a series of fragments & notes about Chance, Fate, and Context by Dara Wier ____________________________________
~~~~~~~~~~~~~~~~~~ a problem with having a problem with what is called linear
once something has happened
then and maybe only then
is it possible for a human mental experience to be, to become non-linear
before that it was linear all right
which would relegate ideas of non-linearity to what’s over, or as they say, consign it to the past which maybe is why so much talk about non-linearity seems ultra sentimental, ultra nostalgic, ultra regretful, though it is like so many justifications for why art acts one way or another: rationalization based on past observation combined with vast generalization of so-called Reality
to once upon a time to once upon a time which turns out to always be about time that is over
to when it is over
for when it is no longer needed by time
for time to have something to hold onto
for time to have something to do with
then it is no longer linear
which may mean everything over’s non-linearity sometimes will at times make some kind of sense
~~~~~~~~~~~~ the relief one feels when making sense makes no sense at all when one can enjoy the luxury of that, when one can live with that, when that gives way to no next steps
~~~~~~~~~~~~~~~~ stairway to Charter House at Wells Cathedral
a sea of steps
wondrous as it fulfills a terror-inducing vertigo’s fantasy fulfilled in a good solid beautiful sensible way
this has no possible linear interpretation, nothing otherwise than a time/space vortex conspiring
Artemidorous’ Oneirocritica (Oxford U. Press) Daniel E. Harris-McCoy
Dreaming and Historical Consciousness in Island Greece (Harvard U. Press) Charles Stewart ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
You have saved my life more times, on more occasions, than I can count or name.
You have offered me Sense of a kind I can’t (don’t want) to conjure or contrive.
(why I don’t want to do this, why should I do this when it is done relentlessly without me, without my interference, with no doing on my part, the role one assumes or accepts, say for instance, being in a conventional audience, another story, a story for another time)
Someone somewhere at some time said the word “Apophänie” in order to say that there are characteristics at the onset of delusional thinking, that at the onset we don’t offset and are not off put or otherwise unsusceptible.
apophany from apo + phaenein
there is the opportunity to:
Experience delusion as Revelation.
As opposed to epiphany which is somehow supposed to be not delusional, rather it is supposed to be: delusional’s partner:
apophany does not provide insight or interconnectedness, sadly this is what is said about apophany
it’s more apt to monotonously cause one to think one is experiencing Meaning
which it is said can be self-referential, solipsistic, paranoid:
“being observed, spoken about, the object of eavesdropping, followed by strangers”.
A common example of perceived but non-existent patterns are paranormal sightings, including sightings of ghosts, Unidentified Flying Objects, cryptozoology, etc.
See divination See gambling See religious experience See synchronicity See conspiracy theory
See pareidolia See put it in writing See better not waste one’s time See what a surprise See a sudden awakening unaccountably everywhere at once (in which actually appears two times) (which is actually where and when everything actually is) See
~~~~~~~~~~~~~ sensation one’s brain is having when one is reading something or listening to something one knows is standing in for something else when one thing is said in order to avoid saying something else it depends so much on one’s tone in the prose or poetry whether or not doing this substituting is a powerful, fearful, I dare not say this, this is too much to say, I have to say something else that will instead having been said make room for what I’ve avoided saying this is not the same sensation as having no words for something
art-making of a so-called outsider has often been attributed to, said to be a consequence of isolation when it’s equally plausible that isolation is a result of art making which isn’t necessarily a bad thing ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Joan Jett The Runaways Cherry Bomb for #19
Dara Wier is the author of twelve books of poetry, including Selected Poems, Remnants of Hannah, Reverse Rapture, and You Good Thing (now available from Wave Books). She teaches in the University of Massachusetts MFA Program for Poets and Writers. Her awards include the Poetry Center and Archives Book of the Year Award, a Pushcart Prize, the American Poetry Review’s Jerome Shestack Prize, and fellowships from the National Endowment for the Arts and the Guggenheim Foundation. She edits Factory Hollow Press. Visit her author page at Wave Books or read an interview.