Hollow nameless day. Trapped and suffocated the writing suffers. It is almost dead today—but how to give it breath? The writing cannot be stepped outside of, the only way is to go deeper and see what can be invented from those darkest soils. But the breath becomes ever more laboured and there is no light. There was light but the brilliance has gone, it was another false lead; brilliance as will-o’-the wisp. It was a brightness that drew the writer in the first place. Fool’s gold that fed a greed (a need?).
These words seem the same as last week and the week before. The feet offer no metre. A misunderstanding. Are the words being dug for, mined? Or are the words doing the digging? Maybe it is a trap. The mined words need to mine more words and so become tools in the process. Or does that agglomeration of words need going back through to find what is most useful. Is that where the inventing takes place? In the choices of that selection process? In the slag heaps there are things of great value but it is not enough to just see them for they must be worked further…stop…
…Oh, weary writing! The words go round in circles, not getting anywhere (nor anything). Flattering (or fluttering) to deceive. The words are tired, tired from the writing fighting on multiple fronts. For instance, the ‘I’s are relentlessly crashing at the doors…it is becoming deafening at times. How can they be kept back…how can their appeals be ignored? Multiple fronts? Doors? Does this not suggest some sort of boundary; an inside and an outside? But the words are worked from within (or should that be of). Is the problem that this word working is being viewed as a hand-made process? Is the problem that the process is viewed at all? By viewing the process it is moved into an external space where it can be observed and worked upon. Something like a scientist’s glovebox is a useful image here, wherein the worked words are contained in a sealed unit into which the worker reaches with gloved hands. The word-hand interaction is devoid of almost all sensuosity.
The images keep imposing themselves, it is they that create the boundary.If only this image-making could be short-circuited…circumnavigated. This eye-dependence brings the ‘I’ with it and creates a state of detachedness or aloofness. This tail (tale?) eating is confusing. Is the writing the analyst or the analysand? But therein is the problem. It is in the stating it in these fixed terms: analyst/analysand might as well be here/there, I/other and so on. The imposing of these poles strangles things, snuffing the life out of them, trapping any breath that was there. The cherry on the top is the art object which seals up the artist/art object/viewer dynamic. The artwork must become verbal, and the analyst too. The analyst and analysis should be loosened off its moorings and set free not to discover new worlds but to invent of them.
The dark soils lighten slightly. A horizon of lighter deposits glistens dimly but the hours of daylight at this point in the year are limited and the light will soon fade. This will not be a dark sheet placed over all but instead it is a creeping darkness that is inhaled and finds each and every (fractal) corner.