The Public World/Syntactically Impermanence. Leslie Scalapino
bothered by his seemingly just writing about the activity in the minute, ‘nothing.’ It can’t ever be a connection.
In The Kindness of Strangers, disjunction as timing, placing different times (dated poems and passages or lines of poems undated written at different times) against each other (melody against melody) so that the greater the distance the greater the disjunction/leap (or the opposite: the smaller the time distance, the greater the disjunction/leap. Leap is different from disjunction), then the disjunction or leap is not time?
Non sequitur as ‘no relation’ is used as differentiation; or similarity is used to be differentiation. Whalen is using non sequitur to be: not comparison but differentiation paired continually so as to occupy the same time, enter the same time. Contraries existing separately.
‘Comparison’ occurs by line as the nonstop weave/‘history’ in Scenes of Life at the Capital. In the dating of poems, with gaps of time, placed next to each other in The Kindness of Strangers, the writing is only the mind’s process as if imitating the process, recording the ‘inside’ separate from the action in the world? “The act of remembering or the vibrations of the sutra / crash through the real world” (108): the ‘act’ and remembering—the two—are the action in the world, what it is only, and smash it by being in it; yet are in it, separate.
Vertical/horizontal: “All walking at some angle to this void reality / Immediate bright breath” (p. 108). The ‘two’ are together that are not two also:
Morning zazen evening drunk
Mosquito hawk legs thinner
Than a leg between
Legs thin as a
Hairy laugh tail
(108)
Compression of evening and morning in real-time only and being the same. “Cold penetrates the root of cold; heat penetrates the root of heat. Even if you try millions of times to avoid cold or heat, it is like trying to put a tail where your head is.”3
The notebook method of Scenes of Life at the Capital (which is separate times compared to each other) allows all layers to occur at the same time in the text, while being read/acted in by the reader as real-time (representation) where it is not. It’s only the way the mind works making fast disjunctions and connections; it is phenomena as being one’s mind. ‘Seeing’ is not separate from being action and these are only the process of the text/one’s mind phenomena. Writing is therefore an experiment of reality.
In The Kindness of Strangers, separate dated poems are placed next to each other out of sync chronologically: “Move without moving any THING.”
Chronological sequence does not initiate (anywhere) in others.
The present only takes place ‘now,’ having no earlier occurrence, and is in the future which is not ‘present.’ ‘Then’ takes place ‘now’; it was ‘then’ only when it occurred.
To explain eclipses and to predict them
large numbers are needed
most of all zero.
(P. 137)
So the “present intention” does not govern the future. “The crystal does / Nothing. Its shape and structure makes all / the difference.”
A ‘zero’ (that excluding the horizontal range) is the disjunctive present, which is: ‘then’ is ‘now,’ the present is ‘now,’ and the future is the same ‘now’ (they occur at once, but not hindering each other, being entirely those times, separate from each other—in a ‘present’ as being disjunct).
As writing the ‘present’ is open or zero—a lost mass—as is an eclipse. One is not separate from activity anywhere. Or in it, either.
A minute move is there a non sequitur per se.
A ‘random’ (that is, detailed, minute) speck put beside (compared to?) some other ‘random’ (minute) speck—their interrelation occurring solely changes the entirety/interiority of ‘historical’ event (that which appears to be a crux and unified); the disjunction (in non sequitur) of the event occurs only as being that present-time.
The ‘event’ not existing at all and/as activity is throughout it. All times being brought together and separate simultaneously (‘wreck the mind’) is there being no ‘history’ then.
Comparing distinctions, which are the layers as states of mind in different times, as if these are the sound/shape that’s the writing, is the ‘interior’ motion of ‘experience.’
Susan Howe’s “Otherworld light into fable/Best plays are secret plays”:4
Second time somewhere—the second time is the present only fictitious deeps
Cries open to the words inside them
Cries hurled through the woods—the moment of divergence is the physical page of the text.
—their activity nowhere in it
—as that being pervasive.
in the otherday
on wild thoughtpath—is throughout
Moving the second moment, (of writing) into the place of the first moment, and occurring at the same time.—As the original moment
History does not exist; (my reading of her text “Articulation of Sound Forms in Time” is) Howe’s writing is not a re-creation (the latter being ‘drama’) of people ‘in history’ but an occurrence solely in a present reader—that is itself the occurrence of disjunction.
Corruptible first figure—so that its second occurrence in/as present-time is itself only; is not transmuted.
The event (Bright armies wolves warriors steers) is not transmuted either, breaks bounds (is out of bounds) (p. 17)—By its being illusion—and is out of bounds by being marginal (real-time/historical) people who are ‘unknown’ or ‘minor.’
Have lost the beaten track—being on the beaten track is one’s illusion and losing it is. Vault lines divergence—the divergence occurs by the continuance of the illusion, the antecedent moment stretched and occurring ‘only’ in the present/as page of text merely, the written itself becomes the vault line and the divergence.
As their activity is nowhere in it—second figure can be somewhere, ‘an’ occurrence in time at all. That is, by history/event not existing at all, there can be occurrence at all.
The Progress of self into illusion/history as activity in the present only—because the real actions of the past no longer exist; The figure of a far-off Wanderer is illusion of self.
Whatever suffering existed then or now—is ‘only’ the present person in real-time; Portents of lonely destructivism
The line of writing as (their/any) one’s physical death. As if the writing could be a spatial relation ‘to’ being.
The concentration is on not diverging from illusion—this is the physical/spatial relation that occurs as the text
The writing is also a false Impulsion of a myth of beginning, an element of rigorous Americanism as Knowledge narrowly fixed Knowledge (p. 12) by being antecedent to (any) action—it is nowhere—not existing in one—where one has no activity in the present.
Writing is the present creation of illusion in order to diverge from it in being a state of attention. Attention, the activity of reading or observing, is the only history and present moment—at all.
Best plays are secret plays (11)—because it is an action, at all (Anarchy into named theory) (p. 32)—this is in attention itself.
Her wild thoughtpath is there being a present