Hope

He sat next to me on the lawn chairs positioned on the gentle, grassy rise above the lake. The colors took on their richer, darker aspects because of the dusk. They seemed at once more grounded and more magical. I thanked him for having been president. I was surprised by the welling up in my throat, clotting the words. The simple meaning I anticipated defied by bodily experience. His eyes welled up, too. He had not intended that he become so indispensable. He was not moved because his ego was touched by my show of emotion, instead, he felt a kind of compassion for me, as representative of those whom he had let down. In a flash of expression, a slight down turn of his mouth and dilation of his pupils, I understood his kind of leadership. Success could only mean that once he was finished, the edifice would remain standing, impervious to the absence of his hand, insensible to it’s withdrawal.

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Sunset Norway Point by Alan Bray

He sat slightly above me, slightly behind me, on the hillside. He held my hand as we looked out onto the still water. People played in the waning light. They too, taking on a deeper glow.

As if from nowhere, I did not see them coming and could not tell you from which direction, a group of men ridiculed the former president for holding my hand. They insinuated something untoward. Not because they noticed it, but because they were clustered together and of one mind, and it was a practiced mind. Practiced at attack and slander and vulgarity. Practiced at the en masse conversion of those impulses into reality. Manifestation.

Harbinger by Alan Bray

I felt deeply uncomfortable. The manifestation had been a success, for I felt ashamed. The president, however, he continued to hold my hand, his gaze over the calm, dark, lake water unwavering. I felt my shame run down my arm and pulse through my hand, tempted to pull it from his and abandon the peace. This is how infection spreads, but it stopped there in his palm. He did not tighten his grasp or loosen it. He did not continue in reaction. He just continued. The itching small spasms in my hand, slowly dissipating, perhaps through sweat from my palm. The tightening in my arm that would bend my elbow and pull away, it too relaxed again.

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Spring Thaw by Alan Bray

I stopped looking back at him, but instead adopted his gaze toward the water.

 

 

 

DREAMLIFE: A collection of women’s dreams, recorded and then translated here as part of the Female Background metabolism. A way in, a way out.

Rope

Waitress, 2014
Boro Rope

Part 1: Hair

When you ask for my help I will let you sit in the garden.

Hog Hill (Dixmont, Maine), 2014

I will invite you to sit in my garden, the one that I built, but only after you invite yourself. This insinuation on your part lets me know you are weak and avaricious and I will plan to care for you like I have cared for that garden.  I will have you sit on the ground and I will cut your hair, watching it fall amongst the blades of grass. I do not like touching you, but I continue, marveling at how the thick, greasy masses are so unlike my fine, discrete strands. You may have cried, because you were lonely and also failed, but it doesn’t so much matter if you did. My hair is short then and I cut your hair to appear like mine, only slightly damaging it with a knife. This was to let you begin again, saying at the same time ‘Kappiyam bhante’ or ‘I am making this allowable’. I invite you to move into my home, although you also invite yourself because the movement is beginning. I invite you into my home, the one that I built so you can learn how to be me.

Hair, 2014
Waitress, 2014

I know that I am leaving. I packed for the inn over a period of months. I drove through the mountains and lakes and drove back and forth past the front of the white building. Waiting to see if it would be my home and it did not answer, not with a flock of black birds, not with anything, but I was already packed. I collected all of the memories I could find and arranged them neatly and beautifully into small wooden boxes. I made sure these memories were the elaborately specific ones, the ones that could never be replaced or recreated. I left the more obvious ones out, the generalities, so that no one would really notice that the unusual ones had disappeared. (Being unusual, they were harder to see anyway, so it is never so difficult to make them disappear. Their absence rarely raises suspicion.) I wrapped the small boxes in strips of white paper and glue so that they could not be opened again. Looking at the small mummified boxes was a reminder of necessary omissions, but not of those things themselves, those would be lost forever.  You hid things, too, with craft, using a small knitted pillow to conceal spent casings from bullets used to shoot law books, which were lined up for execution in the back woods. A facile and darkened mimicry.

Waitress, 2014

 

A tree grows around a rope.

Boro Rope, Hotoke Antiques

I considered taking you with me, but I was sacrificing you instead. An offering to make peace in my absence, to heal over the wound. I could not take you with me. When offering such things, a layperson can either remove the seeds or make the fruit allowable slightly damaging it with a knife. This is done by piercing the fruit; it is a form of seduction meant to reveal what is inside the skin. And I could count on you to be weak and not of your word. I saw that in you from the beginning. And your insinuation, your striving. If not for these things the replacement could not have happened. Now it would simply be a process of “making allowable”.  Just the body sitting in for another body, learning to speak the language.

Would you be poisoned forever by your own treachery? Never whole? Never integral? Word always loose and false. There are twenty more years to diverge now. But those years are already past, not the future.

 

Hair, 2014 

Stories are written as if they are the past but I am foretelling this story not telling it. I know what will happen. I see the world coalesce around my pain and my birth. You tried to burn a silk scarf with an iron and we were surprised at the length of time it took to create the dark impression on the peach silk.

Monks will refrain from carrying on correspondence with women, other than for matters pertaining to the monastery, travel arrangements, and providing basic information. When teaching, even in a letter, it is easy for inspiration and compassion to turn into attachment

The earth will move with me as collateral from these violent observations. Nations will change too, because language will change. When female background is born the world will lose its words. All scrambling to put like with like instead. Consumed with fear and compulsion. It will be foretold with the undifferentiated, incessant voices of women escalating to a violence. Against one another because they cannot learn, they’ve become small, trivial.

Part 2: Chatter

I will practice replacing girls with other girls. With moving them into the background. All of them, so there is nothing to be distinguished between a landscape and a swath of hair. The hills around my house and the back of an animal. I will have a puppet theater in the bathtub: two twins moving back and forth between personalities with a simple incantation “you be me.” And then to switch, “ok, now you be me.” Mimicking each others speech and manner. Telling one another’s story.  Becoming one another like jumping rope double dutch style.

I will cast spells of objects and actions over time. I will take the puppets into the woods, as snowy trees move back and forth and I’ll have them whisper in alternation: “you be me, ok, now you be me.” I will change my body and my dress. I will wear glasses, pretending not to see, and then dye my hair. My costume will make us indistinguishable to the untrained eye so that when I am ready to leave, you will not notice me gone, will not feel the absence.

“I made her for you. I will give her to you at my vanishing point.”

Waitress, 2014
Waitress, 2014

Women’s voices will be indistinguishable from one another; as the sound and number escalate, like a flock of migrating birds marking the time to go, the effect is dissonant, raucous, desperate, and volatile. It portends a violence. The are no distinctions, pure background.

Part 3: Fertilization

Hair, 2014

Once a single sperm has penetrated, the cell membrane of the egg changes its electrical characteristics. This electrical signal causes small cortical granules just beneath the membrane to empty their contents into the space surrounding the egg. The contents swell, pushing the other sperm far away from the egg in a process called cortical reaction. The cortical reaction ensures that only one sperm fertilizes the egg. The other sperm die within forty-eight hours.

I move away from the plot of land in the midst of trees demarking, but only barely, parts of the rural hillsides. I move up through celestial spheres, I watch these earthbound parts getting smaller. You try to follow, grasping skyward. I see the perspectival distortion of your form as I look backwards, your head striving large and body trailing small behind you. Passing the boundary from one sphere to the next, it is time to let go. The sphere’s membrane closes, forever. Your rapid mutual descent to earth tempered by snow falling quietly and gently. Nestled together back into the hillside, the bucolic sphere rests on a small wooden stand, which rests on a small wooden, bedside table. This makes it all easier, more stable.

A midwife protects the boy’s arrival.

Hair, 2014

I’ve heard that we must generate knowledge.

A historian said he is obligated to tell the truth, even if it is ugly, to make sense of things for himself and others, as a service, a moral call.  How can this making-sense be compatible with the kind of truth-telling he means? The act of making-sense is quite literally a manufacture, a creation for sense-apprehension, it is pulling from undifferentiated space with the tools endowed by curiosity, fear, joy, sadness, and anger, and carefully hoisting onto a platform, set free from the debris that would obscure the way to hosting and nurturing that feeling for as long as we can.

To show something, is it necessary to contrast it with something else, to disentangle it?

Female Background would be called history if it partook of time instead of space; it has no past.

They Tested Your Cortisol Levels

DREAMLIFE: A collection of women’s dreams, recorded and then translated here as part of the Female Background metabolism. A way in, a way out.

They were among the highest ever seen and you wondered that they tested them at all. Machines pulsed. You wished they’d tested something else, measured it. You saw the apparatus, the tubes of green fluid rising and falling like breath, only somehow unnatural. This made you think that not all life was from nature as some would have you believe, or at least it’s origins did not have some state that was more of nature than its current incarnation. You wondered that they did not test instead your intelligence, something they would just as soon deny and certainly not so easily pathologize. You knew, though, that your intellect might be as dangerous to your health. You picked at your skin and considered just how the green fluid measured that level of disturbance that came through. That measured the quality of that final barrier, however illusive, between you and them.