On these pages, intermittent remarkings in the annotative space as a form of friendship and reauthoring draft a number of situations for thinking about production.
Working choral in the annotative space, selected lines and pages from texts that inform a feminist methodology opens attention to the organising acts of language and lineage.
Writing / reading is engaged as a collective and embodied practice – as a way to textualise experience.
Patti Smith, Devotion, New Haven and London: Yale University Press, 2017, pages 18-19.
an unexpected though familiar giddiness overcomes me
an unexpected though familiar giddiness overcomes me, 18.
–Devotion, he answers smiling, 18.
Yvonne Rainer, “Friendship”. In Poems, New York: Badlands, 2012, page 38.
the quiet unnerves me
The quiet unnerves me. 38.
Harry Dodge, My Meteorite: Or. Without the random There Can Be No New Thing, New York: Penguin, 2020, pages 116-117.
(close to me)
Two black holes collided and became one, an unimaginably colossal black hole. 116.
The coincidence makes images in my mind bend and melt, my stomach drops, cause and effect disunite. 116.
Conspicuously all they have is eight copies of Orlando. (Orlando. Orlando. Orlando. Orlando. Orlando. Orlando. Orlando. Orlando.)
I stand for a while, consider whether this quiet vehemence is some kind of filament: a tendril from the firmament, some data I’m supposed to make something of, but what? 116.
Before bed I find it and place it (close to me) on the nightstand. 117.
Chantal Akerman, My Mother Laughs, France: The Song Cave, 2013, pages 52-53.
It would be easy
My mother was right
In the morning when I wake up I go to the doorstep of her room to see if she’s still breathing. 52.
It would be easy. 52.
I tell myself it’s good, it’s very good. 53.
My mother was right. 53.
these pages, NO NO NO MAG Issue, 2, no more poetry, Melbourne.