Excerpt from I Am Writing You From Afar

Moyna Pam Dick

Moyna Pam Dick (aka Misha Pam Dick, Mina Pam Dick et al.) is the author of this is the fugitive (Essay Press, 2016), Metaphysical Licks (BookThug, 2014) and Delinquent (Futurepoem, 2009). With Oana Avasilichioaei, she is the co-translator of Suzanne Leblanc’s The Thought House of Philippa (BookThug, 2015). Also a visual artist and wastrel philosopher, she lives in New York City.


[N.D.L.R. : selon la largeur de votre navigateur, il se peut que vous ayez à utiliser le défilement horizontal pour visionner entièrement chacune des pages reproduites ci-dessous.]

excerpt from I AM WRITING YOU FROM AFAR

(from part 2,

Nous rencontrons Nazreen in the marks past fears and rue)

Moyna Pam Dick

/

extinguish light

in the worldroom

let the other

lines as blinds_____________________________

inscribe the calm

to let translucence

paper, skin

persistenceof ascend to

patience, order

cuts across to

sharp diagonal

the threaded

lies across

_______________

plane, textile

air, veil

unspeakingsonic

see as sound or sea as desert

changing, rhythmic, tonal________

each point, locus of her grid

incise, inhabit

lay the skein ofincomplete

of changing infinite

across the void of ivory

paper

scratching

void

_____________________________

repeat

repeat

rise up

as frayedloosethread

the grid releases

motion, light

modalities

______________of pressure

touchthe all

dispersed ardor

charged gradation

space shows through____

drawn close by

contact

of the alienof later form

timespace geometry

through the bare

of void the shape

arises______   floats

/

she trembles but the lines don’t, certain

while you glide, cool, with lines that quake and spasm

I sometimes trip as my lines dash, float, attempt

different hums, vibrations

(see, hear, touch: prophetic of the spirit?)

therefore Moorton———-scoring vision

to sketch all over (carpet, veil)

or condense to let space widen

if her structure (line, plane, net)

or your sign (word, face, figure)

or my marking (line, shape, note)

to activate the space, let light, its force (tone, rhythm, frequency)

————–time’s full signature

full, empty

slight discomfort in the touch that hurts, the textile’s rubbing

veil of lines drawn in the pattern, imperfection—————-

human stray to weave self in or jut, dark shape or rise, geometry

we (three) want to become marks

prove/show becoming

time cuts plane————————–————-

it hurts when lines hold back or labyrinth our desert

(divine plane: tipped, receding)

words cut through————————-

unhear them pull away from (to detach) achieving lift-off

space, its stations of the———————————————

crosshatch or curve

transubstantiation if to pain is but

phenomenal

extracts the path

/

(her) fewer lines(your) fewer words

––––––––––(my) fewer phrases?

in the vision

God as light

an icon’s abstract truth

(she) seated low

(the work as ground)

or map or floor plan

reads (her) lines

––––––(her) empty spaces

light arrives

inhuman fire––––––

(not his thunder)

waiting

icon of form

((yours) blurred, (Henrí), is still human)

(Nazreen’s) Hitherworld: its presence pure, abstract as light

what makes the now appear

(she) walks the world as if on water (at times near drowning)

while things scratch (me)

(you) roam the world as if in bubble

(at times not breathing) while (I) am jabbed

–––––but death

now’s shadow

other index?

but the Soul as higher

vision

is becoming

sight commands us

to horizon

––––––   what

recedes

/

noise threatens________________________

do not hear it__________________________

light commands us_______________________

Nazreen’s journal, her agenda_____________

Nazreen’s arrows cutting upward____________

Soul triangular, in motion________

ardor’s wedge_______________________

or lines of fire of escapes_______________________

or layered, high roofs__________________________

brown bird as triangle_________________________

parallel leaves________________________________

from phenomena abstracted_______________________

not representational but presentational________________

the abstract figures__________

icon’s figure________________

formal likeness______________

in divine image____________________

geometrical figure___________________________________

to walk on sidewalk: water, air? on light? on sandscape?___

her gliding lines_____________

against the limbs that, jerking___

transubstantiate__________________________________

dread and pain to____________

thread and plane______________

shade and line________________

edge and tone to_______________

Dieu et l’âme__________________

translucent light__________________________________

–––––––––––––––––––––

voice––––––––––––––her late drawings, sparse, with shapes

flute–––––––––––––her photographs, distilled, fragmenting

clarinet––––––––––––––––––––––––––––my writing, lines

piano–––––––––––––her diaries: words, stripes, lines, colors

violin–––––––––her early drawings: marks, washes, nature

cello––––––––her middle drawings, spare, sharp, built forms

percussion–––––––––––––––your nervous, iterated slashes

a pure form saves?

/

separated translucent sharpnessillness

to resist and transfer________________

three transmitters?divergent marks

she transfers the signals acrossresistant matter

a semi-conductor is betweenelectrical, hands prove

substantiate the body to

makes the line

firm truth as

record of a motion

while our infirmity

_________wanders

three deserts________________

bodied

forth from

___nothing

marked

to glorify

voice, silencela maman

voice, her face___

the sky cross-hatched

white on blue

light slanting

______a transponder is

transmitsresponds

received, emitted signals of one’s

the One’s

_______own

transistor, transponder, transducer

waveson the blue

distantarchitectural

planesor flattened cones

notconic spiral

her triangle, your coil, my conic helix

_____is not time

is Spirit?

a mortal narrative, she

hows abstract sequence as atonce

same shape, threetimes__

versus to transmogrify as device activated, intoxicated

power from a system’s_________

apply power in a form of other

to a second

symbolichyperbolic

system of mark-making

faces, places, phrases

souvent ________grotesques

the plethoras of nerves

but to seekthree neuro-  three transmitters

once we were threeloci

of the One

_____ now two

illuminated from above

her death, her shade

is she here now?___

they say she is a fire____do they mean: God is my light?________

I, Myna DP, hear the man say

One as four times

_______took us to this foreign

to the Belgian in French

book that points, transports

le navigateur, l’auteur, l’homme: Jean-Dev

one transfigures

apartfrom

father(thunder)

but Maman

____________________maintenant

now shade, shadow

hands

_______mortal tenant

to be walking on the

abstract plane

ledge of light

_____________site(this epileptic)

to intersect

in translucent layers,

non-mortal tones?

scoredfor sevenis create

in eightis eternal

to photograph

an indexshadow, ghost

weeping, mutteringor singing

not hisbut hers

raveling

loses threads

______ Mamanan alien

from innerspace

observe the mothership

if to lose her

Maman

life

fate and threads

(Minerva, Myna)

weave of path: a pattern, labyrinth or Maman’s others

private journallog or logos

shh____piano

do not

enlighten

math, not myth

of how we fled

evaded

by cone, by coil, by conic spiral________

but lift-off casting shadows

so see shade

still hear her

voice

unearthly

voice

too sudden

cease

how is this Hitherworld?


Pour citer cette page

Moyna Pam Dick, « Excerpt from I Am Writing You From Afar »,  MuseMedusa, no 6, 2018, <https://archives.musemedusa.com:443/dossier_6/pam-dick/> (Page consultée le 07 December 2022).