on sockets and conduits

if i’ve lowered my eyes and closed my mouth and sat quietly and alone, and not opened myself up to true engagement, it is only because i need to be so careful when i do so, because when i do it i do it hard, i empty myself out and take you all in to see you clearly, but this is tricky business and i’ve learned cannot be done with anyone, because if you’re that sensitive the switch of it could kill you. 

my hope is that i can trust my intuition and use it wisely, that i can keep those out that must be kept out for preservation, but not reject those for whom a connection with would be important.

and when the matter is uncertain, i wonder which mistake would be worse.

toward you toward you

I can’t be half gentle enough,
half tender enough
toward you, toward you,
inarticulate, not half loving enough
BRIGHTen
the cor
ner
where you are

I forgot how much I love this book.  William Carlos Williams could use anything (a shitty New Jersey town) as a starting point or springboard for singing the most important lyrics.

maison rouge

In Breton’s Nadja, an old engraving ‘seen straight on, represents a tiger, but which, regarded perpendicularly to its surface of tiny vertical bands when you stand several feet to the left, represents a vase (read: vessel), and, from several feet to the right, an angel. p.59

why bother waking if you weren’t willing to feel the full potential of the range encased in every channel?

anarchic architects

finished first draft of entry to next npr contest.  they didn’t want ‘we have built a house for you;’ i felt it was sufficiently creepy, but i guess i suck at structure so that was probably the problem.  i can’t seem to write with a predetermined structure, just the acknowledgment of structure as valuable seems to dissolve my ability to write freely, so this leaves me with writing the story first, letting it tell me what it wanted to say, and then adding the structure afterward.  maybe i just enjoy making more work for myself.