Time 22 (moment and movement)

The time it takes

the body

rooted

or wrapped

to embody

the body it is

is time

being taken away

from the body –

sapped

and muted;

 

time empty

when the body full

and full

when the body empty;

 

TIME

 

or the body

of the body

 

di-stiller

of the moment

into

an, at once,

much fuller and emptier

movement.

Nana

…and now it does seem,

great Mother,

that you are upon

a slow Autumn

the final season

of your full life

 

the flock you nested

has long since flown, confident and vivacious

into the bright Summers

which your careful Spring-raising made True

of six 9-mooned Winters

resiliently carried through

 

there are now birds of those birds

nests inspired on those you prepared

the multiplication of your first work, speaking its success

reverberations of your Love, unabated

still spawning seasons, Summers

thriving on the essence of your light…

 

…and so, indeed, as much as it may seem,

great Mother,

that your body has turned on you

and now terminally sheds and folds itself away,

the spirit and truth you have given us to fearlessly fly on

can neither fall nor whither, but prove you, immortal.

Culinary (Part II of the Arts & Sciences series)

a soup is water made with something

 

the making of something runs like water

running into the possibility of water

 

the water possibility of soup

is a soup possibility of water

and therefore for the there-for

so much more:

 

water-with-something

is water watered down,

water also the difference of soups

the key ingredient to their ingredients being key…

 

water is a bowl-floater

a boat-floater

bowls, boats

bounds, bonds

bloat-footer

footing soups

 

and the understanding is

soupy

watered –

as crystal clear as yet more soup not quite as runny as the water…

 

water-made something

makes soup

and “water” in name just as water-made

 

touching the water scoops it ladle

comes out too thick

too made-up –

Ironically, too watered down

too quick

to constitute the in-definition

of under-standing…

to show up the world

under-water…

 

the collected spoonful

and subsequent spoonfilled collections

(in fact any spoon is just another collection of spoons)

a sort of liquidity

movement

too mixed in the coming

washed up, washed out in a going

on the shores

of a gap-wide bowl-full contactability

a “watered” eroding

gardens to the flower of the im-permanent

more keys

ingredients

in a water that tells us something about everything

but not everything about something.

gaps.

soup-holders.

Politics (Part I of the Arts & Sciences series)

i am done with a native weakness

which is the strength of my need

the call from which i call at all

the gap in me, open before me, after me

whence the person i am, must be, met or unmet

in a contact of bodies

 

but a body contacted

held

to be

not in the skeletal quantity that weighs it as such

but through the long emptiness that halves such a body

left-over emptiness that requests such a holding

where and when a body by itself is not a body

but a place harmed or warmed by bodies

an articulate physique of strength and weakness

as colourful signal of the whole weak or strong

whether in the emptiness the whole harms or warms,

that capacity of the full body to defile and love

to defile or love the single body that needs

defile or love the emptiness that calls…

 

the single body’s expiration

timing of the final fall to its total weakness

is breathed, alone/embraced, through an every-body.

by the night

Come by the night

Come by the night asking

Come by the night asking for

 

An exchange

 

An exchange

by the night

come

 

Come by the night asking

 

a water-maker

for

a soup-spinner

 

by the night asking

a connection-dweller

for

a fate-delayer

 

The night asking

a light-retainer

for

a life-explainer

 

Come by the night 

Come by the night

asking

by the night

 

for

a love-availer

for

a lozenge-sharer

 

by the night

distance-taker

come

truth-recaller

heart-breaker

come

group-builder

for

a hope-restorer

come

come

come

come

and come

world-destroyer

 

Come by the night

by the night

the night

asking for…

 

Your exchange.

The fundamental shift of fundamentality

the argument that starts in the in-decision about the right thing to be said

and the right ways to say it

so long on the tracks of generational station-calling

derails

turns into arguments about what has already been said about that

what those sayings mean, stations been

whether they themselves had any answers

and what they might be…

and yet, further to this

calling-station of station-calling

and de-railing altogether

asking questions of the being able to say

and of the how to say

insofar as these two episodes are concerned

railed and derailed

both of them are inasmuch indistinguishable

as still issuing-from as making-issue-of one and the same issue

the actually sayable

a mere change to the pattern of the action from which it is repeated

from talking about talking

tracking the attacks

to talking about text

attacking the tracks

and that is all

Appendix to the centre

intention to attention to intention

prescribes a transition, describes a revision

like square to rectangle made

back to square, to be squared out

and the question in there is twofold

return square can the rectangle made be squared with first square? that is, is there any squarable likeness even despite square to rectangle made? do they succeed in resemblance?

and return square again can the first square be squared with rectangles made? that is, is first square reconcilable with rectangular spillage, at all? do they have any future together?

 

question one is about success and shape, a reaction of space – which is ultimately about impossibility

question two is about possibility and belonging, a reaction of time – which is ultimately about impossibility

 

all squares to rectangles come into squared revision

squared revision is also rectangular, of course

but in difference there are differences

and some possibilities play alongside impossibility a lot better than others

(more spillable in ways that let the freedom of spillage keep spilling out thereafter)

some squares are more rectangular than others.

in transition, in revision

movement is about describing that difference

and making sure of it.

The centre

Rectangle is a square landed

redoubled in effort

training in motion

trailing itself

caught up in a ridiculous self-tease;

 

a square of the utmost cared-for a priority

does not yet matter

but dropped

it starts to matter

at once more and less relatable

more and less stable –

rect-angles step out, tile down, the floor

 

intention and attention

writing and reading

 

square is before floor

rectangle on the floor

neither of which fully pictures the other

neither of which fully opens

or closes

the door of their exchange

 

the door

upright rectangle, ajar

a draft –

of the elements,

the most aware

of the slim enough –

to slip through:

 

squares to rectangles made

and rectangles cutting up squares

in ex-change

 

intention to attention to intention to attention

squares to rectangles to squares to rectangles

all of which some of themselves and some of the other

 

how very triangular

even to the point of being able to throw into doubt a distinction

and the upmost angle of cowardly triangulation

again, the door

not fully open

nor properly closed

unsquarable, rect-agle upstanding waiting for a meeting

un-started so un-finished

possibility

that one day it will happen

 

so, “ajar” is the possibility

of possibility

that is,

the seeping draft –

the back and forth momentum

of squares spilling rectangles

rectangles chopping squares

neither fully themselves

neither properly the other –

describes a movement caught in the action of its own possibility

recounting itself to itself as it happens

that is,

spilling

chopping

 

there is no lock

but locked into an uncertain transition

 

how very circular

and yet square

and rectangular

and triangular, too;

 

the light that glows between the door and its frame

like the draft

and the exchange

also seams

seemingly

with a motivated quality

the fundamental square root of all this (the) un-met.

Company

like from like with me

with me

the sea might call on the sun with me

me-me with me

and the sea might count the nights with me

seas with me

cease with me

sun-seen scenes with me

sea sun­

sea son

sea sin

with me

sea set the sun set me sat with me

with me

sitting with me

setting with me

sinning with me

sands sent on the short side of sea-under-sun with me

with me

coastal with me

it is beach with me

contextual, all that and all that with me

a mess with me

from me: the-desert-with-me with me

have to count the numbers of counting with me

and only desert me with me

and so a lot and then almost no one with me

and then the hope is days long with me

underwater with me

and over the top with me

crystal-ware dolphins on the mantlepiece with me

nowhere with me

contradictory me with me

me with me with me

and someone else not me with me

but who wanted to “me” with me

be with me

“me” more than me with me

seas with me

cease with me

of thirds with me

many many threes with me

meeting me with me

about meeting people with me

me and those people with me

sometimes more than me with me

but always more than me with me

whether people or just me with me

back and forth in population sizes with me

with me

or not with me

many many with me

many more with me

trees with me

on the seas with me

ceasing with me

me and not-me with me

me and me and not-me but then again me again with me

and all that and all that and not at all with me

yes, all that like not at all with me

but always me

with me

 

with me