift understanding of these doomed chumps. In “women’s
pictures” I understood better than the average normal kid the tortures and
sublimities of Joan Crawford or Ronald Coleman when forgetfulness descended on
them. When it came time to make my own movies I turned to trusty old amnesia to
help me figure out the human condition. In my earliest most primitive days as
screenwriter and director I knew I could never create rich characters, more
like the types Buñuel used in <i style="mso-bidi-font-style: normal;">Un Chien
andalou</i> and <i style="mso-bidi-font-style: normal;">L’Age d’Or</i>, but if I
spritzed<span style="mso-spacerun: yes;"> </span>everyone with amnesia I felt I
could give them something like the real human condition, cheaply and quickly.
Little did I realize I was giving them my own human condition, which is sold
only in novelty shops, not the condition Renoir or Flaubert peddled in their
work. Anyway, I think it’s an especially cinematic because one is already
almost completely forgetting the real world when settling into seats inside a
dark movie theatre, or in front of a TV screen. </span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Like the Brothers Quay you have often
cited the novels of Robert Walser and the stories of Bruno Shulz as an
influence, your films are very different but often speak to comparable
concepts. Is there any further literary common ground between you? Is it interesting
to see how differently your films seem to digest and communicate these
influences? Arguably this link (with the Quays) could be interesting in light
of considering the darker or ‘horror-inflected’ elements in your films.</span></i></b><span lang="EN-GB" style="font-family: "times new roman";"> <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #222222; font-family: "times new roman";">Yes I adore Walser, and I had been reading his
butler fiction – <i style="mso-bidi-font-style: normal;">Tobold</i> and <i style="mso-bidi-font-style: normal;">Jakob von Gunten</i>, just as we were
writing the script for <i style="mso-bidi-font-style: normal;">Careful</i> (1992).
Walser is so gentle, so delicate, so crazy, it seemed butlering was the perfect
profession for <i style="mso-bidi-font-style: normal;">Careful</i> because
butlers had to be careful always, and quiet, and gentle and small and almost
non-existent, a quiet existence of near zero presence. The voice of Walser got
into my head and I thought I could profit from such a possession, so I borrowed
his tone a lot. Bruno Schulz gets the way I think. I can’t think like him, but
he knows how I go about the process of feeling something and then reporting
that feeling to myself. He does that reporting for me because I’m no good at
it, and since I discovered him I don’t need to worry about the job of feeling.
I just read him. That sounds glib, I know, but it sounds honest to me because
I’ve never fallen so hard nor so fast for a writer’s voice and methods as when
I first encountered Schulz. So powerful was the effect that I am now
misremembering my first encounter with Schulz as contemporaneous with my
earliest childhood memory, and I know that can’t be true. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Ever since the muffled soundscapes of
Archangel (1990); the discovery of your brother Cameron’s old radio recordings;
flitting between stations and distant crackle; and the superb ambient
soundtracks of Jason Staczek –<span style="mso-spacerun: yes;"> </span>the
passage between coherent and incoherent, whether in memory, vision or sound,
seems to haunt your films. With the online nature of Séances does this have
further implications? You seem to evoke a kind of Youtube glitch effect at
times, one that suggests decay as not only the territory of celluloid, or a
cinematic past, but as a continuing and now digital possibility.</span></i></b><span lang="EN-GB" style="font-family: "times new roman";"> <o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #222222; font-family: "times new roman";">I love digital. I completely understand, after
decades of marriage to celluloid emulsions, the loyalty Quentin Tarantino and Paul
Thomas Anderson feel to film, to 70mm film at that, but they can afford it.
I’ve always been a man forced by low budgets to work the margins of the film
industry, the margins of civilization even, and what I’ve discovered over here
on the margin is there’s great freedom in low budgets, fewer people, if any, to
consult. And there is even greater freedom in the so-called “poor image.”
Through their lower resolutions lower gauge films like 16mm and super8 conceal
as much as they reveal, they can turn glaringly jerry-built worlds into
enchanted worlds, just by blurring and graining up the sets and costumes. We’re
in the middle of a great digital explosion now where the “poor image” is
precious to us all. Unstable and murky cell phone images of tragedies have
moved a nation to action, no one seems to care if these clips streaming down to
us through twitter have high resolution or not. Now everyone is a potential
Zapruder, or Arbus, and the textures of digital images are precious to us, they
are no longer undesirable simply for reasons of low resolution. There is sublime
beauty in all resolutions, and not just for news stories or evidence in a case,
but for narrative effects as well. I’ve been waiting a long time for this
moment in film history. This moment in history is nightmarish, but this moment
in film history is euphoria inducing. Never have I seen so much potential in
moviemaking – thanks to digital. Hybrid genres are proliferating,
docufantasias, docudramas, the cine-essay, the essayistic fiction film, every
possible permutation, all thanks to the democratization of cameras. I love what
digital has done for me, for the work Evan and I made. He was able to massage
each of our adapted lost films into its own world of palette and texture. <i style="mso-bidi-font-style: normal;">The Forbidden Room</i> is a bit like an archaeological
dig because with every narrative layer comes a different kind of emulsive loam,
a new narrative stratum. One is forced to acknowledge the medium from which the
film is fashioned. And I, who have always been inspired most by fairy tales and
bedtime stories, love it when the viewer is simultaneously inside a story and
aware of its telling. During a bedtime story I was always aware of my
grandmother, my sleepytime raconteur. Drowsily I judged her, felt her weight
pressing against my legs, compared this night’s telling with last week’s
account of the same story. I listened to her voice and through half-shut eyes
beheld her comforting features, but I was also totally inside the story too. I
was aware of the medium from which the magic came – my grandmother. I always
vowed with my movies I would show viewers the grandmother! The proliferation of
artefacts in low budget digital filmmaking allows me to show a grandmother
resplendent in raiment’s of a glorious poverty, the kind made famous by Mike
& George Kuchar, Jack Smith, James Bidgood and John Waters. There is so
much heart-breaking beauty to be produced in these little, almost secret
studios of the heart. Digital gave me the freedom to spend my money on things
other than film processing, and gave me instant feedback on performances. It
also gave me images so hideous, on account of my lack of experience with the
medium, that we were forced to extreme film decasia to make the images
interesting to the eye. But I am thrilled to report that for every tribute to
film abrasion we put in the final product, there are as many digital artefacts
too. We’re just showing the grandmother again! Finally, after being dead since
1970, my grandmother has gone digital! <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Returning to the
theme of films interacting with poetry – are there any contemporary poets whose
work you enjoy? I remember you mentioning Jeremy Dobbs’ Crabwise to the Hounds,
which was a collection I also really loved. What have you been reading
recently? <o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "times new roman";">I
should have read these years ago but I am now in the midst of Mary Shelley’s <i style="mso-bidi-font-style: normal;">Frankenstein </i>and -- hey, Silverblatt! --
Flann O’Brien’s <i style="mso-bidi-font-style: normal;">The Dalkey Archive</i>.
So great! I just finished Beckford’s <i style="mso-bidi-font-style: normal;">Vathek</i>,
which my filmmaking partner Evan Johnson urged me to read by describing it, way
better than I could, as “<span style="background: white; color: #222222;">proto
Gabriele D'Annunzio, proto-Huysmans, proto-Flaubert-of-Salammbo, occasionally
Rousselian, etched in ultra-precise prose with an enormous vocabulary, but told
in a kind of high irony like Mann’s <i style="mso-bidi-font-style: normal;">The
Holy Sinner</i>.” Now as far as styles go, that’s my idea of a collage!<o:p></o:p></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Séances</span></i><span lang="EN-GB" style="font-family: "times new roman";">: </span><span lang="EN-GB"><a href="http://seances.nfb.ca/"><span style="font-family: "times new roman";">http://seances.nfb.ca</span></a></span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">For
more on Maddin’s collages:<o:p></o:p></span></div>
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<span lang="EN-GB"><a href="http://www.lkap.ca/guy-maddin-1/"><span style="font-family: "times new roman";">http://www.lkap.ca/guy-maddin-1/</span></a></span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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<span lang="EN-GB"><a href="http://momus.ca/from-a-safe-distance-guy-maddin-stills-his-lens-with-collage/"><span style="font-family: "times new roman";">http://momus.ca/from-a-safe-distance-guy-maddin-stills-his-lens-with-collage/</span></a></span><span lang="EN-GB" style="font-family: "times new roman";"> <o:p></o:p></span></div>
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<span lang="EN-GB"><a href="http://www.lkap.ca/past/2016/3/23/guy-maddin-surgeons-in-ermine"><span style="font-family: "times new roman";">http://www.lkap.ca/past/2016/3/23/guy-maddin-surgeons-in-ermine</span></a></span><span class="MsoHyperlink"><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">For
more on Maddin and Ashbery:<o:p></o:p></span></div>
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<span lang="EN-GB"><a href="https://www.poetryfoundation.org/features/articles/detail/68879"><span style="font-family: "times new roman";">https://www.poetryfoundation.org/features/articles/detail/68879</span></a></span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">Maddin’s
website: </span><span lang="EN-GB"><a href="http://guy-maddin.com/"><span style="font-family: "times new roman";">http://guy-maddin.com</span></a></span><span lang="EN-GB" style="font-family: "times new roman";"><o:p></o:p></span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-63941446197398420212016-08-09T09:48:00.002-07:002016-08-09T09:48:28.242-07:00LIGHT GLYPHS : POETS ON FILM / FILMMAKERS ON POETRY<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuYOCZ1r6wZZDKJahhCFcgVVEAKCqPxgUPpg8Nn7z4solizGzPEGy6kLG4f14E2oMDOoPCo1v3SBTLqe1SPQNNRww0e3FUyNf1_xyoUaI8g_e4uiXHQAsxfYKFMHi1KgUd6Ic8YvcSe0s/s1600/Picture1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuYOCZ1r6wZZDKJahhCFcgVVEAKCqPxgUPpg8Nn7z4solizGzPEGy6kLG4f14E2oMDOoPCo1v3SBTLqe1SPQNNRww0e3FUyNf1_xyoUaI8g_e4uiXHQAsxfYKFMHi1KgUd6Ic8YvcSe0s/s400/Picture1.png" width="400" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 14.0pt;">Light Glyphs</span></i><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 14.0pt;">: poets on
film / filmmakers on poetry<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">For
the surrealist Louis Aragon, film could “endow with a poetic value that which
does not yet posses it”. What that ‘poetic value’ might be endures as a
shifting and various tension throughout film history and our changing
experiences of watching film. This is not to condemn ‘poetic value’ to the ‘icky’
sentimentalism of some non-specific beauty. It is not to evoke ‘poetry’ as, and
in, complacent shorthand; not to blandly perform the same woolly qualification
as ‘arty’ in the task of roughly gesticulating where description fails. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">Following
the thread of Surrealism, both out of my own selfish interest and the
undeniable significance of Surrealism for film & poetry (Robert Desnos/Man
Ray ‘L’Etoile de Mer’ !)…<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">Breton
found the poetry of cinema in its ability to confuse, in an experience beyond
rational or functional sense: ‘I think what we valued most in it, to the point
of taking no interest in anything else, was its <i style="mso-bidi-font-style: normal;">power to disorient</i>.’ Leaving one film to dive into another, walking
in and out of films, dizzying ends into beginnings and refusing the direction
of narrative. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">Poetry
in film’s ability to disarrange and undo<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">a
sitting in the dark to be with light <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">while
adopting the rules of the unconscious in conscious thought; <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">a ‘one
in the other’ induced and savoured. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">Poetry
and film are difficult to reconcile in practice and often impossible to separate
in the perception and interpretations of viewing. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">To read
a poem over film is not to create filmpoetry, or at least not good filmpoetry.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">Any
existence of poetry in film and the filmic in poetry exists in-relation as rhythm,
unresolved and without rule. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">The
pompous and declarative tone of these assertions constitute the flawed basis
for a limp flag. To salute a projected future through the antique muscle of a
manifesto <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">is a
doomed pastime <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">(primarily
reserved for dick-swinging, pastiche, egomaniacs and the delusional). <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">But
they do make for fun reading.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";">If ‘poetry’
is associated with a vaguely watercolour impression of ‘tasteful’ it becomes a
kind of chocolate box stillbirth. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">The
sound of lapping waves with an ambient soundtrack; a self congratulating voice
intones its own seriousness; an audience falls asleep. No dreams.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Ado
Kyrou, the Greek filmmaker and writer extolled the virtues of the popular,
advocating that we should “learn to go and see the ‘worst’ films they are
sometimes sublime’. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Celebrate
poetry in the throwaway, wriggling in the supposedly ‘low-brow’:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">‘I
loathe aristocrats and aristocracies (of class or otherwise). They can keep
their Bressons and their Cocteaus. The cinematic, modern marvelous is popular,
and the best and most exciting films are, beginning with Méliès and Fantômas,
the films shown in local flea pits, films which seem to have no place in the
history of cinema.’ – Ado Kyrou<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">In the
debris of cinema’s backwaters, fermenting between a boxset of Steven Seagal and
a shopping trolley, unexpected glints catch the eye. Michael Bay is not a poet.
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">From
Louis Feuillade to Argento there is a wayward continuity in which backgrounds
breathe with more conviction than the actors. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Film ignites
and invites a poetic reading against its own intentions. Film should not <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">have
to be read nor poetry seen for either to borrow, tickle, plunder and pillage. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Tarkovsky
understood poetry as a genre beyond literary definition, not as a genre but
existing in and as the indiscernible movements of <i style="mso-bidi-font-style: normal;">being</i> –<span style="mso-spacerun: yes;"> </span>beyond coherent
logic. For Tarkovsky, the indiscernible movement of <i style="mso-bidi-font-style: normal;">being</i> is <i style="mso-bidi-font-style: normal;">time</i>. Film, as
the medium best equipped to render <i style="mso-bidi-font-style: normal;">time </i>was
for him consequently the perfect art of poetry. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">For Joseph
Cornell, squirrelling away his constellated objects in the basement of Utopia
Parkway, re-purposing forgotten film-reels and preserving the trace of moments
in boxed kingdoms: “It is not the carefully composed images<span style="mso-tab-count: 1;"> </span>but rather their ultimate relationship to
each other that generates the poetic connection”. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">The ‘poetic’
in the sideways nod, the tell-it-slant of metonymy that could use a feather to
cross-index an entire personal mythology of flight. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Stan Brakhage
referred to his own films as “filmpoems”, reading with a religious commitment
the poetry of Robert Duncan, Charles Olson, William Carlos Williams, Ezra
Pound, Louis Zukofsky, Robert Creeley, Michael McClure and Ronald Johnson. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Brakhage
considered the notion of his films as ‘visual ineffables’ that could
re-invigorate meaning outside of language, hot-wired back into the nervous
system. The movement of imagery that confounds reference, a visual flow or
shape that cannot be described in language but instead forces new
understandings of what a language might be: the ‘un-nouned’ communication of ‘light-glyphs’.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">In a
round-table discussion in 1953, held by Cinema 16 and entitled ‘Cinema and
Poetry’, Maya Deren, Parker Tyler, Willard Mass, Dylan Thomas and Arthur Miller
all contributed. After listening to a recording (I forgot where I found it…) I
was disappointed to realise the oppressive sexism that brushed off Deren’s
superior contributions with the lame male quips of ‘banter’. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Poetry
& Cinema, like cinema and like poetry, has its own history that will
continue to be written and re-written. Many are written out. Obviously Deren is
in no way an overlooked figure, but the way she was treated in that (clearly
significant) discussion is sadly all to familiar.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Deren
put forward a distinction between the <u>horizontal </u>and vertical |||| in
film.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">The
horizontal embodied the linear development of plot, presented and experienced
over sequential time, the vertical embodied the suspended exploration of
associations that can co-exist in a moment.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">I wanted
to offer ways into this suspended exploration, in moments where poetry
contests/interrupts/erupts/distracts/interacts/distorts/
intervenes/contorts/screens/ <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">the element
we label film<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">or
where film influences/enters/abducts/exhumes/directs/challenges/resurrects/<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">collects/
rejects/ attracts/ emits/admits/ and fits<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">the
element we label poetry<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">neither
of course ever being elements but triumphant mongrels, bristling compounds,
amalgams and bustling hybrids…<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">I
wanted to further this discussion for filmmakers and poets now. As it <i style="mso-bidi-font-style: normal;">is </i>a discussion,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">and one
characterised by exchange, interruption and the in-between of two mediums, <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">I
thought why not encourage that dynamic? I therefore aim to share an ongoing
collection<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">of interviews
with poets talking about film, and filmmakers talking about poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "Times New Roman";">Light
Glyphs: poets on film / filmmakers on poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-37430792240010677362016-06-08T15:29:00.000-07:002016-06-09T05:35:24.702-07:00When All the Beekeepers (part 1)<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXmwL1zbDU6PkEDpbblZNuKFAFLqTjdWR3EHpMbzk3yaA6_mJWMgl0GS77NvZshZ-_Mtm9hPXo-n1NpWnXTgIN66b4dhyphenhyphenojqD9lRfX_YWeEU40u-65c9H0OMESYKdPz-FyndWSD1Jzjpx/s1600/DSCF9058.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXmwL1zbDU6PkEDpbblZNuKFAFLqTjdWR3EHpMbzk3yaA6_mJWMgl0GS77NvZshZ-_Mtm9hPXo-n1NpWnXTgIN66b4dhyphenhyphenojqD9lRfX_YWeEU40u-65c9H0OMESYKdPz-FyndWSD1Jzjpx/s400/DSCF9058.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(front cover)</td></tr>
</tbody></table>
<br />
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<br />The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-41151295966853346802016-06-08T15:08:00.000-07:002016-06-09T05:35:14.940-07:00When All the Beekeepers (part 2)<div class="separator" style="clear: both; text-align: center;">
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<br />The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-66663918388811159672016-06-08T14:50:00.002-07:002016-06-08T15:37:04.357-07:002013-2014<div class="separator" style="clear: both; text-align: center;">
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<br />The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-10497201083083876652016-06-08T13:18:00.000-07:002016-06-08T13:18:05.203-07:002015-2016<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR48npEo2sVWL5-_XTYUaguy8XiijtAIHQDkXFh47WeZFCWt2ZSPD7pNKmCDa5MyfAyn713ayquZceIGOpD_LuI3H3msm45FoMxRlV07n4rH8SMi59Bk_Tf92BrCfRruwls36heDz8963U/s1600/DSCF9033.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR48npEo2sVWL5-_XTYUaguy8XiijtAIHQDkXFh47WeZFCWt2ZSPD7pNKmCDa5MyfAyn713ayquZceIGOpD_LuI3H3msm45FoMxRlV07n4rH8SMi59Bk_Tf92BrCfRruwls36heDz8963U/s400/DSCF9033.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"The MOST WANTED Nude!</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjItld2K_FnVILG9Sk3UPIeeWRjeUV5Zh1JUYQL1T42Jq_TYOkGTFM1dLSB88gRev_rCJp66qeeqMRhQM2WpQz267K8SnHxBD3vjAFaEIXP-69wCzk9bMZHuozmc8MQYQxcuoHUREuANC7k/s1600/DSCF9009.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjItld2K_FnVILG9Sk3UPIeeWRjeUV5Zh1JUYQL1T42Jq_TYOkGTFM1dLSB88gRev_rCJp66qeeqMRhQM2WpQz267K8SnHxBD3vjAFaEIXP-69wCzk9bMZHuozmc8MQYQxcuoHUREuANC7k/s400/DSCF9009.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(detail)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU0-ATM-zf5wfb67IsoTMNkPgblcXZLXuiDyvg4mlcOxE1GSH6uN_gQKKP8mIf3QIq8QIDXF3xGc5im12HPm2LgJtfgJfsKoM0Ldb65AT8XPGi8YlfYG29XDANr_uiE2Pd4Hu0QWEOpU2J/s1600/DSCF9013.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU0-ATM-zf5wfb67IsoTMNkPgblcXZLXuiDyvg4mlcOxE1GSH6uN_gQKKP8mIf3QIq8QIDXF3xGc5im12HPm2LgJtfgJfsKoM0Ldb65AT8XPGi8YlfYG29XDANr_uiE2Pd4Hu0QWEOpU2J/s400/DSCF9013.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dreaming of Eggs<br /><br /><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Proverbial Numbskull</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCGMe9CKj9-reXCvQ_5spBF5X59ggAii77lIkRTn3YD0mdGcySiRCmxbnpj6s_fMhq1ZGzL0-HFoLa2_UiVH2YfxuQv2jlPecdpQJ3P0bo_zDTT8tt7bOOwcyvVGFZoELN1l4twqmeJYb/s1600/DSCF9016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCGMe9CKj9-reXCvQ_5spBF5X59ggAii77lIkRTn3YD0mdGcySiRCmxbnpj6s_fMhq1ZGzL0-HFoLa2_UiVH2YfxuQv2jlPecdpQJ3P0bo_zDTT8tt7bOOwcyvVGFZoELN1l4twqmeJYb/s400/DSCF9016.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Always Winter</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRkx1dUrMQF3wFW2LmolaFBD-AkX1VZLw_Rcz0UdhSJLBB_j8LL6dizGTiiwFTccH8v_NHSxQ0SAHLu0RIYs46y82A5FlSyV4xRadSyV-UhyphenhyphensYKEcJdUSdlhIDpchPbKIeo2KUZsq5w5rJ/s1600/DSCF9017+%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRkx1dUrMQF3wFW2LmolaFBD-AkX1VZLw_Rcz0UdhSJLBB_j8LL6dizGTiiwFTccH8v_NHSxQ0SAHLu0RIYs46y82A5FlSyV4xRadSyV-UhyphenhyphensYKEcJdUSdlhIDpchPbKIeo2KUZsq5w5rJ/s400/DSCF9017+%25281%2529.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(detail)<br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggorpjmev3OpFF8BF5TXQYGbnR9wfCVWC9KSYTJILeFIQCYGdDCNeLGxt2rOb2G82yMkpbbEmI0PNLTO8R59EsHn6dbi6n_FHRwTXDZDK14FnZcRNX7iK95MgVlDXCRPTGWY_jtlYknn2B/s1600/DSCF9018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggorpjmev3OpFF8BF5TXQYGbnR9wfCVWC9KSYTJILeFIQCYGdDCNeLGxt2rOb2G82yMkpbbEmI0PNLTO8R59EsHn6dbi6n_FHRwTXDZDK14FnZcRNX7iK95MgVlDXCRPTGWY_jtlYknn2B/s400/DSCF9018.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Father Gave Me The Rabbits'</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">(detail)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoNDRGt-XghxvfNW00hXO8qdZkAkBmFADw5OWEsAm4GHt6QPwAqi5Kgh3mnZQ3BlCOU0exChyWNh10qRjTcN2uvu2LXoL7kDXn5EwEAhB0xkvl9IWHU7U4XGtV3Kn4sx6nBiZvOQaQboUU/s1600/DSCF9019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoNDRGt-XghxvfNW00hXO8qdZkAkBmFADw5OWEsAm4GHt6QPwAqi5Kgh3mnZQ3BlCOU0exChyWNh10qRjTcN2uvu2LXoL7kDXn5EwEAhB0xkvl9IWHU7U4XGtV3Kn4sx6nBiZvOQaQboUU/s400/DSCF9019.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(detail)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Nativity</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Crawling Natasha</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEReUPLzuL3usWPAI4SBs-ATopahhO7U8jNT6AuCbdqBk5RQB1X0gdTcLqouYjZsSqi-Di8RlBF8fJULMHBMN0X4u-nLaSizbK6n_YGt9SVV5gHTtiiywarChH77zYAuXQLbfVBLK9GHlD/s1600/DSCF9023.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEReUPLzuL3usWPAI4SBs-ATopahhO7U8jNT6AuCbdqBk5RQB1X0gdTcLqouYjZsSqi-Di8RlBF8fJULMHBMN0X4u-nLaSizbK6n_YGt9SVV5gHTtiiywarChH77zYAuXQLbfVBLK9GHlD/s400/DSCF9023.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(detail)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS-n5QgKKJXg3xQBeJZ8-86oJKkI4tZpgwUxZQK9zUk1VOgcAupqlU-blG1BqbpZjcbfgKuEa7TN-wv_mko5Xks0V88ceDRrl_lYpfqGirvRWcZ-7vsgvUbVQdlIypHug8-fUF58X7Alw6/s1600/DSCF9026.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS-n5QgKKJXg3xQBeJZ8-86oJKkI4tZpgwUxZQK9zUk1VOgcAupqlU-blG1BqbpZjcbfgKuEa7TN-wv_mko5Xks0V88ceDRrl_lYpfqGirvRWcZ-7vsgvUbVQdlIypHug8-fUF58X7Alw6/s400/DSCF9026.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Signs</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIoWhFp8dFYuinH_Emb724thAzFwAhcTvCa0ige-Nn4SdcBcVVk9PeVtFxCpe8Ojmdnz2QoA_wLJEvjMQ2ORQeXNB9Z_y1lFh_qyNwOd-5wNQtAlD4axaNgWJTM2V48mNi4b2BrjP8Q8Op/s1600/DSCF9030.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIoWhFp8dFYuinH_Emb724thAzFwAhcTvCa0ige-Nn4SdcBcVVk9PeVtFxCpe8Ojmdnz2QoA_wLJEvjMQ2ORQeXNB9Z_y1lFh_qyNwOd-5wNQtAlD4axaNgWJTM2V48mNi4b2BrjP8Q8Op/s400/DSCF9030.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"some kinda perfume advert..."</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGb20RjX5icHM3KOVFcjG2QG988hfZSy0koK7vW1CnSFftl2JI21dcNSeaabHFfcNvPTCqde3fu-d2kCHH7Q0cMcKI_j34ERMnFzevEu_4_qtHkb6_-v63wi3ffGHJgK9mZTuxE-JEQN1W/s1600/DSCF9035.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGb20RjX5icHM3KOVFcjG2QG988hfZSy0koK7vW1CnSFftl2JI21dcNSeaabHFfcNvPTCqde3fu-d2kCHH7Q0cMcKI_j34ERMnFzevEu_4_qtHkb6_-v63wi3ffGHJgK9mZTuxE-JEQN1W/s400/DSCF9035.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cherry Jodorowsky</td></tr>
</tbody></table>
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<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNJp7uz3cOYlJpZC5cKYDl4hlW9gBFRr9VHBXopjhpvfUFDkEUB1GjDQ9DCJMBZrMAEbeeKZlNSKnvb3nndxA5HBowb1ye3bet_8N2B2PSBgkiNYOV3naZe0EmGXGryAgJ83Tws8r-Jas/s1600/DSCF9036.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNJp7uz3cOYlJpZC5cKYDl4hlW9gBFRr9VHBXopjhpvfUFDkEUB1GjDQ9DCJMBZrMAEbeeKZlNSKnvb3nndxA5HBowb1ye3bet_8N2B2PSBgkiNYOV3naZe0EmGXGryAgJ83Tws8r-Jas/s400/DSCF9036.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(detail)</td></tr>
</tbody></table>
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<br />
<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7u7iSkB4q2U8T-yW12STHYI_NKfxwX-iy07n0IEyNup3YCLQISzTrl7cfWuMdMybGhAjFlabikxKg5be1ZRu4pMGPsYQtnWauFHS7Dhme7So25iBLlCS63Ay82xDPvyrN-SO-9RhB586/s1600/DSCF9041.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV7u7iSkB4q2U8T-yW12STHYI_NKfxwX-iy07n0IEyNup3YCLQISzTrl7cfWuMdMybGhAjFlabikxKg5be1ZRu4pMGPsYQtnWauFHS7Dhme7So25iBLlCS63Ay82xDPvyrN-SO-9RhB586/s400/DSCF9041.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Leatherface Funnies</td></tr>
</tbody></table>
<br />
<br />The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-52022571300234876042016-06-05T11:04:00.001-07:002016-06-08T01:32:07.083-07:00On going to a 'Cat Cafe' <div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWLeCvqtNiU2K6mPcbQQIBLG1E6mbaGSn7KwZYiJAtf_vw9UJwEzeAqFkm1VeDeTyWR5lwatIhYqAVIKxJKTzbUH3Z0L6w_mhF-HIUsuQ59owT-0QfMO54MZvm5ThVrLLyEZ61mRIahT5/s1600/Cat-People.-Dir.-Jacques-Tourneur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWLeCvqtNiU2K6mPcbQQIBLG1E6mbaGSn7KwZYiJAtf_vw9UJwEzeAqFkm1VeDeTyWR5lwatIhYqAVIKxJKTzbUH3Z0L6w_mhF-HIUsuQ59owT-0QfMO54MZvm5ThVrLLyEZ61mRIahT5/s320/Cat-People.-Dir.-Jacques-Tourneur.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;">Mog on the Tyne<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: #131313; font-family: "times"; font-size: 9.0pt;">“It is good to be a cynic — it is better to be a
contented cat <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: #131313; font-family: "times"; font-size: 9.0pt;">— and it is best not to exist at all.” - H. P.
Lovecraft</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 9.0pt;"><o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">I.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Eerie
disquiet <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">dawns
<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">in
cartoon revelation<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">as
you find yourself, hungover<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">in
the twinkling sugar<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">of a
cat café. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">A
sense that, maybe<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">this is how it ends</span></i><span lang="EN-GB" style="font-family: "times new roman";">.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmD9eQMd45ICQlNJ6VpiOfHKK2xCicABcZYTc3URMGM2sEwze7S56udBTonsEvLBPmdraS4Z4gCk8AsEJwncuD0jibKPifV_cjlhvmXmbKF6o8YU149ivBT3nhDVgWLUvxtK1degs8IVQz/s1600/cats.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmD9eQMd45ICQlNJ6VpiOfHKK2xCicABcZYTc3URMGM2sEwze7S56udBTonsEvLBPmdraS4Z4gCk8AsEJwncuD0jibKPifV_cjlhvmXmbKF6o8YU149ivBT3nhDVgWLUvxtK1degs8IVQz/s320/cats.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">II.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Cathected
kittyscape<span style="mso-spacerun: yes;"> </span>/// scratchposts<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-spacerun: yes;"> </span>from where<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">furred
sentinels condescend <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">to
share a yawn<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">or
malign pundits <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">with a look of distanced pity;<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">token crumb <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">of begrudged acknowledgement.<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">The heavy-handed Lennys are out again.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Here, eat my
scowl.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">Cats
perfect rejection <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">as a
poised art<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">with
the same investment <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">that dogs so artlessly accept<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">the heels, leash and stick of anyone;<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">indiscriminately faithful<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">where
the cat so discriminatingly departs <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">– tail up, aloof. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">To be
rejected by a cat<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">in a
cat café is <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">a
fair and fitting punishment<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>for going to a cat café.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>You are here, I am here –<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span>sitting in a cat café<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivVj_UPTV8_2h5W1JhertWzFkZXjVqn8PunyY5vsbxxGtI6a8iRQkBwawGrePoGdfkiqxtQklXdh0UVSd_g8pFsaYy-TQzyOro9zeMM2DsuIj1XJDpOsjFF6j0eB2vLH_GD2SobZj0n6DB/s1600/Sans-Soleil.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivVj_UPTV8_2h5W1JhertWzFkZXjVqn8PunyY5vsbxxGtI6a8iRQkBwawGrePoGdfkiqxtQklXdh0UVSd_g8pFsaYy-TQzyOro9zeMM2DsuIj1XJDpOsjFF6j0eB2vLH_GD2SobZj0n6DB/s320/Sans-Soleil.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">III.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">People
want this.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">The world's first cat café, <i style="mso-bidi-font-style: normal;">Cat Flower Garden</i> (</span><span style="color: #1c1c1c; mso-ansi-language: EN-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-hansi-font-family: "Times New Roman";">貓花園</span><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">) opened its doors in Taipei, Taiwan, in
1998.</span><span style="color: #1c1c1c; font-family: "helvetica"; font-size: 14.0pt;"> </span><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">From
2005 to 2010, seventy-nine cat cafés opened across Japan. Some sources suggest that a feline-friendly establishment opened in
Vienna, 1912, to assure Austria’s place in the history of the cat café as
something of a vanguard. These same sources, not entirely limited to but
nonetheless available via the solid reliability of Wikipidea, claim that
Vlladamir Lenin was a regular customer at this Austrian café, during a period
of exile in 1913. Cats can be a calming influence, especially when aspiring to
liberate the proletariat. In 2014 <i style="mso-bidi-font-style: normal;">Lady
Dinah's Cat Emporium </i>opened in London to significant media attention,
boasting a two-month waiting list.<span style="mso-spacerun: yes;"> </span>We
are in Newcastle, sitting in <i style="mso-bidi-font-style: normal;">Mog on the
Tyne </i>(est. 2015). <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">People want this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Charlotte, beside me, is squirming <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">*barely contained cat-euphoria*<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">glowing fuzzy radiance. Unhinged. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">And over there, our friends, <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">‘Other David’ & ‘Blue-haired Beth’ <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">are gurning happiness from a window-seat <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in this floss-spun Disney of the soul.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">People, as I’ve said, want this.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Underneath a powerpuff mural<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of a purple cat in a top-hat<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">brandishing a mug of tea<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a family is holding court.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">This is entertainment; wholesome<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">tactile and snap-happy<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">day-care for those beaming sprogs<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">untroubled, in such nasal innocence,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">by allergies or the precautionary<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">pocket of anti-histamines. But –<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">if you insist (<i style="mso-bidi-font-style: normal;">you</i>
being <i style="mso-bidi-font-style: normal;">I</i>, being Dave: me) <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">on being a dickhead<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and asking for paper to write on,<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">to
write a poem in the cat café!<o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Don’t lord it over this humble reservoir of goodwill,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">don’t take cheap refuge in cynicism –<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">for you too ache for ‘Stan’ to like you.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">(Stan is a cat, something of a café mascot<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">characterized by his endearing pink<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">squidge of tongue that sticks out<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">with involuntary charm. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">A charm that betrays his readily clawed<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and resentful nature – Stan has just<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">pawed a right-hook <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">to scold a child’s curiosity – dim interloper<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of the whiskered high-rise.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Yes, I want Stan to like me.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">But there is more, and its not just the hangover<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">or my disconcerting need to shit<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">(an impossibility in a café<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">so small, so intimate)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that makes of this cheery ‘experience’<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a plastic smile. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">It is less a café <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and more the staged approximation<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of a café, as if devised<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in the anodyne void<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of studio-cleaned surfaces<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and bright colours<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">familiar to a kind of<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Children’s TV –<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">somewhere between <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a sanitized hug of sunshine<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and the button-eyed sock puppet<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of a nervous break-down.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Despite this <i style="mso-bidi-font-style: normal;">pins
and needles<o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">strain
of Happy</span></i><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">, there is that guilt.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Guilt that I should not be cynical<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in a cat café. Why? Why bother?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Why not play and love and stroke<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and joke and tweak and and and –<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">court the cat’s approval…<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">A father stares <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">grimly <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">at his smartphone<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">his precocious child<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">explores magic <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">moggy kingdom.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">The father scrolls<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a listless <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">unseen feed<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">as his child proceeds <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">to laugh and chase <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and flex her inquisition,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">so far <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">from the grace<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and studied boredom<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of each café-<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">cat in <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">languid cushions<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>of
repose.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman";"> </span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0x20Sg_TnHdTwh-hwwqb-o63DIwmPwff9Mss7dWtZ9T27t5oNRgk7fZCiaN-eHLza-8ruuscxg_xxVmRKmUhXGqUmMkM-jVxMIRwd7FDJjauWZz1SmEdWZ9q7c-y4ZDp1JZonRoQevMaX/s1600/cat-people-logo-simone.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0x20Sg_TnHdTwh-hwwqb-o63DIwmPwff9Mss7dWtZ9T27t5oNRgk7fZCiaN-eHLza-8ruuscxg_xxVmRKmUhXGqUmMkM-jVxMIRwd7FDJjauWZz1SmEdWZ9q7c-y4ZDp1JZonRoQevMaX/s320/cat-people-logo-simone.jpg" width="279" /></a></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"><br /></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">IV.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Though they are not hassled [ ‘DO NOT PICK THE CATS
UP’;<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">illustration of startled cat and two disembodied hands<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span>BAD
HANDS!]<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">they exude a weary distaste, a kind of long-suffering<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">endurance in the grim fluffed humouring <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of this – <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a crass catwalk of cat-life. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><span style="mso-spacerun: yes;"> </span>Although, Charlotte reminds me,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">they are ‘rescue cats’, and this café acts as a form
of sanctuary –<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">so for fuck’s sake cheer the poem up. Enter into the
spirit<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">as you would a panopticon<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in which the mewing prisoners <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">are also the discerning guards.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">No
central hub<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">no
reliable circle of cells,<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">no
central spectator<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and
no<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">wheeling
ranks of the surveyed.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Just
the bristling<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">unease<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that
those looked-at<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">looking<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">have
seen you seeing and see<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">how
to <i style="mso-bidi-font-style: normal;">play the game</i>.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">That
self-same anxiety<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that
cools your<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">(surprisingly
affordable)<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">vegetable
and red-lentil soup<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and
reduces taste to a welcome<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">distraction<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">is
also in the cat.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Yet,
rather than anxiety,<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">The
cat has serenely mastered <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">its
nagging <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">twitch<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that this<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">this<i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">systemized
showcasing of <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">cute’s prowess<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">is
no more <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">novel<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">than
a brothel<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">(albeit<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">one
that frowns<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">on “sealing
deals”<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and
swaps <i style="mso-bidi-font-style: normal;">seedy</i><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">for
<i style="mso-bidi-font-style: normal;">quirky</i>; trouser-poke<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">purchasing<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">to
eager stroke worshipping<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of
trafficked tabbies)<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">this
nervous disposition in the cat<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">is
sublimated;<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">cloaked
in suave indifference.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Traumas are deflected<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 144.0pt; text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and
re-emerge<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">slinking <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in postures of cool detachment; that air<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of effortless agency<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">lightened <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">by the
flurry, pounced <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">paw-swipe
and bounce <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that
skittish starts, leapt as if in spasm<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">to reclaim a levity<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of youthful mischief.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">These are customary cat café lies.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_z-kqI5A0OM4nzCEnj8Jp6IYU9eqjRCjRZd_S1e5M-w7otZ5V3nK95DOXDaJlxatc6bbUfmafNWxMjEioMhS17k4tauR9Rl2rskEGKjUWclhbU_yeE_DsAGfDxh-0BmBddAputoko6xB/s1600/bela-lugosi-black-cat-1934.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_z-kqI5A0OM4nzCEnj8Jp6IYU9eqjRCjRZd_S1e5M-w7otZ5V3nK95DOXDaJlxatc6bbUfmafNWxMjEioMhS17k4tauR9Rl2rskEGKjUWclhbU_yeE_DsAGfDxh-0BmBddAputoko6xB/s320/bela-lugosi-black-cat-1934.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">V.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">Charlotte is saturated with cat-love,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">‘Blue-haired Beth’ is alive with her own azure <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">and ‘Other David’ is taking pictures, zooming<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in on noble Stan, lens turning, turned and re-turned <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">in a near-religious fervor. (People want this.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">I have finished my soup, cat-shaped ipod speakers<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">elaborate the ghosts of tinny jazz, and the father<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">pockets his smartphone, signals to the child<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that this disinfected utopia is no longer sealed<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">from the street outside and its passersby<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that enumerate, in shuffled steps, the banality<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of this day continuing, mundanely grey,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">into another hour’s consideration.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">They, yes they too, must leave the cat café.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">I feel silly and guilty and still in need of a shit.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">I have, not unpleasantly, whiled away<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">This precious cat café window <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">with a bleary tribute to my own denial.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">It reminds me <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of when I wrote<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that poem in <i style="mso-bidi-font-style: normal;">Pret
a Manger</i><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">called ‘Regret a Manger’ about<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">what… I don’t know, the difficulty<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of retaining self-respect<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">when writing a poem in a Pret.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">The stench of your own bourgeois <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">flatulence coupling with sliced avocado.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">I remember telling a friend about that moment<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">And him telling me I’d be <o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">the
first with my back against the wall<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">when
the revolution comes. </span></i><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">That seems fair.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">So, on penning my queasy distrust<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">of the cat café I might reasonably be shot<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">(in service of a greater cause and my own<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">risible <i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span></i>insistence in shrugging complicity).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">But that tangent changes nothing, <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">just as writing this poem does not change <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">my enjoyment of the cat café.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">The undeniable welling of fun <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">unravelling its ball of heart string<o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">fraying its darling pastel thread<o:p></o:p></span></div>
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<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">through a </span><span lang="EN-GB" style="color: #1c1c1c; font-family: "times new roman";">laboured</span><span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;"> cat’s cradle <o:p></o:p></span></div>
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<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">knotted in the central theme,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a grain that agitates <o:p></o:p></span></div>
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<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">upon the oyster’s soiled tongue –<o:p></o:p></span></div>
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<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">that there really is <o:p></o:p></span></div>
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<br /></div>
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<span style="color: #1c1c1c; font-family: "times new roman"; mso-ansi-language: EN-US;">a sense,</span><span lang="EN-GB" style="font-family: "times new roman";"> in the twinkling sugar<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">of a
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<br /></div>
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<span lang="EN-GB" style="font-family: "times new roman";">a sense
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">this is how it ends</span></i><span lang="EN-GB" style="font-family: "times new roman";">.<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-63484008856339683192016-05-24T05:46:00.000-07:002016-05-25T08:34:49.161-07:00Explorations<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYatIlyGZAQdhEBrVIrYl66CSZDjkAs0B-r7UC5VXolJovc9D3rCav6ee4YhanPfAb54_NotEuGM3kP8_HwS0bNR34FtbE9FI_ZRrFq1PsN_F_APBUhFQ-RsnjCJ0TZ3_MZnxJOcOdttmZ/s1600/ask-history-did-the-maya-think-the-world-would-end-in-december-2012-DWF15-687297-E.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYatIlyGZAQdhEBrVIrYl66CSZDjkAs0B-r7UC5VXolJovc9D3rCav6ee4YhanPfAb54_NotEuGM3kP8_HwS0bNR34FtbE9FI_ZRrFq1PsN_F_APBUhFQ-RsnjCJ0TZ3_MZnxJOcOdttmZ/s320/ask-history-did-the-maya-think-the-world-would-end-in-december-2012-DWF15-687297-E.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><u>note:</u> <i>The Red Sandbox</i></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>is the invitation to sketch</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "times new roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkECJ41tnBvoA3dzrVTeU7VUBQobih_ArZWOpf9buLkvGOAtGFfZ5-_0bh15jX1rP3gzN-qu_ptPRuQByqftN6m3ZgwnNazSLkL3s10pyJsj1oV_Xn2ModMKjJA_pQuKUepxI1unOfUSFP/s1600/snowpiles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkECJ41tnBvoA3dzrVTeU7VUBQobih_ArZWOpf9buLkvGOAtGFfZ5-_0bh15jX1rP3gzN-qu_ptPRuQByqftN6m3ZgwnNazSLkL3s10pyJsj1oV_Xn2ModMKjJA_pQuKUepxI1unOfUSFP/s320/snowpiles.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">‘Watchmaker’s
sweepings, Juggling Act, Souvenir of Monte Carlo, Chimney Sweeper’s relic,</span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";">Thousand &
One Nights, Mayan feathers, White Landscape, From the Golden Temple of Dobayba
(conquistador), Sailor’s Game, Venetian Map, Mouse Material’<o:p></o:p></span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><br /></span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGR4EQDIoqc8q9r9j-L23W9Mlety3KqoPRZwOsdcbdXKKNFsTbz12NuiS_OhOagDOSNRrwg7GxFWASgI5mGkDxJFqZfsWrcR2hqazcnDx7JCZ7SpVX8X5W5LB0Qp9KgWmChQ-Hjs95a1jP/s1600/Quay.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGR4EQDIoqc8q9r9j-L23W9Mlety3KqoPRZwOsdcbdXKKNFsTbz12NuiS_OhOagDOSNRrwg7GxFWASgI5mGkDxJFqZfsWrcR2hqazcnDx7JCZ7SpVX8X5W5LB0Qp9KgWmChQ-Hjs95a1jP/s320/Quay.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>an elegy that dares to celebrate</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>itself; a cursive</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>sleight of sand</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>thrown like a bad pun,</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>like a blessing</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>or a convalescent hymn</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>coaxed</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>from the parched lips</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>of an elderly relative</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>(not quite recalling your name)</o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><o:p><br /></o:p></span></i></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">“this was dance itself”<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">bird’s eye view upon a panther’s skin<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">explorations of pink slipper lace /
silver hairpin<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">these gold borders, queens that flower
like a dedication<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">crossed out and drawn anew: a glass of
iced tea<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">through which to symbolize <i style="mso-bidi-font-style: normal;">mal du Suisse<o:p></o:p></i></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">in the crystal palace, hoops in barred
windows<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">guessing at the premier of an inn<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">er family.<o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">Escape not with Tom, who left home,<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">but with Laura, who could not.<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrs2HdrIDIVBzcNFWhDNlw_czcjCwJFXqLjcsy7FvGnZpGoREiIyNlWytUUaRxvnlFxs1CXYOpHEdONij9f9s-oJswPCQKqhagvtl8i9xCLyFh4su0TWEbDTWZJ1cMbZWc1yfyFIL-ObsP/s1600/Medici-princess.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrs2HdrIDIVBzcNFWhDNlw_czcjCwJFXqLjcsy7FvGnZpGoREiIyNlWytUUaRxvnlFxs1CXYOpHEdONij9f9s-oJswPCQKqhagvtl8i9xCLyFh4su0TWEbDTWZJ1cMbZWc1yfyFIL-ObsP/s320/Medici-princess.jpg" width="230" /></a></div>
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<br /></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman";"><o:p> </o:p></span></i><u style="font-family: 'Times New Roman';">note:</u><span style="font-family: "times new roman";"> </span><i style="font-family: 'Times New Roman';">Medici</i><span style="font-family: "times new roman";"> was an underwater</span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><o:p>lineage of orphaned princes</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>& a gloaming cabinet for the princess,</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>her face the snowed blank side</o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p>of an unsent postcard </o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF9fOHcIkwSaUzCtEqL0kr0I-8-JnHF0qBWSOyQ47gVASr_-0LGABPCRI0KAk0o1e7G1ayIAqrW3OA-B8OR7nK5b1OvxJ2cnHYJWZTKhQfOw2H40Za48qPE7uvoAR3eQukHzCuC1Se2pvz/s1600/two+children+are+threatened+by+a+nightingale_430.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF9fOHcIkwSaUzCtEqL0kr0I-8-JnHF0qBWSOyQ47gVASr_-0LGABPCRI0KAk0o1e7G1ayIAqrW3OA-B8OR7nK5b1OvxJ2cnHYJWZTKhQfOw2H40Za48qPE7uvoAR3eQukHzCuC1Se2pvz/s320/two+children+are+threatened+by+a+nightingale_430.jpg" width="246" /></a></div>
<br />
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">two children are threatened by a rubber
ball.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">slumming with the rudiments of talk –<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">a nightingale frames<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">play<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">jacks<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">up<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">in the shooting gallery<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">whereby a harlequin differs<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">from the usual copy and edit.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">these eaters of oak and sandstone –<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">we walk and walk and dream of mountains<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">(…sigh…)<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfyQE7q3J0hHHQYIH8-NC3baljpwRuKYayCYYfCtlyyew4fPoLkCdvDJaxO0LqVLqosBVpabHAjewM35Cy9a2bEdiZ3BbxrCPHVnNz6uw1zfY4DgE4DTVQvEIipYGJf92JPHbESFT10iXr/s1600/Feldmaika%25CC%2588fer_%2528Melolontha_melolontha%2529_w_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfyQE7q3J0hHHQYIH8-NC3baljpwRuKYayCYYfCtlyyew4fPoLkCdvDJaxO0LqVLqosBVpabHAjewM35Cy9a2bEdiZ3BbxrCPHVnNz6uw1zfY4DgE4DTVQvEIipYGJf92JPHbESFT10iXr/s320/Feldmaika%25CC%2588fer_%2528Melolontha_melolontha%2529_w_3.jpg" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
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<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><o:p><u>note:</u><i> </i>we desire to<i> CATCH UP</i></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">i collect a breed of mausoleum.</span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman"; text-align: center;">clingfilm
tight over the matchbox</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">so we
can pay our respects: the earwig has a daisy<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">slid
between curled limbs, as though in sleep it gripped the stem<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">(the
flower less than half a thumb in length).</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"> <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">an
open casket funeral, very dignified; quiet, still. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">some
took solemn pride in the gravity of their loss <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">and
made sure to observe: <i>she lived a full
life.<o:p></o:p></i></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";">it
was made known. we said our goodbyes and left.<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYt3BLOCHUofwkVlozgwyUQrhFJIKQBBDoB-94Le8c3Mx-jb6_yiXYg7esHR-5lUALqvBwXzRO_8dplz7CKEjU6d1I4G2D27xLqLNntCOc_yFSm0Ff4hBruu8PDcd8TQkFd70QxraOVSy/s1600/100-Best-Silent-Films-the-cameramans-revenge.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYt3BLOCHUofwkVlozgwyUQrhFJIKQBBDoB-94Le8c3Mx-jb6_yiXYg7esHR-5lUALqvBwXzRO_8dplz7CKEjU6d1I4G2D27xLqLNntCOc_yFSm0Ff4hBruu8PDcd8TQkFd70QxraOVSy/s320/100-Best-Silent-Films-the-cameramans-revenge.jpg" width="320" /></a></div>
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<div align="right" class="MsoNormal" style="margin-right: -2.6pt; text-align: right;">
<span lang="EN-GB" style="font-family: "times new roman";"> <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">sketching
burials in the air – as if they can all be held<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">together,
suspended in their rightful orders.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">emptying
pockets for a magpie’s prize<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman";">these moments</span><span style="font-family: "times new roman";"> </span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">coveted like marbles<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-indent: .55pt;">
<span lang="EN-GB" style="font-family: "times new roman";">are staged<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">in the closed orbit<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">of a chalked circle.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 144.0pt; tab-stops: 326.05pt; text-indent: -144.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">too scuffed to
shine, almost emptied </span><span style="font-family: "times new roman"; text-indent: -144pt;">blind</span></div>
<div class="MsoNormal" style="margin-left: 144.0pt; tab-stops: 326.05pt; text-indent: -144.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">but at the
right angle – a glance between them <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 144.0pt; tab-stops: 326.05pt; text-indent: -144.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 144.0pt; tab-stops: 326.05pt; text-indent: -144.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";"> opens –<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 144.0pt; tab-stops: 326.05pt; text-indent: -144.0pt;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqfHSX_a8Xgh7D8YPJg62TxJPsGC84vvdF6fVupDGNQ94Q02LqK-GTsiWe3kEmR575r1KXKpup3_mqjVpPSuAsoAdxgIpmV9Qfa1sax61l4ZSPYpK2JDeyB_V6JguI7IEfTtDLfnKLynKP/s1600/the-strength-and-agility-of-insects.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqfHSX_a8Xgh7D8YPJg62TxJPsGC84vvdF6fVupDGNQ94Q02LqK-GTsiWe3kEmR575r1KXKpup3_mqjVpPSuAsoAdxgIpmV9Qfa1sax61l4ZSPYpK2JDeyB_V6JguI7IEfTtDLfnKLynKP/s320/the-strength-and-agility-of-insects.jpg" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"> </span><span style="font-family: "times new roman";"> </span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
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<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">pausing
at the gate, i cannot identify the grave<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">but
the moss, pouched across its gothic script<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: 4.45pt;">
<span lang="EN-GB" style="font-family: "times new roman";">suggests something<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">between
distance and a shrugged proximity<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">(overgrown
monuments ask that we remember<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">in
the act of forgetting, or that forgetting<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">is
the foliage of trying to remember)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">until
some form of <i>now</i> pins “back to life”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">to a
passage of recording<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">in
the moth-dust, burnt, left in arcs across the bulb.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">in
its storied absence powdered<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">touch
flustered on the glass<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 180.0pt; text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman";">it might<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman";">return
me to a brighter distance</span><span style="font-family: "times new roman";"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCCYpAO0enuUI36bQMhcJfIooADGdZDpNWzTapPnOywvUVUm-rYYGJINpc7DTPuaVwRHpjKvdbmb8bY0IXCZef6eKMJZsAbejIt7QZ0GCEGE_4N7SUIrfTk_FEC9ytXPAWmT9H-4O1l6ie/s1600/jaccuse-dream-woman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCCYpAO0enuUI36bQMhcJfIooADGdZDpNWzTapPnOywvUVUm-rYYGJINpc7DTPuaVwRHpjKvdbmb8bY0IXCZef6eKMJZsAbejIt7QZ0GCEGE_4N7SUIrfTk_FEC9ytXPAWmT9H-4O1l6ie/s320/jaccuse-dream-woman.jpg" width="320" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"> </span><span style="font-family: "times new roman";"> </span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">these are stars that patiently braid
aerials<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">and we let it happen through a window.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">before us in the long grass,<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">a kneeling translator fluffs the message.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">books transcribe<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">a rippled dance of iron filings;<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">fanned in brackets, outward from a
moment’s pulse<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">but confined to knots and innuendo<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">hidden in the footnotes. though<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">there is an honest and pained desire<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">to get it out there, faithful to the
tangle<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">and somehow flavoured with the breath<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">of how it happened <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">and how we felt it happened –<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">the two are waltzing, parting, and, in
the fold of evening<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">storming off to separate lives.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYB2EbRtOre3ZQfJ5CkNI_TZjSXLsOW7U97XkUD-BAbqqShyx0D0ZPJVCbgVTsAnYXrj7pl00056okWL5zRGG4KuS96XgbRFf02SsEeRhg71VvFtmTWvrXRZMEHVQzWSTXefCp18-4eb14/s1600/tumblr_luv843G7Hq1qdaig4o1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYB2EbRtOre3ZQfJ5CkNI_TZjSXLsOW7U97XkUD-BAbqqShyx0D0ZPJVCbgVTsAnYXrj7pl00056okWL5zRGG4KuS96XgbRFf02SsEeRhg71VvFtmTWvrXRZMEHVQzWSTXefCp18-4eb14/s320/tumblr_luv843G7Hq1qdaig4o1_500.png" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "times new roman";">leftovers</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">might audition their worn and humbled
selves<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">to be loved again, <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">if only as relics. <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">on this occasion<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">we turn our backs to the stage, <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">not knowing where<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">the real act is scheduled<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">or if the curtains <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-GB" style="font-family: "times new roman";">ever raise. <o:p></o:p></span></div>
<!--EndFragment--><br />
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com2tag:blogger.com,1999:blog-721612652187116625.post-54139945759699009232016-03-30T08:51:00.000-07:002016-04-07T13:14:46.859-07:00EGGBOX<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;">Eggbox:
An Easter Play<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 16.0pt;"><br /></span></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgKdLerTKJE7NPG_Ua2OqMEESCzD598Q0cGSIMB33GTxVyYGF8dv9Q-gU_Gbd_BjFhlBZowuVTZL3ZvaW3FzmkLMnbCbY7hOM5MiOrYUNDs-J44jwgDboMydnIQHM1FCFQRrXlSGOnjno/s1600/t1690e1r.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDgKdLerTKJE7NPG_Ua2OqMEESCzD598Q0cGSIMB33GTxVyYGF8dv9Q-gU_Gbd_BjFhlBZowuVTZL3ZvaW3FzmkLMnbCbY7hOM5MiOrYUNDs-J44jwgDboMydnIQHM1FCFQRrXlSGOnjno/s1600/t1690e1r.gif" /></a></div>
<div style="font-family: Helvetica; font-size: 12px;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">A play with an
unspecified number of acts, written to be acted by the audience and spectated
by the actors who will leave the stage and replenish the space left by the
original audience.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Rabbit: christen this “eggbox baroque” <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">a kingdom courted
by its romance <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">in warp and
precious frill of weft<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">plaintive
misgivings concerning what was <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and what is left <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">is now cloven,
opulent and neurotic. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">as if the pantry
were an abattoir<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">of the writer’s
hooked provisions. neat.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">[<i style="mso-bidi-font-style: normal;">vomits a pack of cards</i><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 108.0pt; text-align: justify; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">a dickish flounce
of marginalia</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the phrase ‘wistful
trellis’ and the word ‘lozenge’<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">titter over
flutes of bubbling extortion.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">like jinx the gazebo Scooby –<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">this confected
pretence is alien<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">but I upholster
the humid evening<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">with its ornamentation.
* sigh *<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">gemstones of
learning <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">grow tepid in the
half light. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>[<i style="mso-bidi-font-style: normal;">cuts
off left ear</i>]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: they yawn for better days. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Rabbit: [ <i style="mso-bidi-font-style: normal;">after
plugging left ear-stump with daisies</i>]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>the thing is, there is seduction <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>in these evasions. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>a sort of noxious allure <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>in perfume…<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>…that draws its strength from places <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and people that have never existed. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>the thing is so gracefully un-thinged <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>as to be literary. here <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>nibble guppies in the mangrove<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>pearling necklaces of gas – collect,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>confect and then dissect: privilege<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>teeming in the arduous thesaurus. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">[<i style="mso-bidi-font-style: normal;">the daisies have turned red</i>]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: Pondweed, pondweed, pondweed!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">[ <i style="mso-bidi-font-style: normal;">offstage
heckles detailing the lateness of the hour <o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and the one-eared rabbit’s resemblance <o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 2;"> </span>to
a furred aerial, bent<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 4;"> </span>and
mournfully visible<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 4;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>in its harrowing publicity <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>a special kind of redundancy. this is not<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">explicitly
verbalised, the heckle in fact <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">only notes “fuck
this watership clown <o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">I’m outta
here!” this </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">is to be followed </span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">by vague murmurs </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">of agreement, </span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">supplied by the audience</span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">who were
originally poised as actors<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and are convinced
of their own superior<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">abilities to
enact the rabbit’s own particular<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">despondence</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Rabbit: i’ve eaten from the vestigial cobwebs of my
youth…<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>or something similar.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>it may have been important<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>for someone somewhere at sometime. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>where is the space for the reader? <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>when does the world appear?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and what, if anything, is at stake?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>there is no risk in wrestling a bear if the
bear<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>is muzzled and with arms tied and <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>not in fact a bear, but a large lack of bear <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>to be played by a non-descript dog<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>in a wheelchair, whose collar reminds us<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>this was our contrivance all
along. <o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: [<i style="mso-bidi-font-style: normal;">remains
silent and considers leaving the stage</i>]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Rabbit: [ <i style="mso-bidi-font-style: normal;">the
daisies have all but fallen out, those that remain are like sodden red weeds
plastered to a whiskered jaw; the rabbit has lost a dangerous amount of blood.
the rabbit <o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">limps, coughs
twice and exits stage left. we hear the sound of a small body collapse; the
sound indicates several objects have been knocked over. a tin bucket rolls into
view and comes to rest at centre stage.</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span></span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: [<i style="mso-bidi-font-style: normal;">collective shrug <o:p></o:p></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the chorus exit stage right. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">having all left the stage, one member of the chorus returns <o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to retrieve the bucket<o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>– mutters something about a leak</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"> –<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>curtains</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">for three minutes
nothing happens and the stage is empty. on the third minute a previously seated
member of the cast-turned-audience rises and strides towards the stage to
reprise a thwarted belonging upon the boards. a spotlight picks out her path,
illuminated from chair to crawled slither beneath the theatre’s heavy curtain.
the sound of a klaxon is heard. reappearance of the actress-turned audience
member-turned actress. velvet swathes of red are drawn once again and the
audience can make out what appears to be a pot-bellied duck in a scuba suit.</span></i><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGOVljAazprGZQxNnbB8gsBojStapcwKVBw6yB7K57IBRn80TDn1YT7qIrKDk2X3-RENe59l0BCzc07TEtu_BagV0ArqW1f8NZxFG1IuPrfn-4RJ2T6cpQUmiUDCPVHMkYIXkogQ7pFJf3/s1600/platypus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGOVljAazprGZQxNnbB8gsBojStapcwKVBw6yB7K57IBRn80TDn1YT7qIrKDk2X3-RENe59l0BCzc07TEtu_BagV0ArqW1f8NZxFG1IuPrfn-4RJ2T6cpQUmiUDCPVHMkYIXkogQ7pFJf3/s1600/platypus.jpg" /></a><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span></i>
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Platypus: rabbit nested his impression of the world<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>with woollen hand-me-downs <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>[<i style="mso-bidi-font-style: normal;">sneezes
violently</i>]<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 13.65pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">bluffed
allusion. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 13.65pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 13.65pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">based-in
surrey, scratched out<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>in airy cartwheels where the archives
natter<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 49.65pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to recalcitrant
tumours of bureaucracy<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 49.65pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 49.65pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">hear ye! hear ye!
and such.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 49.65pt;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>i have seen, done, heard, eaten, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>breathed, excreted, dreamt, swam, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>fucked and buried greater things<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>than were ever catalogued <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>in his bookish hollow.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>what’s wrong with surrey?<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>nothing, as long as you don’t <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>adopt the sensibility of a brooklyn<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>hipster weaned on beatnik misogony<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>and the erudite affectations<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>of a harvard-educated jelly bean<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>fond of domesticated transgression.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>like so:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>[ <i style="mso-bidi-font-style: normal;">produces
a serrated knife and begins to saw through her right arm</i>]<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh753RdspkqXR3DKQTPx_55QeQrka4IKdPAAkTemjhyphenhyphenQnweeNZYkLGQEqhE9WcEJYOi3PXyxQJKX4PLgVDsHSh8Fj3_ikMsWhPXApcoa-9C4CZLmpYd99kaHo6ab6Q7pMe0dFrJVCuMspHl/s1600/Theater-Curtain-Keiths.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh753RdspkqXR3DKQTPx_55QeQrka4IKdPAAkTemjhyphenhyphenQnweeNZYkLGQEqhE9WcEJYOi3PXyxQJKX4PLgVDsHSh8Fj3_ikMsWhPXApcoa-9C4CZLmpYd99kaHo6ab6Q7pMe0dFrJVCuMspHl/s320/Theater-Curtain-Keiths.jpg" width="320" /></a></div>
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: [<i style="mso-bidi-font-style: normal;">returns
– shuffled reluctance – watch on <o:p></o:p></i></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>as the platypus proceeds to
dismember herself. <o:p></o:p></span></i></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>they wait until she is just
a duck-billed torso <o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>with one leg before bursting
into urgent song</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 2.0cm;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the rabbit, rabbit, rabbit tried<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 2.0cm;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to look at living with a napkin<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 2.0cm;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">but the rabbit, rabbit, rabbit died<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 2.0cm;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">in the fluffy throes of actin’<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Platypus: rabbit wanted to write in a way<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>that made cheese and bread<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>into works of byzantine proportion.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>their crumbs – the winking sistene teeth,<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>their crusts –<span style="mso-spacerun: yes;"> </span>stern bastions of faith.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: the rabbit, rabbit, rabbit ran<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>but with gammy legs and leaking blood<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>the rabbit, rabbit, was a man<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and sleeps now in the mud<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Platypus: candy floss would make accessible<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>what learning had edified. so the <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>great philosophers could joust with<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>with innuendo, cerebral imaginings<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>could be worn lightly with a flowered<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>turd in the lapel. and those left out<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>of the conversation would know. that<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>is not my world.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: marsupial cynicism is as anthrax in the
ready-brek.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>our lines are profoundly frivolous, the
writer is expendable.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Platypus:<span style="mso-spacerun: yes;"> </span>so
rabbit would have an experience, like he would <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>attend a party and get drunk and wake up
with<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>an unremarkable headache but with the
inclination<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>that
his apprehension of its unremarkable quality <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>was remarkable. to remark upon this state
of affairs<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>would require, he believed, a tissue paper effect<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>through which slabs of experience could <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>be made to shimmer. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>for instance, drinking two cans of lager
became falconry <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and the cut-price candles drooling wax on
ikea furniture <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>became lamentable arabesques of the
unfathomable. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>a packet of cheese and onion became
amethyst. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>instant coffee insisted upon <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>a more meditative correlative <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>found, at last, in a rustic jar of
hibiscus tea. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: a killer in the dovecote! a plague confined to
this foul bungalow!<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span>[ <i style="mso-bidi-font-style: normal;">unsure of their relevance in the Platypus’
lengthy monologue, the chorus<o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>resorts to obscurantist
references in what one member assures the others is</span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">a verifiable
and entirely authentic testament of the occult</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]</span><br />
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNIQ5LoKYWcWzBL7VV89WE9CxDCnaz7o5nMIh_8YsQAhF9kulDgvJXfEhy84CZmkwa4BNXp51xtC5W8dbjeuM-ZsKFC5vOHZaZsY35BWh4Vvj3lacwsgwGR0Hd8e-O4W3Ep0Qx4-df7D8m/s1600/theatre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNIQ5LoKYWcWzBL7VV89WE9CxDCnaz7o5nMIh_8YsQAhF9kulDgvJXfEhy84CZmkwa4BNXp51xtC5W8dbjeuM-ZsKFC5vOHZaZsY35BWh4Vvj3lacwsgwGR0Hd8e-O4W3Ep0Qx4-df7D8m/s320/theatre.jpg" width="320" /></a></div>
<br />
<span style="font-family: "times new roman";"><br /></span>
<span style="font-family: "times new roman";">Platypus: this party was rabbit’s first and last
experience of love.</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>he was dancing to a song he didn’t like when he first<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>saw her. a thrill of knowing that she was
looking at him<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>as he was looking at her, with enough
subtext to ensure <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>their looking was just the placeholder for
something more.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>the rest of the party was subsequently
imbued with a warm<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>significance, everything felt as though it
was the natural<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and inevitable reward of that initial
moment. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>though, of course, this was heightened <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>by the falconry. rabbit wandered from room
to room, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>would catch her<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>waiting for him<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>to
join a conversation, to move past<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and trail hopeful fingers near her own. to
feel the<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>brushed contact and its response, glowing.
their <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>flirtations required no effort and became
drowsy<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>gestures toward an attraction now
inseparable<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>from the situation in which it formed – colours
of the room, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>music bodily ingested, the open doors and
laughter,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>stars as they fell out of the house,
swaying<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>hand in hand into the dark garden – its
grass<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>already wet with dew. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>rabbit and his love<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>were savouring the heavy breath and<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>coiled suspense of their bodies. if it was
less<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>slurred and further from the frank debilitation<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>of their mutual tangle, such rhythms<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>could
be mapped in dance. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>it was almost, it was so almost, and then it
was.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>it was happening. what they both had known<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and both had wanted, back in that first
look, it was<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>now simply and freely being. rabbit’s love
was naked <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and so he too removed his clothes,
everything was<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>joined and sliding from its decorum back in<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>the regular sobriety of time and space, and
instead<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>now voicing its glad blurring in a hot
catching <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>of tongues and the touch of eyes that
previously only<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>thought to look but that were now as each
other exchanged, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>rolling into a way of drinking the feeling
of dew beneath them<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and heat between them and the almost – but
not yet – <span style="mso-spacerun: yes;"> </span>spinning <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>stars above them</span><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhoq8C_cUTnOztRGg9mPMuopQoKkEh91fd71ttgyHt2eiZTJNE_6eK96ktz_guj2GJtWSQSSsPQFVapDA3RAy8qZB7RuigEpCYDeRHZ_x0LCC2wZ_7EXdRsd2Nmrg1uUiqFt5m9kL1vh4/s1600/blur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 36pt;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhoq8C_cUTnOztRGg9mPMuopQoKkEh91fd71ttgyHt2eiZTJNE_6eK96ktz_guj2GJtWSQSSsPQFVapDA3RAy8qZB7RuigEpCYDeRHZ_x0LCC2wZ_7EXdRsd2Nmrg1uUiqFt5m9kL1vh4/s400/blur.jpg" width="400" /></a><br />
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span>
</div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">rabbit noticed
two other figures looming over them, two<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">interlopers in
their perfectly blundered act. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">“Fuck off” …words
that seemed to crush the drunken<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>flight of urgency and bring it staggering from
waves<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">of now and need
and you and you and and – <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">into the awkward
jab of pebbles underfoot.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the two figures
watched rabbit, rutting<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">his drunken body
further and further into a heaped<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">flowerbed.
flailing and thrusting, groping at<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">handfuls of dirt,
crying out, panting, and completely alone.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">rabbit’s lover
was only ever seen and felt by rabbit<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and was a very
persuasive extension of his current<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and precarious
state of rabbit-mind. a hallucination.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">he would see
people. people and forms and newly<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">imagined forms of
people, some of them dead<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">or returning from
death. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKqJjbhBdLmPP0qVMrmlQU6Fh8opK_bLalohwISCwTyvIsvFz9H2pLBfVU15DjXbhzgwLc1R4urvlegZ6xY8jG5_JncCCHcw4JJJSziJWojQBo6N3A_bXwlFLx1JX8guufj_D_iwC2eLU5/s1600/acephale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKqJjbhBdLmPP0qVMrmlQU6Fh8opK_bLalohwISCwTyvIsvFz9H2pLBfVU15DjXbhzgwLc1R4urvlegZ6xY8jG5_JncCCHcw4JJJSziJWojQBo6N3A_bXwlFLx1JX8guufj_D_iwC2eLU5/s320/acephale.jpg" width="320" /></a></div>
<br />
<br />
<br />
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">CHORUS: [<i style="mso-bidi-font-style: normal;">back on
board with the platypus and having discredited any testimony<o:p></o:p></i></span></div>
<div class="MsoNormal" style="text-indent: 35.45pt;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>pertaining to the occult</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">from the oatmeal
depths of a russet grave to its risen body, gilded with<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">an apricot tiara,
kissed on each and every diamond by gracious<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">dawn – O sweet
and darkling ambrosia – O spores of uncommon<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">undead
distraction – be Lazarus – be lusty – be free!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Platypus: he saw them all. saw them, felt them, loved
them. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span></span><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">[ <i style="mso-bidi-font-style: normal;">saws off her remaining leg and with a sharp
intake of breath drops to <o:p></o:p></i></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>hit the stage like a sack of
potatoes, resigned to brute objectivity, to the dull weight<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>and cumbersome earth from whence
they came</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">]</span><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFd3Qfh4mxogy44e9FS00XCExA9_3rhcNDQ-0LFo18hjvU77iBhvD1N3XaqmrT6VnaZTyrYEw8NhwZ3w3rQgOJ5b7n1Pmr0PN8vvuLfaMWXFQLFoLXlyoUHBnN_6IKL4VdannFQzTxXz0Z/s1600/unchienandalou.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFd3Qfh4mxogy44e9FS00XCExA9_3rhcNDQ-0LFo18hjvU77iBhvD1N3XaqmrT6VnaZTyrYEw8NhwZ3w3rQgOJ5b7n1Pmr0PN8vvuLfaMWXFQLFoLXlyoUHBnN_6IKL4VdannFQzTxXz0Z/s320/unchienandalou.jpg" width="313" /></a><br />
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span></span><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">no more poems in
the eggbox. He saw them wander. He called them.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span>called
them into his arms. called them names. called them <i style="mso-bidi-font-style: normal;">rabbit</i> and<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">platypus</i>. he spoke fondly of his
fingers, knitting them in steeples<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>over
his heart. these are the fingers. the singers. fluttering.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>the
chorus of my action. and he saw them, called them, heard them all.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>wished us together in a stitched mortar of lines, stolen from other<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;">
</span>writers. from other ways of seeing. and those god-awful poems of his. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the word
‘lozenge’, ‘arterial’, and ‘dendritic’ thrumming in<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the jumped up
swamp of over-indulged but nevertheless friendly<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">bacteria. and
that precocious inability to listen. gut flora.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">that behind the
affectation was a posture and behind that a painted eggshell. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">rabbit saw
platypus as seen by himself as neither rabbit nor platypus <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">but still seeing,
and it was exhilarating to know that so much, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">so much of this
time and space, so much of the audience and acting, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">of the script and
lighting, of those long curdled expectations, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">that so much
could be so handsomely invested in what<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">it would now
appear had never once appeared <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to anyone other
than him. <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEige6ho3fPgZWSlFJRv_IkdUtAmfXPbyNOBg57q6wZvnee5LnXXyivPYZ8cVs1nKLVskefCyffBcLbakg-3qmdl2ovEO4xQb3UnxAUqtJE9HrXAbq77u1FZ9Cp8lDUyC0nqIPwaRXM-uqBb/s1600/silent+hands.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEige6ho3fPgZWSlFJRv_IkdUtAmfXPbyNOBg57q6wZvnee5LnXXyivPYZ8cVs1nKLVskefCyffBcLbakg-3qmdl2ovEO4xQb3UnxAUqtJE9HrXAbq77u1FZ9Cp8lDUyC0nqIPwaRXM-uqBb/s1600/silent+hands.jpg" /></a></div>
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-69561237384503735582016-03-29T03:59:00.000-07:002016-04-06T05:37:11.901-07:00English PEN<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #262626; font-family: "times new roman";">I
will be reading as part of the <b>PEN Modern Literature Festival</b><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<a href="http://richmix.org.uk/"><b><span style="color: #62161b; font-family: "times new roman"; text-decoration: none;">Rich Mix</span></b></a><span style="color: #262626; font-family: "times new roman";"> Venue One: April 2nd 2016 – 2pm / 3.30pm / 7.30pm<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #262626; font-family: "times new roman";">35-47
Bethnal Green Road, London E1 6LA (just off Brick Lane)</span><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">2pm to 3.30pm<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">Harry Man on Maung
Saung Kha<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">David Berridge
on Dawit Isaak<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">Kirsten Irving
on Nurmuhemmet Yasin<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">Jen Calleja on
Gao Yu<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">SJ Fowler on
Khadija Ismayilova<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">Dave Spittle
on Ahmedur Rashid Chowdhury<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">Prudence
Chamberlain on Patiwat Saraiyaem and Pornthip Munkhong<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "times new roman";">Robert Hampson
on Dr Abduljalil Al-Singace<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman";">Adam Baron on
Can Dündar and Erdem Gül</span><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">As part of the English PEN Modern Literature Fetival,
Steve Fowler has curated a programme of 30 contemporary poets reading in
solidarity with various writers across the world – all of whom are facing
frightening and inhuman threats to their freedom of speech. The injustice and
severity of these cases are disturbing and sadly serve to demonstrate the
increasing importance of an organisation like PEN. PEN brings continual
attention and support to cases across the world in which writers face injustice
and danger, mainly through - and from - issues of censorship. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">April 2<sup>nd</sup> will be an exciting chance to see
an array of contemporary and challenging poets reading new work, but also a
significant platform from which to develop and spread further support for the
essential and ongoing work of English PEN. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.englishpen.org/event/modern-literature-festival/"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">https://www.englishpen.org/event/modern-literature-festival/</span></a><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">BECOME A MEMBER OF PEN: </span><a href="https://www.englishpen.org/membership/"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">https://www.englishpen.org/membership/</span></a><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">My poem was written in support and celebration of the
publisher and poet, <b>Ahmedur Rashid Chowdhury</b> (a.k.a.<b>Ahmed Rahir Tutul</b>) and his
continuing bravery and commitment to freedom of expression in Bangladesh.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14.0pt;">Shuddhashar<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 8.0pt;">for
Tutul<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">self-censored beheaded hen<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">counts backwards from when<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">beak to blue it was the maybe flight<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the someday roosting, broody thought<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">that rakes the grass and mud for scratch<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and turns over kernels dropped from the empyrean<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to see in them, the promise speaking<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">out from air to build a clutch of eggs.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Gender based
attacks</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">: I have severed myself in halves<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Vexatious case</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">:
scoured through evenings and nights<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Destruction of
equipment/property</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">: in the entirety of my eyes<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">stamped out, choked down, yoked <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">dumb axed like eyes shut before hatch<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">from open mouth spoken, to spoken for <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">battery said heading for no maybe light<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">but forced to swallow what it was<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">along with red feathers, no flight<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">burials and back to back clipped wings<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">brushing rumours of those that like you<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">have heard </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-tab-count: 5;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Minor assault</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"> means:
I am unable to breathe<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Criminal
defamation case</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">: plucked the cloud<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Abduction</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">
means: my head touches the concrete ceiling <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">so called <i style="mso-bidi-font-style: normal;">it </i>cramps
tongue to caution<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">the open-eyes in breach of taking air<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">followed tic to louse in hounding<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">scared bodies leeched of any more<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">than just body and taught to scare<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">a language back inside the flesh.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">this state faith; no faith in state and stateless<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">faith in more than a state of face-down <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">beaten, almost silence<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Threat/intimidation</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">
means: The sky is on the other side of the window<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Cadres</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">
means: born blind in your pursuit<o:p></o:p></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Arrest </span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and<i style="mso-bidi-font-style: normal;"> police remand</i>: await my stretched hand<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">painted stares eye to golden eye opiate <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and slick circled on a rickshaw’s pageant <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to see queasy lipped a sunlit blade and watch<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">as elsewhere others eyeless turn, advise <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">‘to be careful and not to move around too much.’<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">to respect the impunity of threats made real<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">and written on the body and forget<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">those threatening to write or writing under threat.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">Serious bodily
injury</span></i><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"> means: Air and light <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">on the other side of the window<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">The term <i style="mso-bidi-font-style: normal;">killing</i>
means: Where did you disappear?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">not the compliance of headless chickens<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">made to cross the ode from throats, to commit<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">hysteric blank in shying twisted beak and head-down<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">from sky, as if any of these words might<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">be taken with the body, or found buried in the neck.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">voice in grain picked like gristle from<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">its passage in the air – is a lie. this is as nothing <o:p></o:p></span></div>
<div class="MsoNormal">
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<!--EndFragment--><br />
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<div class="MsoNormal">
<u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><br /></span></u>
<u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><br /></span></u>
<u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><br /></span></u>
<u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><br /></span></u>
<u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><br /></span></u>
<u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">Related contextual resources</span></u><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.theguardian.com/world/2015/may/21/bangladesh-stop-brutal-attacks-on-bloggers-ananta-bijoy-das"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">http://www.theguardian.com/world/2015/may/21/bangladesh-stop-brutal-attacks-on-bloggers-ananta-bijoy-das</span></a><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://www.englishpen.org/campaigns/international-writers-call-for-justice-for-bloggers-murdered-in-bangladesh/"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">https://www.englishpen.org/campaigns/international-writers-call-for-justice-for-bloggers-murdered-in-bangladesh/</span></a><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.pen.org/press-release/2015/08/07/fourth-bangladeshi-blogger-killed-after-request-protection-ignored-police"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">http://www.pen.org/press-release/2015/08/07/fourth-bangladeshi-blogger-killed-after-request-protection-ignored-police</span></a><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><o:p></o:p></span></div>
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<br /></div>
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<a href="https://www.englishpen.org/campaigns/murder-in-dhaka/"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">https://www.englishpen.org/campaigns/murder-in-dhaka/</span></a><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><o:p></o:p></span></div>
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<a href="https://www.dissidentblog.org/en/articles/letter-my-dear-friend"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;">https://www.dissidentblog.org/en/articles/letter-my-dear-friend</span></i></a><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "times new roman"; font-size: 14pt;"><o:p></o:p></span></i></div>
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<br /></div>
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<a href="http://www.nytimes.com/2016/01/03/magazine/the-price-of-secularism-in-bangladesh.html?_r=0"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">http://www.nytimes.com/2016/01/03/magazine/the-price-of-secularism-in-bangladesh.html?_r=0</span></a><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://www.sacw.net/article11937.html"><span lang="EN-GB" style="font-family: "times new roman"; mso-ansi-language: EN-GB;">http://www.sacw.net/article11937.html</span></a></div>
</div>
The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-59082755638714307892016-02-01T15:57:00.003-08:002016-04-11T11:22:44.633-07:00THE END<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">He we are
then, at the end of the road. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">You do not
appear to appreciate my literalism or punning, if it can really be called that,
and instead sigh whilst wistfully combing fingers through a patch of grass
beside us. Friend. In denial, maybe. Or, not as strongly absolute as denial,
dithering with what the road might have meant to you when you were still,
perceivably, on the road. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIJI7V-lRODpnYZbLD_6uGKePMwljR1rtNs99DcrVela32_AGDfXAt3RLEg0rRJ3oJ8ZhjpM82YIhCelWtpvQBmBB_EZ-0SyJrTWwQVxgfbeSX-4PfM1BEBUs8Kxh5Az8NX5fgxf2oYhLy/s1600/The-End-11-Muero-cada-amanecer-Each-Dawn-I-Die-William-Keighley-1939.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIJI7V-lRODpnYZbLD_6uGKePMwljR1rtNs99DcrVela32_AGDfXAt3RLEg0rRJ3oJ8ZhjpM82YIhCelWtpvQBmBB_EZ-0SyJrTWwQVxgfbeSX-4PfM1BEBUs8Kxh5Az8NX5fgxf2oYhLy/s320/The-End-11-Muero-cada-amanecer-Each-Dawn-I-Die-William-Keighley-1939.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div style="font-family: Helvetica; font-size: 12px;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A dreamer,
a lazy, self-indulging perambulation perfumed with your own significance. But
I, along with so may others, smelt you: a stagnant belch of pond water, rife
with narcissism and parasites. Those ‘ickle head scratchers, those urchins,
mites, might-nots and the lil wrigglers in the scalp. You sigh. Warmed with
piss and bedding down, yawning in the leafy compost of your own vague decay. A
good friend of mine, you. “You” a good “friend” of ‘Mine”. <span style="mso-spacerun: yes;"> </span>Honestly. </span>Always the
same, sort of.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9TE0_aTd9BNA3yJNCzv270ewKPPqE9FdLeVCeChTLIlEyrWGt3g5_c0BkRfwcOr4vudJbouzBXEE9ntF_04ryN99kj8EYFsUWKqeNkElv2-9whHbELWhJuRaJyzoILMRdOxxkLSHvle4V/s1600/The-End-So-You-Want-To-Be-A-Detective.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9TE0_aTd9BNA3yJNCzv270ewKPPqE9FdLeVCeChTLIlEyrWGt3g5_c0BkRfwcOr4vudJbouzBXEE9ntF_04ryN99kj8EYFsUWKqeNkElv2-9whHbELWhJuRaJyzoILMRdOxxkLSHvle4V/s320/The-End-So-You-Want-To-Be-A-Detective.png" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This is
where the road has taken us and, rather than an outstretched palm shielding the
uniformed blockade of an unexpected law, the cartoon baton of a warning
policeman or stern parental shadows – those pressures and expectations that we
never really stepped out from – it is instead a signpost. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaL7SwcTwUUBXaVo8Ae7xgTKnPtlYvmjr9YtyZiMb7eK8P-602w6mhRWzc-Cqu9LoGJ_ODZbwoFwIQY2yTDFXaZANdNtK3UzUvCxMORKwegxc65M9EsorqRHi6yq1TDZaypbvi2R-L1S_S/s1600/EEEENNNd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaL7SwcTwUUBXaVo8Ae7xgTKnPtlYvmjr9YtyZiMb7eK8P-602w6mhRWzc-Cqu9LoGJ_ODZbwoFwIQY2yTDFXaZANdNtK3UzUvCxMORKwegxc65M9EsorqRHi6yq1TDZaypbvi2R-L1S_S/s320/EEEENNNd.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The sign is
a roughly nailed pole of sodden wood; simply a rotten post and its slightly
skewed, arrowed board, lettered <i style="mso-bidi-font-style: normal;">END</i>;
driven like a damp stake into damper, danker ground; it spelt out circumstances
as we tried instead to feel them, or at least you certainly did, I was more
concerned with you and not the END as the END was already established in its
labelled arrival. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiefNVPj4CP2VjOdYRQ_jDZaz3E4ZD6lVy7Oe0JrSAZNM68CLeseZi-fVXRQJLYOEO7Lmm0Q7d5avX1Mrh0gEixoqKM1VFoc9QKL3JFlTPYSfWF6Otomp0dS12XTg5eJe5oMZNkeeizT5dN/s1600/endgame.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiefNVPj4CP2VjOdYRQ_jDZaz3E4ZD6lVy7Oe0JrSAZNM68CLeseZi-fVXRQJLYOEO7Lmm0Q7d5avX1Mrh0gEixoqKM1VFoc9QKL3JFlTPYSfWF6Otomp0dS12XTg5eJe5oMZNkeeizT5dN/s1600/endgame.jpg" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">But you got
me itching, further from what I was thinking it was that I was and how it was I
related to this END until, it pains me to say, I was with you. I always am. Sat
in your puddle while decrying, denouncing and denying my soaked trousers.
These? Not mine, never were. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">You are the
false foil, maybe. Through you I convince myself I am different, distinguished
from you and in contrast to you while all the same coming back to these coils
of sensual, double-quilted dismay – the sort of drifting fog that I so openly
despise in you is precisely the duvet I return to when no one is looking,
spreading out in its deep, equivocating sprawl. Only ever deep in its capacity
to consume and imbibe me and for me in turn to draw great, guzzling clouds from
it; huffing the great noxious nothing. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizNZkSzfhdwQjkV5PrM_c-8vuacTGNgA2RbPR6ZwJQM52U7DElw4yHfPpWvuYFnzFEpi97fda5GadIsb7bBS6_dJu4nlCo5NxdfechqfupvcavO7GgUlDgcs_8OYryapwVbRXzhjjkSi9V/s1600/fin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizNZkSzfhdwQjkV5PrM_c-8vuacTGNgA2RbPR6ZwJQM52U7DElw4yHfPpWvuYFnzFEpi97fda5GadIsb7bBS6_dJu4nlCo5NxdfechqfupvcavO7GgUlDgcs_8OYryapwVbRXzhjjkSi9V/s1600/fin.jpg" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Its depths
are otherwise purely showy fronds without root or stem, an airy ivy that has
crept across us and scribbled out and over core grouting with distraction. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Here we are
then, at the end of the road: you echo my phrase back at me to remind me, unnecessarily,
of how ridiculous I sound. <span style="mso-spacerun: yes;"> </span>Very. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ibQXUTz5CuinPfncH6KgcCNDERQdXoRKrSybev9m_PBblevytsiG6Xcu2vdUsrVU7QYUlZS7ohyphenhyphen8EG6L_2dpL5UI0vR7zpTuL1erclx6WyTKvErH4X2ASsWwbpr5hoN7OoQuxELFC__z/s1600/enddd.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ibQXUTz5CuinPfncH6KgcCNDERQdXoRKrSybev9m_PBblevytsiG6Xcu2vdUsrVU7QYUlZS7ohyphenhyphen8EG6L_2dpL5UI0vR7zpTuL1erclx6WyTKvErH4X2ASsWwbpr5hoN7OoQuxELFC__z/s1600/enddd.png" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was it
that was so great, back there on the road? Nothing in particular you answer, it
was instead the feeling. The feeling of it. Not how it <i style="mso-bidi-font-style: normal;">felt</i> I stress, but now, how you feel it felt. I remember,
seriously, I remember you then! At the time, on the road, when the END was
still a thing to imagine (imagine!), a speculative quantity to bring forth –
shining with untouched potential. Then, back then all you felt was that the END
would make it all worthwhile. That from the END, or at the END, you would be able
to make sense of it all; this assumption was based on the - then plausible - logic that being at the END would mean having ‘arrived’, and that ‘arrival’
would be a peaceable and fulfilled stasis. But then....Friend. Friend, you and I,
we made it: we arrived here, here at the end. And as you can see, as I think I
said back there – it will be (and, look, it is) more of the same. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2SFrAyQ9xUEuEhsHKID5ElNtinmRlySUkOIbnYKGAQVquBM6Ee0PnZ3BGkuGZ2bi1osLFBDSKxKuFv_rpme00bWDV2Jkn4n8kIqCyfwySieq2ZJaYKUz6TEMIajHrO4VymwhqcIulJxE6/s1600/endz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2SFrAyQ9xUEuEhsHKID5ElNtinmRlySUkOIbnYKGAQVquBM6Ee0PnZ3BGkuGZ2bi1osLFBDSKxKuFv_rpme00bWDV2Jkn4n8kIqCyfwySieq2ZJaYKUz6TEMIajHrO4VymwhqcIulJxE6/s1600/endz.jpg" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">But it’s
not. It’s not quite ‘the same but different’ but, you continue, it is as if,
everything that went before was unable to be properly experienced - because it
was always in service of this. You sigh. I sigh. And now, now all of this (you
gesture to the sign, all around) cannot be experienced because I remember all
of that (you gesture to the road).</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">It is
because you insist on voicing these thoughts that I dislike you. I have, I
suspect, disliked you most of (if not all of) the time, but had supposed
reaching the end might perk you up.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK4e6U_btL6ctNnKQoc-jeIA43TR9Njy0sVrZRGOrHiWeAmLJWFi7M4fqbTvKG-feQv-VH0l8UMpkPTm3zu3n2T8L61THE8Y4OZ76PrtmRsaiU0J7jNuu_LMp2scyiyUKU6nULvjM3qgwv/s1600/the-end-of-film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK4e6U_btL6ctNnKQoc-jeIA43TR9Njy0sVrZRGOrHiWeAmLJWFi7M4fqbTvKG-feQv-VH0l8UMpkPTm3zu3n2T8L61THE8Y4OZ76PrtmRsaiU0J7jNuu_LMp2scyiyUKU6nULvjM3qgwv/s320/the-end-of-film.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I thought
the whole ‘sighing-forlorn-melancholy-burden-of-being’ was a way of customizing
your otherwise bland persona, that it would pass, and that you would find
something else – a hobby, a haircut or a different angle through which to
weather and express your inner anguish at not having inner anguish... at least not
really, of the sort to call your own. So you pined for emotional turbulence and
then, so convinced by your whimpering, began to mistake that anguished
longing for the actual anguish that you could never hope to cultivate but nonetheless
felt you felt now, in feeling as though you should feel it.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqKpS8RLHM7JszJ1OawJI8fthTvqO8RJ9SFLmyk0yoDD-8CX4-wmR_-o6PAyoR2Hb7DMPo67oaTBTJf1FOTyEs_Rwbu25yTVeLWY7WY3z3W2OUmJ_g-JkJVBiNUt6F9Dv7fwHbFIXoWU31/s1600/the-end.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqKpS8RLHM7JszJ1OawJI8fthTvqO8RJ9SFLmyk0yoDD-8CX4-wmR_-o6PAyoR2Hb7DMPo67oaTBTJf1FOTyEs_Rwbu25yTVeLWY7WY3z3W2OUmJ_g-JkJVBiNUt6F9Dv7fwHbFIXoWU31/s320/the-end.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">After
sharing this with you. You said, without looking at me, that it was typical of
me to say such things. You said, just because <i>I can’t experience with any emotion
</i>does not condemn everyone else to the same hollowed tick, tick and tock of
tedium. The metronome of continuing, continuing with rational predictability
and measured insistence. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">You said I
might as well be clockwork. Or that I was clockwork without the whirring and
antiquated charm of being clockwork. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuNBfq7Pu_Ya1ffbZ2IO2CZuXkanMN81822On06m_ZW-vmZ7ARgGPqSmt0je_l9XAymdlzsmtKqdbb7HhkvV_VFj6ghhFMZarGn-1UK3PmmLHuNd_NQ5cKICGmgcNzNYCszAA1UNI7p4UQ/s1600/maltese-falcon-end-title-still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuNBfq7Pu_Ya1ffbZ2IO2CZuXkanMN81822On06m_ZW-vmZ7ARgGPqSmt0je_l9XAymdlzsmtKqdbb7HhkvV_VFj6ghhFMZarGn-1UK3PmmLHuNd_NQ5cKICGmgcNzNYCszAA1UNI7p4UQ/s320/maltese-falcon-end-title-still.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I was not
to be, you said, considered digital, as this would suggest a kind of glassy efficiency.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQYzZiPaHutmuLhsUYDYeZMO-zKHA7i2g2TVwsthx4JX1JeFeZJxRIOMmhqGZ41yh-2koIT3DbOpWhCo6E9wxw_FnL2r4YOi-Xe0TrPjM7odyKk2-Drsv8JaXNpas8xg9Rce0DT5deHSg/s1600/3078621987_60bbf04153_m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQYzZiPaHutmuLhsUYDYeZMO-zKHA7i2g2TVwsthx4JX1JeFeZJxRIOMmhqGZ41yh-2koIT3DbOpWhCo6E9wxw_FnL2r4YOi-Xe0TrPjM7odyKk2-Drsv8JaXNpas8xg9Rce0DT5deHSg/s1600/3078621987_60bbf04153_m.jpg" /></a></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I was
instead, you suggested, the backing track demo on a Casio keyboard: insanely
grating, regular and disturbingly unaware of my own kitsch appeal. Except that
in my case that lack of awareness was forgivable as there was no appeal, kitsch
or otherwise. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzeO9_68N7S0vQeJQE20TQgIaCAn7fEB3efU-EQpXsZZChJAKXVGc-dLGjpC-FNadb2okGK4mrSjJKN2o2z_M4GHHC2jxuuFDn5wjuiVZ7LOpJUWgLYeV4BZdlZH1oAYIAtdwqj7hCUkt/s1600/end1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzeO9_68N7S0vQeJQE20TQgIaCAn7fEB3efU-EQpXsZZChJAKXVGc-dLGjpC-FNadb2okGK4mrSjJKN2o2z_M4GHHC2jxuuFDn5wjuiVZ7LOpJUWgLYeV4BZdlZH1oAYIAtdwqj7hCUkt/s320/end1.png" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span> </div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I was just
annoying. You sigh, deflated by the attempt to summon me in words. And then,
brightening slightly, declare that even the process of articulating my character
(O stultifying and prosaic square of porridge! you rhapsodised) was in itself a
crampingly dull experience that came close to conveying the frustration that characterised
me – for you, at least.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho3MgTO_gYfm4iWIP0peI0UAL6htClBEEmQB10jJVn_DMW3syj8OEcFlj7-7lZj9xj0lZMYAgiNo1FGGPlyidQBxTO_k7YSBeMk_nLvU1jMuO47LKWBcuKabu79KImyPLbiBH6PGHkCXMg/s1600/end2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho3MgTO_gYfm4iWIP0peI0UAL6htClBEEmQB10jJVn_DMW3syj8OEcFlj7-7lZj9xj0lZMYAgiNo1FGGPlyidQBxTO_k7YSBeMk_nLvU1jMuO47LKWBcuKabu79KImyPLbiBH6PGHkCXMg/s320/end2.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">My personal
impersonality or impersonal personality; this white rice and chicken, this bran
flake sticking to the plain white bowl, all of this, </span>in its paltry and pastel
imitation of living, was grating on you.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMaIIu6pYf8T2A8bXkcrYaLTEF90Ih6rjv2_G8XqwgyTeD7-GH6q4InGhvP-4GnNNDsQLJsiUMq5WewLUVS1HcPiZpIpInpeoavJOCV_4wwE-tuHEVlm0tBUG7GOnw4B9Wp0jvM7jKcwFA/s1600/divorcee-movie-end-title-still-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMaIIu6pYf8T2A8bXkcrYaLTEF90Ih6rjv2_G8XqwgyTeD7-GH6q4InGhvP-4GnNNDsQLJsiUMq5WewLUVS1HcPiZpIpInpeoavJOCV_4wwE-tuHEVlm0tBUG7GOnw4B9Wp0jvM7jKcwFA/s320/divorcee-movie-end-title-still-1.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This looking
both ways before crossing, this soft rock tribute to breathing, this chart
topping misery, this Keane and this Coldplay, this interminable mush, this and
this and this…it all follows so methodically, marching under the pathetic
flannel of its own snivelling caution. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhheCumY17JwXMwH0xrrIOF9JG4Cf3MNxKMSB67uX7SZM5NfbEeej7YQEcu5TKTvqxo7Uhfn2prrtgFH6sIngYgTi7SIBaMN1ZDhs509mbP26c5p9QLEC1wIrjj0F7nWD7ydPkWOf4yAtD9/s1600/psycho-end-title-screen-515x386.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhheCumY17JwXMwH0xrrIOF9JG4Cf3MNxKMSB67uX7SZM5NfbEeej7YQEcu5TKTvqxo7Uhfn2prrtgFH6sIngYgTi7SIBaMN1ZDhs509mbP26c5p9QLEC1wIrjj0F7nWD7ydPkWOf4yAtD9/s320/psycho-end-title-screen-515x386.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This glass
of tepid water, this spreadsheet, this blunt pencil, this house and this life, this
fucking cardigan and those sensible trousers, this level-headed nodding to the
world’s fevered hysteria, this pompous flatulence waiting to break, this smugly
devotional commitment to the mediocre stability of quotidian progress; organisation,
dietary requirements, well-read monotony, pine bookshelves, tasteful calendars,
the art that collects on hospital-walls, the magazines that pile in waiting-rooms,
the sound of a self-important businessman on his phone discussing a meeting on a crowded train, the obnoxious and unquestioning sense of entitlement, talking to talk,
talking that talks to itself, that talks and talks and talks with such predictable
opinions, droning forever under the grotesque contrivance of insight…This must
end. But it doesn’t. We both know that. </span></div>
<div class="MsoNormal">
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Not yet anyway. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Not like we thought it would.</span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I broach the subject: what did you think it would be like? A subject I know is merely returning to the alluvial swamp of your obsessions. But you need it, clearly, I can tell. Even that derivative rant about what I was, how deplorable I was, and am, and will be - how plain, how dull and such. Even that gave you a thrill. I can tell. I know you. Friend. It's like taking you for a walk, giving you permission to piss on a pot-plant or hump the armchair's stoic leg. Indulging in your own filthy self-regard, these petty fireworks, it allows you the exhaustion to feel at ease with yourself. </span></div>
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So, I let you strain for a while, my little impotent mutt, scrabbling at the end of its leash. You'll go for hours, we both know this. So I ask again, with such wholly uncommitted and thespian sincerity, what did you really think? The END? </div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span>What did you think it would mean in the end? </div>
The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-50267525600226494292015-11-22T11:15:00.001-08:002015-11-22T11:15:26.607-08:00A Telling Misperformance: The Counsellor and its Stars<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<i><span style="color: #191919; font-family: "Times New Roman"; font-size: 11.0pt;">Want it all, Risk it all, Lose it all’ – </span></i><span style="color: #191919; font-family: 'Times New Roman'; font-size: 11pt;">the
tagline from <i>The Counsellor</i></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">Not
only Directed by Ridley Scott and written by the Pulitzer prize-winning
American novelist Cormac McCarthy, <i>The Counselor</i> (2013) also boasted a
beyond star-studded cast of Michael Fassbender, Penelope Cruz, Javier Bardem,
Cameron Diaz and Brad Pitt, and yet, and yet still managed to comatose
audiences and critics alike with what seemed to be an icy tribute to its own
failure. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">Not simply a film that fails to entertain or convince, but one
that seems to unwittingly reveal the festering machinations behind its failure.
Each symptom of its oddly misjudged tone – be it zero suspense, the sheen of
production, character inertia, or the stilted dialogue that communicates a
little less than cold brevity with a little more than vacuous excess – each of
these symptoms seem to reflexively turn into parodies of their buried cause. Consequently,
<i>The Counselor </i>casts an involuntary and icy light on the ugly capital of
‘the star’ in Hollywood promotion, in addition to the symbolic potency and
expectations that such ‘stars’ have historically delivered.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>In a silent comedy from 1927, Clara
Bow, one of the very first stars of American cinema became synonymous with the
film’s title: <i>It.</i> She was the ‘It girl’, ‘Miss It, California’,
the birth of ‘It’, a title and description originally suggested in a magazine
article by the English writer, Elinor Glyn – who had a cameo in the film. The
value of ‘It’, though mainly unmentioned as a mysterious quality, does surface
in a couple of definitions: the male protagonist’s best friend reads out that
‘the possessor of ‘IT’ must be absolutely “un-self-conscious”, and must have
that magnetic “sex appeal” which is irresistible’; in Glyn’s cameo she defines
‘It’ as ‘self-confidence and indifference as to whether you are pleasing or not
– and something in you that gives the impression that you are not at all cold.’
Bow’s allure as a star came from her supposed ordinary-ness; an exemplary and
working class background that ostensibly leant her energy a lively naturalism
that distinguished her from other more consciously thespian modes of melodrama.
It was an attraction that conveyed her plucky spirit as both relatable and in
the currency of sex appeal, attainable – thus spinning off into another mythic
toxin of male fantasy: ‘star’ quality in ‘the-girl-next door-syndrome’. By the
age of 28 Bow had left Hollywood. Not because, as is suggested, through
her incompatibility with talkies, but through exhaustion: she was overworked
(completing 46 silent films and 11 talkies, all completed from the age of 16 to
28) and increasingly in the 30s attacked by the press. She retired to a cattle
ranch with her husband and suffered from various psychiatric illnesses for the
rest of her life.</span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">Rather than simply (or only) encapsulating a cautionary example
of stardom, there is something telling about the supposed qualities of her
objectified ‘It’ status and how that has changed. Described as
‘un-self-conscious’ and giving ‘the impression that you are not all cold’, Bow
was celebrated for a spirit of naturalism in a medium that was trying to evolve
beyond the artifice of a carnival attraction, or the emulation of theatre. Not
far off a hundred years later and American cinema now has a history of ‘It’;
manufactured naturalism and the impossibly glamorous, warped, undercut or
consecrated idols of everyday have been through whole legacies of influence,
reaction and growth. Alongside that cinematic change, inevitably the currency
of the ‘it girl’ and having ‘it’ has become something very different. Now the
‘it girl’ phenomenon is usually attributed to a <i>famous for being famous </i>socialite,
whose primary purpose or ambition seems to be courting the press. The ‘un-self
conscious’ has become the consciously calculated and ‘the impression that you
not all cold’ has been newly configured as a coldly performed version of
warmth. Yet in <i>The Counselor </i>the performance has lost its currency, the
potential ‘It vitality’ of its cast seems dislocated, remote and unsure.<o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">The first time we see the titular ‘counselor’ (played by Michael
Fassbender) and his lover (Penelope Cruz) they are writhing beneath white
sheets in a luxurious bed. There is an extended take hovering over the bed,
bodies discernible only as draped forms and pre or post-coital small talk
between them supplied in voiceover. Rather than a heated sense of intimacy, the
extended lingering on white sheets feels almost sepulchral. Clearly aiming for
an evocative scene of promiscuity and proximity, the draped and entirely
concealed bodies (no erotic glimpse of flesh) become only the awkward trace of
sex – clinically remote from its physicality in folds of perfect white and
closer in appearance to squirming body bags, or absurd mummified shapes. The
camera then joins them beneath the sheets: a close up, looking from Cruz’s
point of view at Fassbender’s confident smile as he says “tell me something
sexy”, we then see Cruz for the first time as she brushes away a strand of hair
and replies “I want you to put your hand up my dress”. Her smile is as white as
the sheets, disturbingly white, the tone of her voice an awkward attempt at shy
and girlish daring. Fassbender grins, enjoying his sense of playful wit, “but
you’re not wearing a dress -”, “what does that have to do with it?” is Cruz’s
gnomic response, followed by: “something you’d like for me to say?” Fassbender
then tutors her, “but it has to be real doesn’t it?” Dirty talk has to uphold
the pretense of pertaining to the situation, to being real, otherwise it is
just an excruciating charade. Just as this scene demonstrates. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">Both actors, despite ticking the requirements for a standardized
type of Hollywood beauty and exchanging breathy lines of flirtation, feel
remote and even embarrassed, and despite the camera’s nestling intimacy we – as
the audience – feel coldly removed from the scene. A scene of dirty talk that
acknowledges the need for a sense of realism that it itself lacks. An opening
scene between the film’s central romantic relationship not only fails to
inspire any connection or care in the viewer but similarly seems strained to
convey its connection between the characters, all of this while evoking a
deathly white shroud in the disheveled sheets. For a film written by the
infamously bleak Cormac Mccarthy surely this could all be intended? A portent
of Cruz’s later fate (kidnapped by members of the drug cartel and killed in a
snuff film), a foreshadowing of her death and the film’s end latent in its
beginning? I would like to suggest that this would be too generous and
forgiving a reading of the film’s manifold failings. Instead, though I believe
there are elements of awareness to the film (reflexive, cine-literate nods),
what is more compelling is its haunted sense of that which escapes awareness. I
would like to read the film as a prolonged demonstration of a kind of visual
parapraxis, whereby the repressed is the Hollywood star system and the
implications of its modes of representation. The desire to escape this, both
intentionally and at times without knowing, causes in <i style="mso-bidi-font-style: normal;">The Counsellor </i>a troubled documentation of its own inability to exist
as either a critique of a Hollywood film or as a Hollywood film – falling
instead into a confused and uneasy neurosis between the two. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">The film’s most obvious and perhaps more conscious attempt to
parody and distance itself from Hollywood ‘star’ systems is through an explicit
referencing of its existence. Michael Fassbender appears as the male lead,
central protagonist and, by star rules, a hero. Fassbender is cold, unreadable
and for the most part uninteresting (especially for a central character whose
peril we should ideally care about). He recalls the automaton, ‘David’, he
played in Ridley Scott’s previous film, <i style="mso-bidi-font-style: normal;">Prometheus</i>
(2012). In a scene before one of the film’s most memorably jarring sequences,
Fassbender looks at a photo of the actor Steve McQueen (the earlier icon of
lead action roles) as though wistfully observing a past version of himself. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">Brad Pitt – in this lineage of male stars – appears as jaded
middleman, eternally wearing a cowboy hat, a memento that literally tips its
hat to his much earlier role in Scott’s <i style="mso-bidi-font-style: normal;">Thelma
and Louise </i>(1991). A film when Pitt arrived as a star –<span style="mso-spacerun: yes;"> </span>with sex appeal, cowboy hat and youth. No
longer an object of lust (at least in this film) and thus not a bankable star
at the top of the business, Pitt appears as a weathered figure reduced to a
lecherous version of his previous success – the middleman criminal who has seen
it all and reports ‘it’s all shit’. <o:p></o:p></span></div>
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<span style="color: #191919; font-family: "Times New Roman";">Cameron Diaz, an actress who was ‘discovered’ (that creepy
euphemism) as a model and then, after her first role aged 21 in <i style="mso-bidi-font-style: normal;">The Mask, </i>was declared a sex symbol,
appears in <i style="mso-bidi-font-style: normal;">The Counsellor </i>as its
femme fatale. Her sexuality is a mark of strength, wielded in increasingly
contorted versions of itself. Meanwhile Penelope Cruz</span><span style="color: #1a1a1a; font-family: "Times New Roman";"> perhaps suffers most as
the <i style="mso-bidi-font-style: normal;">romantic interest</i>: the ornament
with which to furnish the male lead. She is not only devoid of any discernible
character, being a lazy counterpoint to Diaz’s libidinous empowerment, but she
also becomes the expendable body (after being killed), that is unceremoniously
and literally dumped as waste. </span><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="mso-tab-count: 1;"> </span><span style="font-family: "Times New Roman";">Whilst this suggests a degree of
conscious parody, I would argue it breaks down around Cameron Diaz’s character,
Malkina. Javier Bardem (Reiner) is fatally obsessed with Malkina and, in the
jarring scene that follows Fassbender looking at the portrait of Steve Mcqueen,
he recollects a disturbing sexual incident.</span><span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 16.0pt;"> </span><span style="color: #1a1a1a; font-family: "Times New Roman";">He reflects that he found out too much about
women and by way of a begrudging explanation, Bardem tells Fassbender that Malkina
literally ‘fucked his car’. This involves a cut away of Diaz removing her
underwear, climbing up the car’s bonnet and on to the windscreen, where she then
spreads her legs – sliding herself up and down to orgasm. Rather than being
turned on, Bardem is left in a mixture of horror and appalled curiosity,
describing the action (as seen from the car-seat, staring up into her exposed and
sliding vagina on the windscreen) as like a “catfish – a bottom feeder” before
concluding ‘it was too gynecological to be sexy’. It seems a fevered and
uncomfortable enactment of the actress as star, sexualized in film not through
her own comfort or realistic sexuality but through pressures of a pornographic
leering, here the cinematic male gaze and its fantasy becomes grotesquely
realised in its objectivity. This is at the repressed heart of the film and its
cold but obsessive relationship with sex and stars. Bardem stares up at a
literal screen and when he gets what he wants in its most unadorned form, a
front row seat to the sexual worship of his financial, phallic and four-wheeled
status – he is horrified. This sequence is also notably the only flash back in
the film, a conspicuous detail considering we never find out the past of ‘the
counselor’ let alone his name. For a film with many other unanswered questions
about what came before, this - sex, commodification and masculine wish-fulfillment
– is the only flash back. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">When
the fantasy is made real it is ‘too gynecological’, is this a hysteric victory
for Diaz’s Malkina in a critique through literalizing extremes, or is it
perhaps more complicated? I would suggest it is more complicated, mainly for
the reason that the film, neither in McCarthy’s screenplay nor Scott’s
direction, seems to know precisely what is <i style="mso-bidi-font-style: normal;">meant
</i>in this scene. Is it possibly a moment of witness, where the star system is
turned into an unwanted strip-tease revealing the exploitation of its own base
logic: a vagina rubbed up against the screen while the male viewer is in the
driving seat. A vision later repressed as <i style="mso-bidi-font-style: normal;">like
a</i> ‘catfish’ – and then, again unsure of its own implications beyond the
image, the phrase “a bottom feeder” unwittingly attempts to control the fantasy
made real through a denigration of power. Or is this the ultimate death dance
of the femme fatale, the film noir creation of anxious misogyny, parodied here
by a powerful woman…or perhaps it is just the logical extension of the femme
fatale taken to its seemingly perverse extreme (<i style="mso-bidi-font-style: normal;">The Counsellor </i>alludes explicitly to film noir, when Pitt quotes
the neo-noir <i style="mso-bidi-font-style: normal;">Body Heat,</i>1981,<i style="mso-bidi-font-style: normal;"> </i>itself heavily drawing from <i style="mso-bidi-font-style: normal;">Double Indemnity, </i>1944). Does Malkina’s
act expose sexist expectations in star culture through a horrific and absurd
image, while also offering the self reflexive critique on Cameron Diaz as sex
symbol? Or, does it only extend those expectations as a dangerous fantasy, one
to be buried and then incorporated into a star-led film as a semi-repressed acknowledgement,
later dismissed by men in a recollection that mentions ‘catfish’ and the loaded
insinuation of ‘bottom-feeder’. This jarring and somewhat neurotic instability,
both in tone and interpretation, spreads out throughout the film.<o:p></o:p></span></div>
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UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
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<span style="font-family: "Times New Roman";">In
the film’s concluding scenes, we join the counselor on the phone to a man whose
role is one of questionable philosophical aid – helping the counselor realize
he has no choice, all the significant choices that can be made have been made,
he must now choose only to accept this fact. Again we approach this through the
windscreen, the glassy separation of the screen and a visual slip back to the
Malkina scene. The criminal system into which the counselor has entered, through
his very entrance, has set into motion choices and movements that cannot be
avoided. In the star system, as with the film’s narrative, agency and choice
are gone. As by this point, is anything resembling the viewer’s interest. The
‘it’ of Clara Bow as arguably Hollywood’s first star has grown, from a
celebration of warmth and lack of self awareness, to the critique of a cold
self awareness, one that remains unaware of how inextricable its own critique
is from that which it criticizes. I used the phrase ‘visual parapraxis’ as a
way of imagining this troubled slip, a symptomatic accident of clarity that has
at its root something not fully acknowledged or made entirely consciously
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actions” or, most significantly for all involved in <i style="mso-bidi-font-style: normal;">The Counselor</i> "misperformances".</span><o:p></o:p></span></div>
The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-18209414516851643002015-09-26T13:46:00.000-07:002015-09-26T13:49:23.573-07:00Memoirs of a Life Coach<style>
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style="height: 181px; margin-left: -14px; margin-right: -14px; margin-top: 0px; width: 264px;" width="200" /> <img height="175" id="irc_mi" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUOoql206eYwJCU0JUzmUY35mjIaNwyBiiX3xWCPiwpSmrzS96BsK_MG_2ACzlRZUmNdzEuCJuORQuImkK-jt-VrY7VNztG9V3PA1al1HL8656H5NZ1z0vhxSGC8ivAKykbKR9ZAd2CPfL/s200/p023.jpg" style="margin-top: 0px;" width="200" /><span style="font-family: "Times New Roman"; font-size: 16.0pt;"> </span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt;"> </span><img alt="Image result for japanese peace lily" class="rg_i" data-sz="f" height="299" name="yhaQkrSi3HwzWM:" 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" style="height: 184px; margin-left: -2px; margin-right: -2px; margin-top: 0px; width: 246px;" width="400" /> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 16.0pt;">"<u>Share</u>
if you like"</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">this year my
personal development is growth,</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">I haven’t
personally developed a growth </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">but I am every
day growing </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">and I wanted to
share that with u guys</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">like I used to
ask myself why am I feeling like this</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">why am I so
uncertain, so afraid, so negative</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">and then<span style="mso-tab-count: 1;"> </span>something changed</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">I started
sharing, like this I guess, with you guys and it is like </span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">so
much love or fulfilment</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">or
nu-buddha-zen-transformational-potential and warm</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">like finding
myself through sharing myself, like affirming</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">to validate like
do u believe in karma, life</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">or like
inspirational quotes</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">because the
heart must be felt to be touched to be beautiful and if beautifully touched
through feeling will make you strong and <i style="mso-bidi-font-style: normal;">you
are</i> strong like destiny or a sunset or like saying perfection is not
attainable but if we chase perfection we catch excellence and excel at sharing
what was not exempt from being caught like seeing “I’m Possible” in “impossible”
because nothing is, except for like forms of levitation and understanding
whales</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 3;"> </span>but
mainly success is like the soul when the soul succeeds in being soulful like
Barry White but more internal and like if opportunity doesn’t knock build a
door and if you cant build a door fashion a small opening from available
materials and be resourceful, like use a window, because when it gets dark you
are going to need light</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">you would be
happy if you were less sad, and you have to share that, it’s precious like
having the courage to love yourself, it’s not a career but when your career
fails you must learn to love yourself, tho love should not be contingent on
failure </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">it should always
be there </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 4;"> </span>but
if you fail to love that love and share it you will not experience the personal
development that dreams the key to mindfully package how best to
become motivational and wise and get a raise or a bonus or start keeping more house
plants and breathing like your life depends on it</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0tag:blogger.com,1999:blog-721612652187116625.post-67905963396828159602015-06-17T10:02:00.001-07:002015-06-17T12:28:58.732-07:00Mahu Cinepoetry: Poetry Film Film Poetry<style>
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<a href="http://static1.squarespace.com/static/53dcd17be4b0b84c71f7d442/t/5570127ee4b0b2df4456256d/1433408131972/?format=300w" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" class="thumb-image loaded" data-image-dimensions="1836x1836" data-image-focal-point="0.5,0.5" data-image-id="5570127ee4b0b2df4456256d" data-image-resolution="300w" data-image="http://static1.squarespace.com/static/53dcd17be4b0b84c71f7d442/t/5570127ee4b0b2df4456256d/1433408131972/" data-load="false" src="http://static1.squarespace.com/static/53dcd17be4b0b84c71f7d442/t/5570127ee4b0b2df4456256d/1433408131972/?format=300w" data-src="http://static1.squarespace.com/static/53dcd17be4b0b84c71f7d442/t/5570127ee4b0b2df4456256d/1433408131972/" data-type="image" height="320" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";"> As part of his
first exhibition (<i style="mso-bidi-font-style: normal;">Mahu</i>, June 6<sup>th</sup>-26<sup>th</sup>,
2015) SJ Fowler kindly invited me to curate a night exploring the relationship
between film and poetry. The evening was really enjoyable, generously attended
(all crouched, sat and sprawled in the modest gallery space) and happily
stimulated a lot of talk about the films. It was a privilege to be involved in
something that was met with such enthusiasm and, surrounded by his floor to
ceiling scrawl (Steve Fowler’s exhibition centres around the improvised
creation of a novel over a condensed and demanding period of days – the pages
surrounding him on the gallery walls in towering columns) in the company of a
poet whose work and approach to poetry I find so continually inspiring. I was
also particularly excited by the possibility to contact filmmakers whose work
has engaged with the threshold of visuals/language/poetry and film with such diverse
and challenging artistry. </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">I began the
evening with a presentation that meandered in and out of poetic diction and
digression – as a tribute to the hybridised form and exchange that the event aimed
to present.</span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"> </span></i><span style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"></span></span></b><span style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;">The text was as follows: </span></span></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></i></b></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">arranged and rearranged</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">in emphasis and intention</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">opening up an exchange between</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">and across mediums where</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">Like is lyric ‘I’ to subject</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">as lens is seeing eye to object</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">neither speaking on behalf</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">but half of speaking out of</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">nowhere</span></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">Or as a gesture of translation: from
language to light, reversed from image to text, frame to word to frame and page
to screen, or as screen as page and film as poetry</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">and back - to poetry reimagined as film.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Taking time between
takes to find time between frames, or framed as time taken. Time as framed
might be spoken</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">by film syntax</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">in the grammar
of cutting</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">How rhythm </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">movement</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">& focus</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 2;"> </span>constitute our reception</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">of meaning, our
ways of meaning –</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">as found,
projected, disrupted, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">ambient,
curated, referential</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">pointing to the
world, presented as a world. </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In his 1929 film<i style="mso-bidi-font-style: normal;"> Man with a Movie Camera</i>, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Dziga Vertov
proposed a<span style="mso-spacerun: yes;"> </span>‘truly international absolute
language of cinema’.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In contrast - Abel
Gance, the French film director known for his silent epics <i style="mso-bidi-font-style: normal;">J’Accuse</i> (1919), <i style="mso-bidi-font-style: normal;">La Roue</i>
(1923) and <i style="mso-bidi-font-style: normal;">Napoléon </i>(1927) remarked
that ‘the marriage of image, text, and sound is so magical that it is
impossible to dissociate them in order to explain the favourable reactions of
one’s unconscious.’ </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Surrealism
celebrated cinema as a way to emulate and reveal the unconscious, to enter the
darkness of a cinema as if into a shared communion of sleep, to watch dreams
play out across the screen. In 1928 the surrealist Man Ray directed a short
film in response and accompaniment to Robert Desnos’ poem, entitled <i style="mso-bidi-font-style: normal;">L’Etoile de Mer</i> : </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">A swinging disc
of light silhouettes a starfish as it turns in black…the handwritten title is
penned by Man Ray who, in describing his reaction to Desnos’ poem said ‘</span><span lang="EN-US" style="color: #231f20; font-family: "Times New Roman"; mso-ansi-language: EN-US;">There was no dramatic action, yet all the elements for a possible
action.’ </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #231f20; font-family: "Times New Roman"; mso-ansi-language: EN-US;">A Circular window opens ( </span><span style="font-family: "Times New Roman";">a clouding</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">through as blur </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">we watch the woman </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">her garter
pulled up towards her thigh) </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">deferred desire
begins </span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">the
gazing first line of Desnos’ poem: </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">‘Women’s teeth/
are objects/ so charming.’ </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">One of the
earliest film poems</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">male desire and
its frustration experienced as a dream/ in a dream</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Whose dreams
film/ and poetry’s film dreaming as who</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 2;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the surrealists
found poetry </span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">(like
the unconscious)</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">as
a subterranean glimmer</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">in films that
had no intention or acknowledgement of such readings.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Louis Aragon
observed that </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">“on
the screen, objects that were a few moments ago</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">sticks
of furniture or books of cloakroom tickets</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">are
transformed to the point where they take on </span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">menacing
or enigmatic meanings”</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">For Aragon film
could “endow with a poetic value that which does not yet posses it”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the surrealists
embraced the early comedy of Mark Sennett, Chaplain and Buster Keaton, &
found the pulp banality of the <i style="mso-bidi-font-style: normal;">Fant<span style="color: black;">ô</span>mas</i> haunted</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">by mystery,
weird and unintended</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">moments that
coax the film’s dream into speaking.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Ado Kyrou, the
Greek filmmaker and writer extolled</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the virtues of
popular film, advocating that we should</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">“learn to go and
see the ‘worst’ films; they are sometimes</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">sublime’
Suggesting now an afterlife for Adam Sandler films,</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the <i style="mso-bidi-font-style: normal;">Transformers</i> franchise & Eddie
Murphey’s <i style="mso-bidi-font-style: normal;">Norbit</i>,</span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In thinking
about film poetry a trajectory of experimentation suggests itself from</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the visual
influence of Cubism, Dadaism – Hans Richter, Ferdinand Léger and Marcel
Duchamp, the French Impressionism of Germain Dulac, the Surrealism of Man Ray,
Dalí and Bu<span style="color: black;">ñ</span>uel<span style="mso-spacerun: yes;"> </span>------ influences picked up and developed in
the American Avant-Garde in Maya Deren, Kenneth Anger and Stan Brackhage …but,
like the surrealist appreciation of populist film, poetry also inhabits the
history of narrative cinema. </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">A history that
is not confined to Hollywood or populist codes but that often sought to combine
or respond to the concept and praxis of poetry. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Jean
Cocteau’s Orphic trilogy 1930/1950/1960 – a card game ends in suicide –
applause – walking through snow – (<span style="mso-tab-count: 2;"> </span>)
– a gloved underworld – guardian motorcyclists – the ruined city – passing through
mirrors – a radio speaks through –</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">static
– intercept – speaks through – interpret – séance – the chirping speaks through</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">fogged
crackle of overheard – afterlife – of poetry as a return – brought back in
sound </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">through
sight – afterlife – in film – as film</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">Pier Paolo Pasolini published his first
collection of poetry in 1941</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">and continued to write throughout his
life. He would often describe his work</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">as the c<i style="mso-bidi-font-style: normal;">inema of poetry</i></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">after realising with disappointment</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">the intent and nature of American
Avant-Garde film,</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman";">Pasolini declared his belief in <i style="mso-bidi-font-style: normal;">narrative poetry</i> in film.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Ingmar Bergman’s
1966 film <i style="mso-bidi-font-style: normal;">Persona</i> overlaps, splits
and merges the identity</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">of two women as
the material of film is itself seen to rupture: straining to show, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">to represent, to
pierce the image and repeat the image. Enacting a trauma</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">beyond words but
relating to language, a failure of language and the imagining </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">of film as
language. The montage at the film’s start: a crucifixion, an erect cock,</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">a tarantula, a
silent comedy, man is chased by Satan, the slaughter of a lamb and a boy wakes
up in hospital</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 5;"> </span>a
boy turns on a TV “What is your name?”</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">the boy backs away from the screen, we
inhabit the screen – it is in black and white</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">“My name is Yuri Zhari” comes the reply
from inside the screen, we see it </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">as though we are there, as if there is no
screen. It is an adolescent with a stammer; </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">he continues to be questioned by a
physician, “look right into my eyes” she says. </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">We watch her hypnotise him
until, having declared the release of his tensions, </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">he is able to say – without
stammering: “I can speak.” </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">This is the beginning of Andrei
Tarkovsky’s 1975 film <i style="mso-bidi-font-style: normal;">The Mirror.</i> </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<br /><div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Tarkovsky
understood poetry as a genre </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">beyond literary
definition, not as a genre</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">but existing in
and as the indiscernible</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">movements of <i style="mso-bidi-font-style: normal;">being</i> –<span style="mso-spacerun: yes;">
</span>beyond coherent logic.</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">For Tarkovsky,
the indiscernible movement</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Of <i style="mso-bidi-font-style: normal;">being</i> is <i style="mso-bidi-font-style: normal;">time</i>. Film, as the medium </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">best equipped to
render <i style="mso-bidi-font-style: normal;">time </i>was for him </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">consequently the
perfect art of poetry.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Poetic cinema
was not symbolic cinema.</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">It should be,
according to Tarkovsky, metonymic</span></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">to call upon </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">intuitive
association </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">from which
disparate parts ------- move towards </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">in suggestion of
the film brought together as a whole.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">as Joseph
Cornell, the American artist and filmmaker suggested:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>“It is not the carefully composed
images<span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">but rather their ultimate relationship<span style="mso-tab-count: 3;"> </span></span></div>
<div class="MsoNormal" style="margin-left: 72.0pt; text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">to each other that generates the poetic
connection”<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Cornell collaged
old film reels, worked from found materials, observed still moments of the
ordinary <span style="mso-tab-count: 1;"> </span>in a park, on the subway,
the city’s back street rambling</span></div>
<div class="MsoNormal" style="margin-left: 144.0pt; text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>in reverence of a stone angel</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">In
1936, spliced and edited, </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">a cheesy jungle melodrama </span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman";">East of Borneo</span></i><span style="font-family: "Times New Roman";"> (1931) </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>re-cut and presented </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 2;"> </span>as a feverish ode to its
female lead <i style="mso-bidi-font-style: normal;">Rose Hobart…</i></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the poetics of
position, arrangement, combination: “Collage as language”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">constellate
glances, coming back to it/ to ‘catch it’, something like deep forest or
tapestry where the everyday is found suspended as the occasion</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">from the aviary
whose ceiling dreamt of snow or the shadow box that is dreaming still, impossible
to fix in words but speaking</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Cornell worked
with other filmmakers of the American Avant-Garde: Larry Jordan, Rudy
Burckhardt and Stan Brakhage </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Brakhage
referred to his own work as “filmpoems”, reading with a religious commitment
the poetry of Robert Duncan, Charles Olson, William Carlos Williams, Ezra
Pound, Louis Zukofsky, Robert Creeley, Michael McClure and Ronald Johnson. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Communities
intermingled, friendships, correspondence and the continuing of a </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">conversation </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In the US: The
Beats, The Black Mountain School, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The New York
School…all were influenced by </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">and in turn
influenced their contemporaries </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">in the
underground film scene: </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">from Kenneth
Anger and Jack Smith </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">to Alfred
Leslie, Robert Frank, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Rudy Burckhardt
and Andy Warhol.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Allen Ginsberg stares
out from his screen test</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">John Ashbery stares
out from his screen test</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Ted Berrigan,
Diane de Prima, Marcel Duchamp, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Willard Maas,
Harry Smith, Joe Brainard, John Weiners, </span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">John Giorno, Susan
Sontag…all staring out from Warhol’s screen tests</span></div>
<br /><div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Before eyes
opened in factory light, screened at a slowed down 16 frames per second, and a
year after Ian Hugo’s film <i style="mso-bidi-font-style: normal;">Bells of
Atlantis</i> ----- a film with a voiceover by Anais Nin reading from her
hallucinatory book <i style="mso-bidi-font-style: normal;">House of Incest</i>:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><span style="font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">“My first vision of earth was water veiled. I am of the race
of men and women who see all things through this curtain of sea and my eyes are
the color of water.”------</span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 14.0pt;"><br /></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">on October 28<sup>th</sup>
1953, Cinema 16 held a symposium on “Poetry and Film”</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The impressive
panel included: Maya Deren, Dylan Thomas, Parker Tyler, Arthur Miller, Willard
Maas and Amos Vogel. It was here, between the unengaged comic quips of Dylan
Thomas that Deren put forward a distinction between </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the <u>horizontal
</u>and vertical |||| in film</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the horizontal embodied
the linear development of plot</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">presented and
experienced over sequential time</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">the vertical
embodied the suspended exploration</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">of associations
that can co-exist in a moment</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Concerning the
use of language within a film, Deren reasoned:</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">“[W]ords are not
necessary when they come, as in the theatre, from what you see…However if they
were brought in on a different level […] as if you were standing at a window
and looking out into the street and there are children playing hopscotch. Well,
that’s your visual experience. Behind you, in the room, are women discussing
hats or something and that’s your auditory experience. You stand at the place
where these two come together by virtue of your presence. […] a curious
combination of both, and that is your resultant image”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">language should
not name what is shown</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">in feeble
overlay – a tautology that crowds and detracts</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">but in a near
alchemical difference or disjunction that together</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">inflects image
with language and language with image</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Brackhage went
on to develop what he referred to as “visual ineffables”, films he believed
could stimulate experiences of perception and recollection outside of language
as it was currently defined, films that were haunted by movement, tone and
texture but ‘un-nouned’, devoid of recognisable shapes, objects or subjects – a
beyond or before of language. A creation of “light glyphs” </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Times New Roman";">In
the 70s the primary vein of experimentation in American poetry</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">was
channelled into L=A=N=G=U=A=G=E poetry</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">materiality
of the word as object, signifier stripped of transparency</span></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span style="font-family: "Times New Roman";">placed
above and before its referent --- its filmic counterpart</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Times New Roman";">in
the structural/materialist experimentation of Michael Snow, Hollis Frampton,
Owen Land and Tony Conrad (amongst others) and in the UK the prominence of the
London filmmakers Co-op.</span></div>
<br /> <div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">FIXED
FRAMING. MEDIUM SURFACED. AS GROANS MOVE</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">SKIN
OF FLICKER. BEAM OUT THERE PROJECTION BEAMS. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">SCREEN
SO GRIT LOOPING PRINT.WEIGHT OF. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">WEIGHT
OF IT. WEIGHT OF LIT. WAITING AS </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">THE
PROCESS.PULLING. MOVE . MINUTES </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">MATTER.
WAITING. FOCUS. WAVE OF LENGTH. OF</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">CINEMATIC
BORED INTO. FOCUS. AS WAVE BORING.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: 36.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="font-family: "Times New Roman";">DURATION
LENGTH SCORED ON SURFACE OF</span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">MEDIUM.
TOUCHING LIGHT AS LASTING. AGAIN</span></div>
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<span style="font-family: "Times New Roman";">UNTIL.
WAVES. AGAIN IS LASTING OVER FRAME. SAY</span></div>
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<span style="font-family: "Times New Roman";">IS
SAYING READING IN RAY IS STAYING FILM </span></div>
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<span style="font-family: "Times New Roman";">SCREENED.
FILM SCREENED IS FRAME STATE</span></div>
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<span style="font-family: "Times New Roman";">Not new but always
having been there, </span></div>
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<span style="font-family: "Times New Roman";">“so magical that
is impossible to dissociate” </span></div>
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<span style="font-family: "Times New Roman";">not new </span></div>
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<span style="font-family: "Times New Roman";">but gaining in
popularity</span></div>
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<span style="font-family: "Times New Roman";">in proliferation</span></div>
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<span style="font-family: "Times New Roman";">William Wees
published the significant essay “the Poetry Film” in 1984.</span></div>
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<span style="font-family: "Times New Roman";">Poetry film
festivals began to appear in the 90s, alongside television commissions and a
growing interest expressed in literary poetry societies.</span></div>
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<span style="font-family: "Times New Roman";">The 90s also
inaugurated the publication of ‘Film Poem Poem Film”, a periodical brochure
from the South London Poem Film Society, emerging alongside regular Film Poem
programmes curated by Peter Todd at the National Film Theatre. On the back of
this momentum came work from the filmmaker and poet, Tony Harrison, and the
call for ‘rules’ and manifesto rhetoric</span></div>
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<span style="font-family: "Times New Roman";">the
notion of the British film poem seemed – at least for a small coterie –
impatient to assert its own identity – a voice that, in the flurry of
increasing popularity and institutionalised support, seemed to stray from a
history of genuine interrogation and innovation towards weaker concepts of
hybrid collaboration and dogma: the poem film, the film poem, film poetry</span></div>
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<span style="font-family: "Times New Roman";">It continues as
not new, but always having been there </span></div>
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<span style="font-family: "Times New Roman";">Online platforms
more affordable camera technology </span></div>
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<span style="font-family: "Times New Roman";">the conversation
accelerates</span></div>
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<span style="font-family: "Times New Roman";">available and multiplied</span></div>
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<span style="font-family: "Times New Roman";">streaming, archived, linked,</span></div>
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<span style="font-family: "Times New Roman";">sampled, shared and found</span></div>
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<span style="font-family: "Times New Roman";">as collage in montage</span></div>
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<span style="font-family: "Times New Roman";">as uninspired, uninteresting</span></div>
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<span style="font-family: "Times New Roman";">pretentious and infuriating</span></div>
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<span style="font-family: "Times New Roman";">as with the internet</span></div>
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<span style="font-family: "Times New Roman";">oceans of shit</span></div>
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<span style="font-family: "Times New Roman";">through which, occasionally,</span></div>
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<span style="font-family: "Times New Roman";">the profound or unexpected breaches</span></div>
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<span style="font-family: "Times New Roman";">where the <i style="mso-bidi-font-style: normal;">between</i> of film and poetry</span></div>
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<span style="font-family: "Times New Roman";">is reminded of its
continuing experiment. </span></div>
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<span style="font-family: "Times New Roman";">arranged and rearranged</span></div>
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<span style="font-family: "Times New Roman";">in emphasis and intention</span></div>
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<span style="font-family: "Times New Roman";">opening up an exchange between</span></div>
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<span style="font-family: "Times New Roman";">and across mediums where</span></div>
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<span style="font-family: "Times New Roman";">Like is lyric ‘I’ to subject</span></div>
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<span style="font-family: "Times New Roman";">as lens is seeing eye to object</span></div>
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<span style="font-family: "Times New Roman";">neither speaking on behalf</span></div>
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<span style="font-family: "Times New Roman";">but half of speaking out of</span></div>
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<span style="font-family: "Times New Roman";">nowhere</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/TtocNrF33ns/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/TtocNrF33ns?feature=player_embedded" width="320"></iframe></div>
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<span style="font-family: "Times New Roman";"> Film Programme:</span></div>
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<span style="font-family: "Times New Roman";"></span><span style="font-size: 13.3333330154419px;">1)Alice Lyons & Orla McHardy - 'The Polish Language' (8:22)</span><br />
<span style="font-size: 13.3333330154419px;">2) David Kelly &Joshua Alexander - 'Warming' (6:43)</span><br />
<span style="font-size: 13.3333330154419px;">3) Marc Neys (Steve Ronnie) /Swoon - 'If Grief were to Disappear' (4:20)</span><br />
<span style="font-size: 13.3333330154419px;">4) Lila Matsumoto & Adam Butcher - (3:38)</span><br />
<span style="font-size: 13.3333330154419px;">5) SJ Fowler & Joshua Alexander - 'Animal Drum' (6:05)<br />6) Chiara Ambrosio - </span><span style="font-size: 13px;">A Walk Through Wooda (10:36)</span><br />
<span style="font-size: 13.3333330154419px;">7) Vessela Dantcheva - 'Anna Blume' (10:50)</span><br />
<span style="font-size: 13.3333330154419px;">8) Ed Atkins - 'Warm, Warm, Warm Spring Mouths' (2:47)</span><br />
<span style="font-size: 13.3333330154419px;">9) Abigail Child - 'Mercy' (10:14)</span></div>
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<span style="font-size: 13.3333330154419px;"> <a href="http://www.theenemiesproject.com/mahucinema">More info on the night</a></span></div>
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The Midnight Molluschttp://www.blogger.com/profile/09661878854105438429noreply@blogger.com0