Not a Nautical Term

I thought the "veronica" in Eamon Grennan's "oystercatchers in flight" (There Now ) was a word capturing the manoeuvres of the birds.

[…]
         a band of oystercatchers faces all one way
into a nor'wester so shafts of windlight
         ignite each orange beak in this abiding
tribe of black till you clap and their risen black
         turns white as they veronica on wind and
[…]
But what was an effect of wind was also an effect of light. The pattern of the birds — black turning to white — is likened to a sweat-stained shroud but perhaps more aptly to this definition of veronica: in bullfighting, a slow movement of the cape away from a charging bull by the matador, who stands in place. [said to be by association of the attitude of the matador with the depiction of St. Veronica holding out a cloth to Jesus] (New Oxford American Dictionary).

Not a nautical term. No.

And so for day 1841
28.12.2011

Time-Space and Story Curves

Paul Ricoeur Temps et récit I

Ce qui fait énigme, c'est la structure même d'une image qui vaut tantôt comme empreinte du passé, tantôt comme signe du future
Trace and sign take on some ample wings in the context of verbal constructions.

See Shlomith Rimmon-Kenan Narrative Fiction: Contemporary Poetics
Text-time is thus inescapably linear, and therefore cannot correspond to the multilinearity of 'real' story-time.(2)

(2) One should note, however, two factors which tone down the irreversibility of text-time: (a) the fact of writing and hence the possibility of re-reading; (b) the existence of quasi-spatial patterns which establish supra-linear links, e.g. analogy.


And so for day 1840
27.12.2011

Make Space for the Girl

Found poem.

I've come from him
and how close to me
he remains.

someone, somewhere,
will look for me and
I will be found
From trans poet, Gwen Benaway Passage.
First stanza is the last stanza of "Nightfall" p. 69
Last stanza is the last stanza of "What's Wild in Wild" p. 21

What is ostensibly a "him" referring to the lost ("divorced") lover is inscribed in such a way to reveal an intriguing (unconscious) introversion of the mourned object: "in cold light, a marker for how far // I've come from him / and how close to me / he remains" — that gap produces a displacement if not condensation of the signifier — another him may be lost.

Thomas Pavel, Fictional Worlds
[T]here is no guarantee that all sentences of the text can be traced back to one and the same world, or to the same universe.
And as we learn here, pronoun reference can shift. Pavel reminds us "referential behavior includes a creative, risk-taking aspect, as well as a tendency to settle down into conventional patterns."

And so for day 1839
26.12.2011

Golden Dragon Dining Guidelines

In case you don't know how much to order:

HOW MUCH TO ORDER

All our foods to take out are put in paper pails of pint and quart measure of standard size and will stay hot for an hour but may be reheated, if necessary, in double boiler or saucepan over a slow fire only.
In this era pre-microwave oven, there are also recommendations as to when to order.
WHEN TO ORDER

We recommend calling for your food after your table is set for serving, to give you the most Delicious Hot Meal.
No eating from the carton, eh.

And so for day 1838
25.12.2011

On the Temporal Nature of Coming Out

A digression from an essay on the various versions of Adrienne Rich's "Heterosexism and Lesbian Existence" [said essay about the shifting valence attached to gay men as characterized in its various emendations of the footnotes] …

For every impasse, a digression. Coming out stories are narratives of separation, passage — risk taking — into uncharted territory. But not always against the grain of connecting with our past. For our coming out stories also reflect how we found the resources to step out of time. Through the telling we become our own models experiencing history not as then but as now.
The temporalities of "coming out" would involve a recuperation of the past. Though not always.

And so for day 1837
24.12.2011

Mere Pattern

Wendy Steiner. The Colors of Rhetoric

It is the norms of pictorial realism that allow us to see process in pictures; without them we see mere pattern.
This takes on a certain coloration when one considers the earlier considerations on chance and its psychological dimensions:
If we accept pure randomness we risk appearing as bewildered ignoramuses; if we insist on finding the allegorical system behind it all we become dreary pedants […] The double threat of exhaustion and boredom continually stalks the reader of nonsense.
Voilà - the connoisseur of nonsense like the fancier of pictures is at home in mere pattern and in process.

And so for day 1836
23.12.2011

Flaneurie Fancies

Jonathan Raban
Soft City

living in the city is an art, and we need the vocabulary of art, of style, to describe the peculiar relation between man and material that exists in the continual creative play of urban living
this i take it also references the destructions of the urban fabric and how they modify the traversals

And so for day 1835
22.12.2011

Skipping Stones

salvaged from some scribblings

to fling a fossil into eventflowness

the failure of gravitas to sedimentalize flight

pared
as if the truth had not been told

20/11/98
captured and released

And so for day 1834
21.12.2011

The Built Whorl

Jeanette Winterson
"The Semiotics of Sex"

Art is not a private nightmare, not even a private dream, it is a shared human connection that traces the possibilities of past and future in the whorl of now. It is a construct, like science, like religion, like the world itself. It is as artificial as you and me and as natural too.
Art Objects: Essays on Ecstasy and Effrontery

And so for day 1833
20.12.2011

Time-travel Tricolon

Camella Grace
on Timothy Leary
Design for Dying

He was a man who touched the future, studied the past, and sculpted the present.
Notice how fragile the construction is. It requires the casting of the future-past-present in order to solidify its rhetorical strength. Any other order smashes the implied narrative that peering into the future through an observation of the past yields to moulding the present. We are brought back to our implied point of departure. The present is the past of the future.

And so for day 1832
19.12.2011