one dreams his self while he is his self

one dreams his self while he is his self
vaguelooksfromoutbehindherlashes, i am but a shade.

Wednesday, January 21, 2009

A Close Call


Without a word, the city speaks to me. Outside I hear a coin constantly being turned on its head. Not one mouth mouths tails or the other. The dime drops, dumb and unvalued. On the opposite side of the street, a man polishes the rail. Going up, he is on the third step with his back facing this I. Twice each season, he comes placing a coat over fingerprints so past presences linger no longer. Though they aren’t here, those touching people feel obscure now, dense even. Pausing, they look down and inward, unable to decide whether they are wanted back.

Inside it is a stranger world that others never catch. Doing things, we think no one can see or tell. But if they did, should we mind? would I say sorry? sorry you were looking. My feet seek warmth in mittens. Tucked beneath opposing thighs, I resemble a ribbon as I write this on some Wednesday, in light of afternoon, too quotidian to be remembered but simple enough to idealize now. 

I never get very far before the sky appears destroyed. It’s the day’s final hour, so I stand on the balcony, watching time be taken and darkness diffused. My age stares me dead on. I’d rather turn, taking up interest elsewhere, and avoid nature to say something but it is weird when no one is around pretending to listen. 

The evening is later and I worry you will not have come. Not even close. It’s sad, this singularity, you cause me to claim. Achieving fewer experiences, which in class I am taught isn’t where intellect fosters. I am unsure which I’d rather more of—the body or the mind. My hands take up you if there, or books when I’m here, speechless and thinking it’s not me who is being seen. 

Monday, January 19, 2009

Hanne Karin Bayer


"It's about being human. It's beautiful. It's touching. It's fantastic. It's acting. It's acting and reality at the same time. We always end up resembling the characters we play. Or the characters end up resembling us. That happens too... It always surprises me to be in this situation, because after all, I interpret a role. I don't have a gift for making up lines, just like that." - Anna Karina.

Saturday, January 17, 2009

Carrying you around in my eyes.


On the seventh floor nature is deceptive through the raised window. A vulnerability in light, my body sleeps in the final frame of dream. Entwined in not arms of last night, but vines of emerald and diluted jade. My springtime purchase, these sheets retain your presence. Those hours spent falling into my open shape. Clinging to me, like a memory I try to feel closer with, is a deeper perfume. During day, I live the nostalgia for our evenings. When we spoke of ourselves as if it were the only thing we needed to learn before light took us by surprise. We were engrossed, I am sure they said. And didn’t need each other, which was probably true. But we never asked anyone to watch, though I don’t blame so and so if we were found noticeable. We only thought to know ourselves, while lying in bed with backs against time. I felt we were on our way.

It is impossible now not to see contours of a figure set outside a dream. To turn over and remember you there. It hasn’t anything to do with love, rather a touch I felt I’d enjoy in repetition. Even if the moment never seemed real, I can’t just open my eyes and blame impressions on the hour and its quantity of light. I slept as well then as I lived; there was no place I went to hide. To feel is a luxury we are entitled to allow. But that doesn’t mean we control when or why it happens or whether I achieve resulting comfort. 

What did you say? I try to remember when our faces are apart and I can’t whisper, again, what it is you think I should know, which is more or less what you hope I remember. When I listened, I acted like a child. Seeing you always for the first time, I was a trusting girl with large eyes that stare. Not wanting to overpower hours most appropriate for my learning, I became smaller as you were developing into someone I hadn’t considered you’d be. Keeping quiet was my mouth who didn’t say a thing about what my mind was carrying on. I shouldn’t always reveal everything, even though I knew you would remember me more had I given myself away, nicely. 

Another word. A longer glance. If I chose it well, you may have seen me perfectly. My palm kept open instead, and you read it without a clue. Subtle signs of my aging. You pressed them against the wall, waiting for my urge for freedom. Something I wasn’t wanting to have. The only thing I think I thought was how in winter, when nothing moves in apartments, I’d miss this time. And sure, I know ways to replace, so what I miss can be forgotten as a mistake. But that doesn’t mean I am in any rush to do so. Because a sigh for a sigh is not exchangeable, although it’s the consequence of two bodies and lips that moved their way into communion. Knowing this, still, I’d like to think what makes a difference in mind are the eyes and a bit of heart. As much as we try to manipulate the quality and quantity of what we feel, nothing is ever the same. Each moment is unmatchable.

Today is not like the day before. Outside is a city I can never hear. And I wake with the light thrown in, to watch a vacancy compartmentalized, hoping someone is left that at times I cannot see who will come and move me closer to a feeling you are responsible for.

Emerging Surrealist Director



Filmmaker Sophie Barthes plans to open her first feature, Cold Souls, with a title card containing words from the French philosopher RenĂ© Descartes: “The soul has its principal seat in the small gland located in the middle of the brain.”

The quote is typical of Barthes’s ironic and unexpected sensibility. In both her Sundance short Happiness and her upcoming feature Cold Souls, she tackles dark themes (loneliness and existential crisis, respectively) with a witty blend of fantasy and character-based humor reminiscent of Michel Gondry and Charlie Kaufman. “I’m very interested in poetic science fiction, films like Alphaville, that play with philosophical concerns,” Barthes says.
extracted from Filmmaker Magazine
Ah, a woman director compared to Gondry and Kaufman cannot be anything short of brilliant or at the very least worthy of seeing. Not to mention she is a fan of Godard and her last name is Barthes... any relation to Roland Barthes? I don't know, but if you don't know either of these two, spend some time checking them out.
Also, Sundance has begun, as well as Slamdance (The Indieroad Film Fest). What is great about the latter is you can stream the films online ($9 usually) and take part in screenings and voting. Already on my list is Only written, produced and directed by Ingrid Veninger and Simon Reynolds.
Below is Alphaville by Godard. If only I were French and could be mentored by French screenplay writers. They know precisely what should be included and what is a waste of breath. My opinion, of course.
And to end, a quote by DescartesAnd so something which I thought I was seeing with my eyes is in fact grasped solely by the faculty of judgment which is in my mind.

Monday, January 12, 2009

I am acting for the other eye.



These images are fixated by a format that encloses me in a place in time and captures an expression of an instant, perhaps nothing more than a fleeting moment, maybe even a lie I acted when the camera's eye was present. How accurate can this representation be of me? How effective is the evidence one picture reveals? There is no conscious thought that radiates because the anticipation for the flash stopped the speech of the subject. I want to know words - I want to see how I sound




Sunday, January 11, 2009

hungry? eat me.

loads to indulge in later.









Friday, January 9, 2009

What you know, you know.


I, too, wondered where time had gone. There was an inactivity that, ironically, charged me. Perhaps, it was a result of anxiety. But to blame anything other—especially that which is abstract—was a useless discarding of time. And like I said, or rather implied, I want to take time back or at least use it—exaggerate it.

Something at home always felt “off”. I can’t remember how I use to think, but supposedly others’ memory of my behavior—back then—was always being on the go. Distant and involved in a sort of freeing up of myself. I was younger wanting to advance age. Let go. Let my body loosen. Perhaps, it was my way of avoiding an instability sensed at home. You fragment yourself, so your self-conscious is attracted inward rather than outward on others who are affecting you, but that you can’t control. Perhaps, jarring my heels on dance floors was my way of cushioning the noise of parental arguments. It’s possible, and although it sounds trite or even like I am whining about how “my life has been soooo hard on me,” that isn’t my intention, nor the truth. The fact is I felt it was worse. I felt it was a feeling. Imagine that! Talk about abstraction. And inevitably, it is an ambiguity that I am still trying to translate—silence, acting, projecting expectations, a routine model of life, you versus your other, deflated romance. Where had desire gone? And why weren't they trying to get it back? Did they not want it? From those I thought they were after?

Three times in the last week and a half, I admitted to a sort of query—a query that was intended to explicate this path I am on. Aloud I wondered whether I had simply woken up one day within the last year and instantly recognized that I was so far deep—consumed, committed—to writing, that I was just going to go for it and that couldn’t not because, like I said, I had devoted years trying to write myself and others out. I wanted this role to be the one that didn’t change. I was always changing. Trying to find a sense of self I admired.

Now, I sit on porch steps at parties, looking out at dazzling lifestyles and ask people I have only just met how to make this happen. Others my age don’t ever seem to have an answer, just a nicotine exhale—trying to dispose of fear and expectation for our futures. I think the hardest thing is accepting that in a culture that demands immediacy, we will have to work just as hard and just as long to achieve quality. Of course, in the next few months if I find out that I wasn’t accepted for my MFA or that I will have to move away from Manhattan, I will cry. I will cry for a relationship that just begun, that was severed. I will think the dream has no future in reality. The ironic part is I have always been turned away from my dreams—Gallatin, New York City, goalie—and I always made sure I got there, even if I had to circle around three or four times. 

However, no matter how much I prepare—consciously—I will never be ready. I will be surprised. And on Monday when I spoke, hypothetically, about being a visitor in New York—my voice wavered so much, that I had to stop speaking all together. What is this all about? Oh I don’t know. But I will say I have absolutely devoured Susan Sontag’s Reborn and the more author’s diaries I read, the more I acknowledge that I shouldn’t leave out the daily things affecting my writing. I do want to say what I did, and he said, and she said, and why we laughed, or why I left, and what I ate, and what I wish I ate. Whatever it is. 

Three days ago, I took down ornaments with Jonathan. If I hadn’t taken the first ball and begun wrapping it, the tree never would have ended up outside. He loved talking forever. It reminded me of last November when I was reading Octavio Paz out by the pond, and he came around back, pulled up a chair and spoke to me underneath the umbrella table for two hours. I have many notes from that day. He left and I called my sister, saying we needed to do a documentary on him. He could open eyes. 

The tree began looking shriveled and depleted of meaning, as he told me about the poems he writes and the letters he wrote for other people to give those they were after. He told me it was a rare gift to write what you feel, because most people don’t know how to articulate it. I thought it sounded unimaginable, but I told him I thought people did not write because they didn’t like the permanence of it. They didn’t want to isolate moments that they so desperately needed to let go of. They did not want to admit feelings. He told me about John Travolta’s son dying and how he use to race home to watch Welcome Back, Kotter. He told me he was waiting to hear about whether he could own the house in Homestead. He told me neighbors stared at him, not wanting color in the neighborhood. I told him he should see Gran Torino. We packed boxes full with Christmas decorations in the garage and just outside the fence, a car drove by and stole 11 pieces of equipment from the yardman at my house. They all took off running into the street. People have no conscious. Not the kind that matters anyway. My grandmother found out right before Christmas that she had breast cancer. Yesterday she did a radical surgery to remove one of her breast. In recovery, they let my mom know that she had more in her lymphs. My dad told me she would be in chemotherapy. I got my nails done yesterday. I go there just to check in on life with Shawnna. I showed her pictures. Talked about sex. What I was trying to communicate in writing. She told me about her hours, being too exhausted once she got home. But she was happy, absolutely. She would tell everyone that came in and asked. And then, she would wink at me. She mentioned my dad was getting knee surgery at the end of the month. Then she realized, I hadn’t known about it. That’s right. No one had told me. Just like so many things I was beginning to realize. 


Wednesday, January 7, 2009

Please, hear me out.

Two minutes after the instant of my birth, my sister was born. I have always been involved with otherness. “You can’t be twins, you don’t look the same”—a fixed assumption that denies us at the same moment it determines our fate. In the eyes of others, who we are and what we are not depends on sight.

In fourth grade, a razor sent my hair free-falling to my ankles. Unencumbered by self-analysis, I did the unheard of—willing appeared genderless. Like most children, I was young with everything to learn. My impulsive head-buzz encouraged me to discover a separate sense of Self so another’s eyes would not control my meaning.

One moment I felt free and my next memory is being restrained. My face was discovered and my body signed to a modeling agency. I became an image framed, studied, handled. Now I am inked because the emptiness provoked by the gaze needs to be translated. I am confident in today’s media saturated culture, humanity needs help being heard and wants to feel less alone in their otherness. We need a sense we can depend on, that unlike sight is not projected, but is genuinely felt and lived in. I am dedicated to exposing the interior voice and if a mirror is needed to see the Self, my text will unfold into a mirror of the mind.

Committed to role-playing at a young age, I communicated a story through sight alone. As an image, I conveyed no personal truth and my identity was constantly changing depending upon another eye’s translation of my appearance. I was imagined. Then one day, my body changed. Heavier—others wanted to see less of me. Skeletal—others believed I meant less.

Avoiding mirrors, I denied my body was dying and that my reality of Self was damaged. Reversing the gaze, I turned inward to make sense of my image disorder. And for the first time I saw my Self. In the silent language of the nerves—a reality felt but not seen—my behavior’s intentions were translated. Writing made me face my Self—an interior sight I knew, if communicated, would help others be free of surface impressions. Through narration, I became aware of truth and discovered how the Self could finally be known and genuinely experienced.

Writing saved my life. I am pursuing an alternate discourse modeled on the mind to help rescue others from what I consider the alienating and deceptive effects of the visual world. Coming from a theoretical discipline at Gallatin, New York University’s Individualized School, I hope to filter in theory under the guise of fiction and change what is assumed readers can handle. We need something new and courageous—something letting us reside within our Self, while facilitating a more genuine engagement with the Other via its relationship with our inside.

Inspired by the Ă©criture fĂ©minine movement, my postmodern oeuvre mirrors a post-structural consciousness—paradoxical, as opposed to contrived perfection. At graduate school I want to continue clarifying the contradictions of reality—Self and Other, genuine and ideal being, interior and exterior. Not wanting meaning to be lost in a dense forest of words or have poetic prose idealize, I have recently freed language of filters. My purpose is to reveal the real by communicating vulnerability and the core’s emptiness. Since my passion is to have eyes visualize the inside, the “I” must speak in a relatable language so my experimental and philosophical fiction is accessible and seduces the reader into risking what I risk—the truth.

Empowering every generation to decide how they are seen in a world where the exterior is prioritized and idealized, my singular voice promises change both in literature and Self. Wanting to be heard my entire life, I am writing on behalf of my survival and life dedication to others seeing inward.

Tuesday, January 6, 2009

I'm living 2009 like I haven't lived 2009 before.

Well, this new year did not begin by waking up lying with someone in a hammock in the middle of the sea, traveling on a sailboat. But I was on a boat and it was a lovefest of different sorts.























Monday, January 5, 2009

Seeing you, I always have novelty in mind.

Outside my window, the street was lit by cars going somewhere fast. There were others, too, going nowhere with no place in mind. The inside was as dark. And the only way our faces showed up in the black air was by the film advancing. I pulled the sheets over my head, whispering, come find me. You listened, touching my toes first, my lips last. Underneath the bedding, we fell asleep to Rosemary’s Baby. I woke with novelty still in mind. And smelt the same smells, as if the night hadn’t touched us. My citrus fingers, your taffy mouth of candy-cane. We certainly indulged in our addictions. And remained close because of our differences. Like apples and oranges. We smiled, opening our eyes to light and the television still on. “Should we name her Clementine?” Fingers felt beneath your shirt—the shirt—I was wearing. “Only if she’s a red head and grows up to be a real fox.” I laughed, pulling at your black beard, “Page it is.” This is how we begin our mornings. Canopied in purity. 

You knew I’d been waiting and wondered if there was someplace I wanted to go. “Let’s drive nowhere.” “Come on, today is special.” “Yes and no. There’s a chance nothing will come of it.” “And there’s a chance you’re being too hard on yourself, like always.” “Nerves…reality.” “We’re going for a ride.” 

I swore I’d be in no rush. Today. And, yes, and during the new year. It was an impossible promise though. Believe me, I’m always out of time. 

Even with helmets on, we rode in style. Water bottles filled with champagne. Even with nowhere in mind, we knew what we wanted. We biked through Snapper Creak with the morning still on us. I am yours and I don’t need anyone to know. You ask how I’m feeling and I say, happy, happy we’re already ahead of the afternoon.

Saturday, January 3, 2009

in the new year, i want more of this time.




First do I take off what I have on top, then underneath? Or the other way around? Do I go from outside to inside? Or vice versa? "...?" And because she has always been secretive, she has always hidden everything, and because in this hiding place no one has discovered her, she thinks it will suffice simply to turn everything inside out. To expose herself in her nakedness so that she can be looked at touched, taken, by someone, by him -The Looking Glass, from the Other Side by Luce Irigaray

The Panics - Don't Fight It




How can we guarantee the permanence of another? How can I make feelings like these last? Last longer.
Yesterday I applied to and for my dream. A date I have had in mind for two years. 
I have been living in writing for a portfolio sent January 2 2009.
Afterwards, exhaustion took me over. For the first time.