The Verge of Absurdity

When mechanics meet dialectics, it’s hard to tell who or what is screwed and who or what is screwing. Our vulgarity is in keeping with our source text.

How hypocritical to go upstairs with a an you don’t want to fuck, leave the one you do sitting there alone, and then, in a state of great excitement, fuck the one you don’t want to fuck while pretending he’s the one you do. That’s called fidelity. That’s called civilization and its discontents.

And pages and pages later, we learn that the relation between mind and body is more complex than simple inversion of do and don’t.

Some tall thin poets write short fat poems. But it’s not a simple matter of the law of inversion. In a sense, every poem is an attempt to extend the boundaries of one’s body. One’s body becomes the landscape, the sky, and finally the cosmos. Perhaps that’s why I often find myself writing in the nude.

Fear of Flying by Erica Jong who leads us to muse about the metaerotics of wearing a silk dressing gown and using a fountain pen.

And so for day 1672
12.07.2011

Posted in Uncategorized | Leave a comment

Long Live Velcro

Casual? Inconsequential?

Three bold explorations sexual encounters are worth revisiting.

M
i
d
i

O
n
o
d
e
r
a

TEN CENTS A DANCE (PARALLAX) (1985)

“Also, the scenes as they are cut together form a progression. The first scene is the negotiation. The second scene is the sex act. The third scene is an abstracted version of the sex act. Three different levels of communication. So you see, in that light, it would have been totally illogical for me to start by having the two women in bed, proceed to two men in bed and to end with a man and woman in bed.”
The Body Politic (interview) March 1986

“Confusion, underlying meaning and unspoken truths are often associated with the dialectic of sexual communication. Mingled with the intensity and unpredictability of a “one night stand,” they generate unique sensations – mixed emotion, risk, and excitement. The film employs formal devices in a manner that is exceedingly simple, yet very effective. Its subject matter, sexuality and communication, gains depth and poignancy through the artist’s decision to shoot the film’s three scenes for projection in a “double screen” configuration. By this means, Onodera finds an elegant solution to dealing with the potentially sensationalist subject matter of her film. The separation which the two screen projection imposes on the film’s viewing is the touching evocation of the aloneness which is the common experience of all humans and of the space between us we hope to bridge.”
http://midionodera.com/1985/ten-cents-a-dance-parallax/

if you are lost… this synopsis by davisprof from 2004 on imdb helps you picture the content and the form: “Ten Cents a Dance (from a Rogers & Hart song sung by a dancer/prostitute) explores three sexual interactions in three ten-minute segments. In the first a lesbian and bisexual woman discuss the possibility of sex over dinner at a Japanese restaurant. In the second two gay men have (simulated, PG-rated) sex in a public toilet. In the final segment a man calls a sex phone line and gets off. His female phone partner talks dirty but actually ignores him, painting her nails and lying about her appearance. These somewhat cynical accounts are very funny in presenting the ranges of failed love. They are also photographed spectacularly. The subtitle Parallax refers to the shift in image when cameras look from two slight different directions. Each of the three segments is a single take without cuts, filmed by two cameras, not quite on the same sight line. These slightly off images are then projected together on a split screen. The chaste image contrasts beautifully with the varying degrees of lust portrayed in the scenes. A beautiful, hilarious, and finally thought-provoking film.”

B
e
tt
e

G
o
r
d
o
n

Variety (1983)

“Recent film writing and theory have suggested that the basic condition of cinema is voyeurism — an exchange of seeing and being seen — so that the cinema manages to be both exhibitionist and secretive. These active and passive components of voyeurism, which are part of the cinema in general, are the focus of Variety. [… the protagonist, Christine, works in a ticket booth to a porno theatre …] We never see the pornographic movies; we hear only Christine’s description. […]There is no representation of Christine having sex in the film. She has sex by speaking it and by voyeuristically following the patron. She describes what she sees on the screen at first, but goes on to describe what she wants to see, constructed from her own desire. (“Variety: The Pleasure in Looking” in Pleasure and Danger: Exploring Female Sexuality)

E
r
i
c
a

J
o
n
g

Described in the novel Fear of Flying (1973)

“The zipless fuck is absolutely pure. It is free of ulterior motives. There is no power game.”

If you stay with the protagonist and her adventures, you come to believe that the Zipless Fuck is a Kantian notion subject to the many distorting effects of empirical conditions. Of course every good discussion has a sequel: How to Save Your Own Life.

And so for day 1671
11.07.2011

Posted in Uncategorized | Leave a comment

Guilt and Self-Touching

Kate Millet “Beyond Politics? Children and Sexuality” in Pleasure and Danger edited by Carole Vance [1982]

If we did not have the great power of autoeroticism, we would never come to any conclusions, form any tastes, or find many sources of energy, not only erotic but creative — the self, the psyche, or the mind as it reaches out to the world in works, ideas, or things made by the hands in art or craft. But all too often autoeroticism goes under the nasty name of masturbation in the patriarchal family. Thus named, masturbation is practiced for the rest of a lifetime in secret guilt and shame, or is “rehabilitated” by those providing therapy.

Questions of shame aside, when I hear the word of “masturbation” the focus is genital and when I hear the word “autoeroticism” the image is of any part of the body in contact with other parts of the body; it’s an expansive notion.

And so for day 1670
10.07.2011

Posted in Uncategorized | Leave a comment

Hyperesthesia

If one could smell the Rings of Saturn…

On Jupiter there are sixty-one colors, one for each moon. Painting
     students make moon-studies in their first color lessons.

It’s hard to see in the dark, as it is for hours each day. Painters are
     taught to paint blindfolded. Talented colorists show themselves
     during this exercise.

When they do, they are taken away, as they suffer from a disease
     that only light can cure.

“Jupiter Has Sixty-One Moons” in Siste Viator by Sarah Manguso.

And so for day 1669
09.07.2011

Posted in Poetry | Leave a comment

Palpitations

Hearts, anatomical and metaphorical, appear in the poetry of Sarah Manguso, sometimes years apart. There is this bit from “Poem of Comfort” in The Captain Lands in Paradise (Alice James Books, 2002)

and what about the birds who die mid-flight?
certainly no stranger or rarer than having
an aneurysm on the trading floor.

which lines come to mind when reading this line from “There Is No Such Thing as Skill” in Siste Viator (Four Way Books, 2006): “Why is the heart broken and not squashed, flattened, or wrung out?”

And so for day 1668
08.07.2011

Posted in Poetry | Leave a comment

Fishers of Boys

“The Secretive Fishermen”

It is dusk now, and the secretive fishermen
are trolling for boys on the highways
north and south of here: a tradition.

[….]

there must even be times
when it is almost perfect, in its way: two strangers,
each of them a tourist exploring the Mexico
that is the other’s body. It can’t always be
as sad as dusk for those lonesome travellers.

Alden Nowlan (1933-1983)

And so for day 1667
07.07.2011

Posted in Poetry | Leave a comment

Hearing from Before After

This is the effect of reciting the lover’s name as heard by the lover.

This is not pride
because I know
it is not
my name that you whisper
but a sign
between us,
like the word
that was spoken
at the beginning
of the world
and will be spoken again
only when the world ends.

Keyword: “like”. Symbol plugged into the relay of simile. And short-circuiting. “This is not that word / but the other / that must be spoken / over and over / while the world lasts.”

Alden Nowlan “The Word” in Selected Poems (Toronto: Anansi, 2013).

And so for day 1666
06.07.2011

Posted in Poetry | Leave a comment

Soil Preparation

Ursula Franklin on civic engagement.

She likened her approach to activism to what she called the earthworm theory of civic engagement:

“From earthworms we learn that before anything grows there has to be prepared soil. When we talk about the endless process of bringing briefs and information to government, the only thing that can keep us going is the notion that it prepares the soil. It may not change minds, but it will provide the arguments for a time when minds are changed. Unless there is that prepared soil, no new thoughts and no new ways of dealing with problems will ever arise.”

http://www.theglobeandmail.com/news/national/ursula-franklin-canadian-scientist-and-activist-had-a-passion-for-peace/article31123033/

Worth taking the time to digest.

And so for day 1665
05.07.2011

Posted in Uncategorized | Leave a comment

Subtile Sotise

James Lipton in the expanded second edition of An Exaltation of Larks or, The Venereal Game documents the following

A SUBTLETY OF SERGEANTS

This term confused me greatly: of the sergeants I have know, very few were subtle, and I couldn’t believe human nature had changed that much in a mere five hundred years. And so I began a slow search through dusty library stacks for the secret behind a sotelty of sergeauntis. I found it at the end of a very long list of definitions in an exceptionally musty volume. “Sergeant,” the book said, was “a title borne by a lawyer.” Case dismissed.

And embellished with this bit from the French

SOTTIE ou SOTIE

Au XVe siècle, courte pièce satirique interprétée par une compagnie locale d’amateurs, les Sots […] Les sotties, essentiellement satiriques, étaient jouées par les Confréries joyeuses, collectivités locales d’amateurs, comme notamment la Basoche, association de clercs, ou les Enfants sans souci ; elles représentaient les préoccupations de l’époque, tant sur le plan politique que sur le plan social. [Nicole QUENTIN-MAURER, « SOTTIE ou SOTIE », Encyclopædia Universalis http://www.universalis.fr/encyclopedie/sottie-sotie/]

The link to the subtle sergeants is via the Basoche:

The Basoche was the guild of legal clerks of the Paris court system under the pre-revolutionary French monarchy, from among whom legal representatives (procureurs) were recruited. It was an ancient institution whose roots are unclear. The word itself derives from the Latin basilica, the kind of building in which the legal trade was practiced in the Middle Ages. [Wikipedia: Basoche]

It was the spelling “sotelty” that put me in mind of the sotie. And so is born a false etymology.

And so for day 1664
04.07.2011

Posted in Uncategorized | Leave a comment

Moose Crossings

A tale of two endings.

Alden Nowlan. “The Bull Moose” collected in Selected Poems with introduction by Susan Musgrave.

When the wardens came, everyone agreed it was a shame
to shoot anything so shaggy and cuddlesome.
He looked like the kind of pet
women put to bed with their sons.

So they held their fire. But just as the sun dropped in the river
the bull moose gathered his strength
like a scaffolded king, straightened and lifted his horns
so that even the wardens backed away as they raised their rifles.
When he roared, people ran to their cars. All the young men
leaned on their automobile horns as he toppled.

moose crossing sign

A moose has come out of
the impenetrable wood
and stands there, looms, rather,
in the middle of the road.
It approaches; it sniffs at
the bus’s hot hood.

Towering, anterless,
high as a church,
homely as a house
(or, safe as houses).
A man’s voice assures us
“Perfectly harmless. . . .”

Some of the passengers
exclaim in whispers,
childishly, softly,
“Sure are big creatures.”
“It’s awful plain.”
“Look! It’s a she!”

Taking her time,
she looks the bus over,
grand, otherwordldly.
Why, why do we feel
(we all feel) this sweet
sensation of joy?

“Curious creatures,”
says our quiet driver,
rolling his r’s.
“Look at that, would you.”
Then he shifts gears.
For a moment longer,

by craning backward,
the moose can be seen
on the moonlit macadam;
then there’s a dim
smell of moose, an acrid
smell of gasoline.

Elisabeth Bishop. “The Moose” collected in The Complete Poems 1927-1979.

Both primed for a compare and contrast exercise.

And so for day 1663
03.07.2011

Posted in Poetry | Leave a comment