Falling from Heaven

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Illustration, L.W. Eden, © copyright 2015

sucette.du67@… (reading): 26.01.04 (Re:Virtuality and Distance; 09.11.—) Falling from Heaven. Having –

GinImE@…: Let me do this…

sucette.du67@…: You just –

GinImE@…: Please… (takes the sheets from sucette.du67@… Hesitates. Tries to bring some control back to her face):

Having re-read your comments on virtuality and distance, and with the benefit of hindsight regarding the way our friendship has evolved… (Gulp… suppressed smile…) I would like to air… and share a few of my reflections with you. (Pause) If I ramble on a bit, forgive me, I am just thinking out loud: this is not an exam and I don’t have a deadline to meet. As one of my Professors quoted to me the other day ‘I’m sorry this letter is so long; I didn’t have the time to write a short one’. (Ladies chuckle. Sucette.du67@… gives Gini’s leg a squeeze)

I am familiar with the value we have conferred upon the natural sciences, thereby elevating the corresponding methodology to our (apparently) most reliable instrument of measurement even for the human sciences (e.g. quantitative analysis, positivism, etc). Piaget’s developmental theories, for example, and even Bowlby’s attachment theory, which he claims has antecedents in biology and ethology, all lean heavily on the natural sciences (to name two influential 20th century human scientists), as does, rather persistently, much psychological research today. If you look at it historically, psychology grew out of the natural sciences, and the social sciences out of psychology. It is no wonder, then, that early human science abounds with references to and analogies between human development and its interaction or adaptation, as an organism, to its environment. But, if we are going to stay with this picture, organisms do not remain constant; they grow, they adapt to new requirements. As such, you could say that modern human science, or social science, is the grandchild of the natural science paradigms reigning up to the late 19th century.

noluckwiththefu@…: Give it to im!

GinImE@…: When have grandchildren and grandparents ever seen eye to eye?

The weak link, as far as I am concerned, in your argumentation, is the misrecognition of the historical (i.e. social, cultural, political etc) factor in the shaping of human knowledge. Further, a – permit me to call it such – ‘positivist’ attitude oversimplifies the wonder of the human mind.

(Pause)

Whilst the human individual may well be regarded as an organism in conjunction with her environment,

(Applause)

which is still the message behind the newer human sciences, I am not convinced that this originally biological analogy sits as well as it should when transposed to the human mind. The interaction, or touching, as you say, of two individual human minds is always mediated by the individual cultural environments of the participants. In other words, the socio-political, and therefore historical dimension, is crucial to the interaction, giving it a dimension not immediately evident for a purely natural (as opposed to a socio-psychological) phenomenon, even if we concede that the environment for the human comprises the historical context as ‘natural habitat’.

kissmy@… behind her hand to noluckwiththefu@…: Don’t understand a word but it sounds good.

noluckwiththefu@…: Shut the fuck up!

GinImE@...: The human mind cannot be dissected, cannot be classified like a frog, an insect, or even the human body. All human knowledge is at the mercy of whatever theory is currently popular, or at the very least, our theories are limited by our current state of knowledge. Freud has largely been dethroned. Piaget has been ousted. Bowlby defamed; and although he uses the ethological mantel to give his view the seal of credibility, closer inspection, corroborated by the lack of empirical or biological foundations for his major issues (monotropism as the source of good infant mental health), exposes his ‘theory’ for what it is, namely folk knowledge with an extra portion of chauvinism which should certainly not have held currency for so long. And as I don’t believe in coincidence, I do not regard it as one that Bowlby’s views became so popular after the War during which women enjoyed considerable social and political freedom in the absence of their men, and which Bowlby’s theory ‘incidentally’ puts an end to. Vygotskian theory on the cultural contingency of human development, being one of the most recent insights that the discipline has to offer, is still quite popular, although here, too, critique is gathering. And it is interesting to note that Vygotskian theory sparked off a whole new school of thought in the West from the 70s onwards simply because his writings had not been translated before. Historically, however, he is Piaget’s peer, and appears to have been familiar with Piaget’s work. If his writings had been available at the same time, he probably would have been debunked as well by now… I’m oversimplifying drastically. If you’re interested, just google them.

I had strong reservations about the application of natural science paradigms to the human sciences whilst working my way towards my first postgraduate degree, but couldn’t be bothered to get into a methodological debate with the university as I was probably not betitled enough to be taken seriously as a co-thinker. You and I can meet on a more equal footing, and I don’t feel afraid to say what I think even if you then rip my argument to shreds.

Although I am glad…

(Pause) …

although I… am glad… for every opportunity to learn something new, I also think that you understood my original statement — that our relationship was not purely virtual, but, at least for me, very real — in the vein in which it was meant.

(Pause)

It was an expression…

(Pause. Eyes closed)

…of the closeness I felt to you; of my – as I now understand – erroneous sense of our ‘touching’ in a very essential, ‘cellular’ way, beyond the words — the linguistic particles — being ‘hit’ between the two of us.

(Deep breath. Proud smile. babygirl@… comes to sit at Gini’s feet)

That you choose to point out to me my error, and in such depth, is very telling…

(Deep breath. The sheets tremolo)

It tells me that I view our relationship differently (although a day earlier you write: ‘our relationship goes far beyond any physical barrier, because is based on intellectual and emotive elements that have no boundaries. And is because you have an instinctive sensitiveness towards my waves also). It hints at your possible fear of getting your hands ‘dirty’:

(Sistahs nod, make consenting vocalisations)

we do not, cannot ‘touch’, is your philosophy (though you wish to experience my flesh upon yours, your flesh within mine… you want to ‘mould’ me with your hands… virtually, of course…).

(Snorts of solidarity. babygirl@…’s head on Gini’s lap)

You are nothing but a ‘ghost’, you insist, and I should not invest you with more life than that. You tell me you want to see the naked me, yet when I stand before you in all my nudity, in all my intensity, you take fright, tell me I fly too high; beg me, in a manner of speaking, to put my clothes back on.

(Long… pause)

What am I to make of such inconsistency? I refrain from calling you a hypocrite, as I refrain from calling you a coward. What am I to call you, Maurice? If ‘nature’ were as inconsistent as this, we would have long ceased to use it as a reliable yardstick, don’t you think?

Could it be that ‘nature’, ‘science’, like language, like feelings — like love — amounts to more than the sum of its visible individual constituents? Is more than what we may ever ostensibly ‘know’? If it were that ‘simple’, let me say (as an overambitious layperson), we would have the answers to most of our questions, I would imagine, though we evidently do not (or do you take issue with the greatest thinkers who admit, at the end of the day, that we ‘know’ nothing…?).

(Puts her hand on her chest, just so briefly. Anger flicks across her face)

You pick at my innocent statement in a process of Jesuitical casuistry, so I feel obliged to react. My language, and certainly, my feelings, are not to be viewed with the cool eye of science, but with the warm heart… of an artist.

(sucette.du67@… gets Gini to place her head on her shoulder. She runs her hand across Gini’s forehead, repeatedly, for the rest. Gini gives her a nod as if to say, it’s ok, I’ll manage)

To boil down my meaning – or language generally- to a mere swinging of particles is to do it a severe injustice. If this is the stance you adopt, then, in a very ‘real’ sense, you and I shall never ‘touch’.

Take your gloves off, Maurice, if you have the courage to do so. Dive in and get your hands dirty.

(Breathes out slowly, so so slowly, eyes closed)

Fall from heaven… Let go of what you know, but keep your faith; it is the only way to live.

(Bitter smile)

PS: I have to smile; do you sculpt with gloves on, or do you only wear them for me? Do not get me wrong. I am not angry; I simply wonder… and wait…

PPS: Is not Science but Art by its other name; principled expositions of the hungry, the humbled mind genuflecting before its god?

Extenuated pause. babygirl@… opens the St Emilion. The plopping of the cork –

Oh!!

punctuates the harsh silence. Everyone gets a glass.

* *

GinImE@...: OK. This last one’s called ‘Anniversary’.

ANNIVERSARY

(Pause)

I shouldn’t have, so it serves me right and I have no right to be disappointed not to find a message from you today. You’ll have other things to do, won’t you: presents to open, a dutiful wife to kiss and say thank you to. And others, no doubt. But not me.

I wish I had never met you.

(kissmy@… squeezes in behind Gini. Finds a place for her legs on either side, so that Gini may prop herself up in the bed of her girlfriend’s groin. Her right hand soothes Gini’s chest, just below her breasts)

That you had left me sleeping. But you, you pushed and pushed until I let you in.

(Pause)

Now you don’t want to stay, having fed your eyes to their fill.

(Deep gulp…)

Now I have to get over it, I suppose. Now… I should… n I will…

(Eyes closed. Head back. Exhale…)

I don’t even want to write to you anymore, yet I know of no other way to wash myself clean from your reach.

From your memory.

Your magic…

(noluckwiththefu@…’s hand rubs the pain away from Gini’s other thigh, but first, she bows, squeezes Gini’s shoulder. Gives it a kiss)

The recollection of you trails me like a wailing child. Or am I that child, wailing, arms outstretched and waiting for you to scoop me up…

and soothe me. I have no idea. No idea…

Certainty’s bounced off down the road like a bright rubber ball I tried to hold on to too tightly. I can only run after it with my eyes,

with my heart,

but my feet are not obeying and they won’t budge, no sir. They’re staying put.

(Pause. Change of tone. She sounds apologetic)

Maybe because they want to be here to greet you when you suddenly show up again. If ever you… Maybe they’re just plain scared of another wrong move, so refuse to move at all, like the hare frozen in the glare of headlights on a dark country lane. The only thing that never stops moving is my mind. Picking and sorting

and sifting and

reconstructing its way through the minutiae of our brief, our blinding, history; trying to get its fingers round the wrong movements; my wrong

turns,

my nimble African fingers picking out the bad grains in my bowl.

Day-time.

Nite-time…

(The rest is read by heart as the sheets sprinkle to the floor)

So when I wake up, it is with the demeanour of one who has just finished hard labour, though the whole long day yawns in my face like a disinterested listener.

(Pause)

Again and again, I ask myself: have I had to pay too high a price for this ‘love’? Again and again, the reply laps at my feet and recedes with a sigh, with a

Altogether: Ssshhh! Don’t you say any such thing…

( from Mut@tus )

‘has everything Anais Nin and Brett Easton Ellis have, wrapped up in the same incredible package.’

Undone

Gunther dame edit oct 2014
copyright © Martin Gunther

He had loved her. She hadn’t Loved Him Back said the way he had painted her mouth so delicately, perfectly set somewhat back in her face out of his reach, a shadow perching on the other side. Love had painted a mouth about to speak words he feared for those he could not control. Love, those black eyes sizing him up or were they closed they looked different every time now they looked as if (what if???) she might be crying over whom?

Straight indecisive line leaving the direction of the nose open. Klee to the left? Anyhow, angles –  he never got hers, not really – but for the triste arch of her unyielding eyes, that mouth, that chin, it had been Love up a one-way street and there he was with his gearstick all broken. She would never know never know how many strokes he had taken or where he had placed his last. How many times he had taken the effigy of her into his dreams how many cups of coffee, instant, how many rizzlas till the last. How many times she had resisted, resenting his intrusion and how many yielded how many times he had changed his mind, painted it over and what was the intention of that oblong of blue anyway was there room for symbolism in a portrait? Life is symbolism? Ahhh. Ok.

Black is a hard colour to paint with. He grafted shades of her skin onto it. Mille feuille. Breathing life into its cosmic potential like the Lord God who saw what He had done and was Pleased.

Her shoulders disagreed. This could hurt.

Copyright ©, Joan Barbara SImon, 2015. From Verses Nature, forthcoming.

**

I’ve been working on a novel for the past four years which I now know will never be written. Why? It was the wrong novel. Why did it take me so long to find that out? Because I was following a plan, not following my heart (queasy from the word Go). And yet I maintain: it has not been in vain. Allowing my new plan to be guided by my heart,  I’ve now got a hell of a lot more to say about creative writing as praxis. My reading in the field makes more sense. My theoretical contribution to the field will make more sense, just as I know that my initial doubts made sense, as much as my fear today makes no sense.

Get it down. Get it done.

she who preoccupied thought has seen words come like foreseeable attacks and she changed their course. (Brossard, 2006)

style is not much a matter of choice (…) it is both a response to a constraint and a seizing of an opportunity. Very often a constraint is an opportunity. (Barthelme,1997)

A desire without a horizon, for that is its luck or its condition. And a promise that no longer expects what it waits for: there where, striving for what is given to come, I finally know how not to have to distinguish any longer between promise and terror. (Derrida, 1996)

Writing on ‘Hard Mode’: The trick to understanding physical space

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Are you ready to try writing in hard mode? I want to tackle something this week which, in my opinion, is one of the hardest technical aspects of creative writing; managing physical space. By this, I mean creating a clear image of the space your characters are occupying and how they are moving within it. This will be a particularly important skill for writers of erotica and action/adventures as these genres rely heavily on complex physical actions which must be explained clearly for your scenes to make sense.

A Quick Demonstration

It’s easy to brush over this article and think ‘it’s not that bad’ so I want to give you a practical demonstration of why this skill is tough to master. This exercise was shown to me by one of my creative writing teachers years ago and it’s a lot of fun.

First you need to grab a friend and…

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After Paris

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copyright © Martin Gunther

Take the time to see my juice? In Paris? Just spit on me then barge right in.

The Authoritative One.

As in: sit there in an L shaped of tensed muscles, misunderstanding. Stutter several times something about the impossibility of knowing I would feel that way about it he could only say he was sorry

but his voice is bitter and he makes no attempt to cover it up

As in: reach under the bed for the coloured hankies, take a couple, double them over. Wedge them between the legs to soak up
i) his ejectamenta: hurry-came
ii) pubic whimpers unstoppable, body-fated, pointless ovarian holler
iii) echo wakes up, lonely:

this is the closest I can get

***

“Either all around or in its wake the explicit requires the implicit; for in order to say anything, there are other things which must not be said.” (Macherey, 2004)


After Paris: from my novel-in-progress, Verses Nature. Context of excerpt: He took her to the City of Love. It was supposed to be a dirty weekend to pep up their marriage, backbroken by years of Catholic sex. Of patriarchal righteousness. Her explanation, not his. His’d be that she wasn’t making an effort, he’d show her how.

So many on the erotica bandwagon, out-trumping each other with steamy love scenes. What about when it’s just a lousy experience you’d rather forget? If you know what I mean, say: Aye! Me louder than the rest: AYE!!!

This is an entry in her diary. The diary comes in handy after her nervous breakdown. Helps her to retrace developments she will have to analyse with her therapist.  I like diaries. Emails. Letters. Like the idea, as a reader, of peeping through the keyhole whilst keeping an ear open for footsteps approaching. Also: the diary, here, hovering between documentary and fiction, between the literary styles associated with each. Diaries have me scooping up stylistic liberties by the armful that’s why I love this form as much as I do direct speech. Documentaries are more prescriptive though their (apparent) neutrality (can we ever stand outside of ourselves?) allows a certain detachment I have come to value when off again scrutinizing.

The challenge for me, in this scene and elsewhere, is to offer a different picture of relationships, of sex, to the one portrayed by my (irresistible) male protagonist, Tatar. Cue card: to which extent do genre, gender and voice overlap? Polarization factor: high. Wo/men speaking a different language (and all that). Need to keep an eye on this so I don’t write my way into any camps I’m none too keen on being/becoming a member of.

The Red Room

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call me wound that never heals & we will meet in my bedroom & i will show you what happens to the perception of time what happens to our concepts of desire what happens to power in my bedroom (Penny Goring, Ornamental Vagina. Illustration: L.W.Eden, © copyright 2015)

 

Familiar

I considered myself

with my many rooms

my chambers

and closets

For everyone I hold a key

thought I

till the day

you revealed to me

the key

to a door

whose existence

had escaped me.

Indescribably at ease

you slide

you turn

and enter…

A magnificent chamber

whose virginity

astounds both you and me

Lips hand-in-hand, as

timorously

We bathe in the

lush, the

plush

crimson walls

in the light

of complicity’s opiated

pulp

of a glutinous sin

that is not

to be called such…

Our meeting point, our playroom

an exquisite discovery:

Pandora

slumbered

unwittingly though

Where do you go

why

quicken your step?

will you leave me here

alone?

Though drowned in the heat of red

I shall shiver

with cold

if you leave me

behind

Stay awhile…

Force me not

to live

with such deliciousness

blanched by dustsheets

my velvets untouched:

my chamber

Furnished yet

Uninhabited…

( from The Red Room )

Some like it Hotter… Erotic Diva meets brainy li’l nympho

Erotic Diva Blakely Bennett had me on her site in the autumn:

What genre is your book? Do you write in other genres as well?
My books have been classified as women’s fiction, post-colonial fiction, British fiction. Adult fiction. Verses Nature won’t be easy to classify. I don’t mind as long as it ends up in the top ten (lol). Verses Nature has, as an overall theme, and in common with all of my fiction, the notion of self-interrogation and growth. It’s about carving out space for personal development. This can’t be done without also coming to terms with one’s sexuality – I know, I’ve tried! Sexuality, thus, plays a significant role in all my fiction. Doesn’t mean I write what generally goes as erotica, though. I don’t. I once tried to get a man to understand what I meant by the term intellectual erotica. When he still couldn’t get it, and I was at the end of my tether, I barked ‘high-brow rumpy-dumpy!’ He got it.

One of the main characters in Verses Nature is an old man called Tatar. Outspoken, verging on the vulgar. He’ll say:

Men shouldn’t assist at childbirth if you ask me. She’ll be screaming, farting, crapping, saying vile things to and about you and you, idiot, are sposed to just stand there saying Yes darling as you squeeze her hand or mop her friggin brow? Then there’s the pushing and gushing and out it plops as from a sewer. Puts a man off for life. You’ll never really want to be in there again, But we’re not allowed to say that about wifey, are we?

He’s full of tips:
You should get Him not to wash for a while so he stinks of man, then you give him a royal blow job, he’ll spray like a whale, I swear.

Sexual, yes. Erotic? You tell me.

For more of the interview, click here.