August 2011
37 posts
July 2011
37 posts
HUB 159.2:
(there’s a bit of a pause before it starts, …just wait, please)
I’d like to speak to you today about whales and their singing…
The song of a lone whale in the depths, the far reaches of the ocean—the vast distance her song can breach to be heard and responded to by another. (( the humpback’s song reaching from one pole to another in an individual, identifiable voice. ))
Do they have a short hand, like a telegram would use, so to grab the attention of the prospective listener, to hold them there, waiting for more? (( perhaps the clicking of the dolphins.))
How long do these transmissions take to reach their end, like the speed of light—the stars we see today long since faded in their own locale. What does this lull in communication do to the way we communicate? —do we resend, learn another’s way of speaking, swim deeper for a better signal?
Considering, again, the telegram, what did its relative speed offer? What has replaced it today? And whereas in the past, such means were a supplement, now perhaps the are a substitute for any and all longer forms.
It is here that I begin to think of evolution, of natural selection, of how a whale’s anatomy is built in such a way to facilitate these distant yet personal transmissions—the monkey lips, the acoustic fat, the melon, and extended lung capacity.
I consider the human anatomy here too, as we are a distant evolutionary relative to these whales, these mammals of the sea who started their lives on land. Is there some similar fatty membrane or capacity of being that gives way to the history of our messaging each other?
What has brought about our own epistolary evolution, from the long form letter to the telegram to post card, fax, fax to email, email to sms?
….
(Love)
As Trojan horse
Wolf in sheep’s clothing
A mirage enticing me to drink…
And just as I reach down and begin lapping up that precious liquid, i am jolted back to reality,
the grit now between my teeth,
my mouth now further parchedin seeming unquenchable fits of longing, shame and disillusion
(Partnership)
Another kind of mirage
I realize now how quickly entered into on all occasions of my meeting with this (Love). Never time for circling, for that animal dance before rushing in, the courtship of somewhat violent mating—we humans are not so above the bully* creatures of the plains as we think.
Without the circling, the courtship, we catapult….
I must to let go of this desire for (partnership) in order to come to know more fully,to know without naming, to have lovers,to last.
*ORIGIN mid 16th cent.: probably from Middle Dutch boele ‘lover.’ The original usage was as a term of endearment applied to either sex; later becoming a familiar form of address to a male friend. The current sense dates from the late 17th cent.
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To reclaim what’s been abandoned
The letter
The long pause
Long distance
Courtship
To practice abandonment
Of any past self
Of groping in darkness
To abandon
And be abandoned
With each missive sealed and sent.
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we are just starting.
smoke from the pistol still caught up in our nostrils,
still hanging as a figure dancing in the air.
we are just starting…
and it seems a race without a destination
just a run, really,
just a sail,
just a constant lapping of some air,
earth, or water at the sides of our bodies,
being taken up into our beings.
being breathed back out as we soar.
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They bow shyly as wet swans. They love each other. /There is no loneliness like theirs. /At home once more, they begin munching the young tufts of spring in the darkness. /I would like to hold the slenderer one in my arms, /For she has walked over to me /And nuzzled my left hand. /She is black and white, /Her mane falls wild on her forehead, /And the light breeze moves me to caress her long ear /That is delicate as the skin over a girl’s wrist. /Suddenly I realize /That if I stepped out of my body I would break /Into blossom.” —HUB 154:
A BLESSING by James Wright, a gift out of new correspondence, new connection. Certain joy.
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In Meg Stuart’s understanding, this is about the memories of two lovers whose bodies over time have come to share a common ground of gesture. Separated, they now live in an eternal room of recollection and mis-recognition, never to find one another again—these gestures of support always failing, empty or hollowed out, exhausted or off-balance. And so the set stands somewhere between a funeral parlor and a waiting room, and so the two dandelions at the rear.
As I watched MAYBE FOREVER, I sensed all those things written above, but I saw one moment, more than any other, and heaved a tearful yawp in response… She leans in to the curvature of his body keeled over, her face falling into his, just missing, slipping down into that vulnerable space between head and heart, a desperate throat, through to the gut, and he slips away… yet she stays poised as if holding him, and he turns back, walking toward her, just passing as he reaches out, and she falls in step with him—a distance, but one possibly filled with hope, as she rises, steps back and with him witnessing, she gestures through her own pain, as if in homage to his, as if to say, “I know this too, I see you, we are connected even if you cannot yet hold me.”
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I think I will keep this hour (or was it hours) for myself.
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