Recipe

So here’s the recipe for the salad I invented to deal with the blood sugar meltdown:

1 can french tuna in olive oil
sundried tomatoes in olive oil
2 tbsp fresh red bell pepper
sprig of mint
1/2 tsp. dried tarragon
1 tbsp. chopped red onion
moroccan black olives
tsp of parmesan-reggiano cheese
12 small romaine heart leaves
salt & fresh ground pepper

jumble all this together, draining off some of the oil from the tuna. Pretty good! The tuna was actually from our last trip to France (in 2003!) and was about to pass its expiration date. I’m sure regular tuna would be fine — just aiming for an accurate representation here.

(Thanks to AB for inspiring me to record this, and check out this easy soup recipe, yum!)

nadare-ame (dribbling candy)

Rooting around on Pratt’s Moodle today, I found a list of research resources including http://scholar.google.com — which, oddly, I had had no idea about. I typed in “butoh” and found a page on Hijikata Tatsumi, who would be one of my heroes if I had heroes, and was particularly taken by these two paragraphs by Kurihara Nanako:

Words and Body

Despite being a man of the body, words were essential to Hijikata. He was a voracious reader, and he wrote and spoke about his butoh on many occasions. He was especially fond of verbal battles with artists, poets, and writers, which he initiated during drinking bouts and which he considered a necessary process for his creations. In these drinking debates, so to speak, he took words, that is, ideas from his interlocutors and threw riddles back at them. Numerous banquets and drinking sessions were held at bars, friends’ houses, and the Asusbesuto kan (Asbestos Hall), 3 which was both Hijikata’s home and studio. Hijikata trained his dancers and choreographed works using words. Ultimately his dance was notated by words called butoh-fu (butoh notation). A tremendous number of words surround his dance.

But Hijikata’s words are not easy. Often his writings are strange, equivocal, and incomprehensible even for Japanese or for people close to Hijikata. His sentences are sometimes incorrect according to Japanese grammar. He freely coined his own terms, such as ma-gusare (rotting space) and nadare-ame (dribbling candy). His writings often are like surrealistic poems. At the Tram symposium, Nishitani Osamu, a scholar of French literature who used to hang out at Hijikata’s studio, pointed out, “Hijikata’s writing is neither prose nor poetry–something different–and his Japanese is twisted” (1998). Uno Kuniichi, a scholar and an acquaintance of Hijikata who wrote Aruto: Shiko to shintai (Artaud, Thought, and Body, 1997), responded, “[Hijikata] created something [End Page 14] persuasive by disconnecting the joints of sentences” (1998). Hijikata’s language implies meanings and feelings that logical language cannot convey.

http://muse.jhu.edu/journals/the_drama_review/v044/44.1kurihara01.html

It occurs to me that I actually own a copy of the issue of The Drama Review in which this appeared! I tracked it down years ago and it is one of my most treasured volumes. I suppose I’m “meant” to keep coming back and back and back to it. It seems appropo of the recent panel on Language Poetry and “the” Body. (That definite article is always a little bug in my ear.) BTW, Tim has written a wonderfully detailed and lucid summary of that panel (how does he do that?).

Making Dying Illegal

When I was a little girl growing up in northern California in the 70s, there was one book that was sure to be found in every home – not The Joy of Cooking, not Tom Sawyer, not even the Holy Bible, but rather, Be Here Now, by Dr. Richard Alpert/Baba Ram Dass. Its blue mandala’ed cover and fibrous brown almost mulberry-paper-like pages served as an essential interior decoration item for all those homes in the redwoods, Victorian houses, spraypainted Ford vans and even teepees in which the people I knew lived – and perhaps was a reinforcement of a kind of book fetishism I had been nourishing in myself since very early childhood. I remember thinking that the book was sort of sappy, but that I liked it as an object – as I liked so many of my mother’s books like Laurel’s Kitchen and a book that had line drawings of how to make yoga pants from bedsheets and a book about natural childbirth that described people’s experiences giving birth at home in slimy detail.

It occurs to me that, given the right marketing push, the latest book by Madeline Gins and Arakawa, Making Dying Illegal, could be the new Be Here Now for the post-modern, giddily cerebral set. Reading it today at lunch, it occurred to me that a passage I was reading seemed like a direct translation from the Hippie, and I very much liked what I saw:

To form a person and to form an identity are not the self-same process. All supposed identities are half-told stories, dogmatic and highly unreliable patchwork narratives. It is incredibly important that what each organism that persons claims as its identity be nothing more than this: organism that persons. To try to have an identity over and beyond this would too drastically limit one’s possibilities, inasmuch as it would promote separatism, isolating this ethnicity from that, this family from that. The thing of it is that streams of inter-subjective attachment generally do not flow wholeheartedly as the milk of human kindness between people who consider themselves to have strikingly different identities; thus, if there is going to be a community-wide effort to do away with dying, then, so that people won’t be insufficiently fructified, so that they will be sufficiently encouraged along and replenished by streams of bioscleavic emanations, separatism-causing identities must be let go of.

* * *

Following Suttie, I will (a) have love be thought of as quickness of sympathetic response, readiness of understanding, alacrity to laugh in sympathy with – in sum, a many-streamed feeling-interest responsiveness; (b) know an infant’s longing for its mother to be the expression of innate-need-for-companionship and of what in free-living animals we call the self-preservation instinct. Frustrating this urgent need will switch about direction of flow. Say that love and hate form a continuum. Another way to think of a switching about of direction of flow that comes from the frustration of loving longing is as a peremptory shutting off of access to some scales of action. Love blossoms different scales of action. When access is cut off from different scales of action an organism that persons loses cognizance of its biotopological condition. All the many sides of things and events… Hate is the collapse of love.

Madeline Gins and Arakawa, Making Dying Illegal p. 123

Get this book! It will rearrange your world!

bomb craps

bomb_craps 残鉄剣 2007/04/06 23:42

You and I had never sent a lie.

We ever want for everlasting sight.

If you ganna across the flare of the sun,
We have a summer that tears fairly run..

If you wanna see the garden before our lamb,
The laver maight have been bombed.

The cycle ticks us round
The eath’s tucking a turn.
She’s neither chick nor child
He’s listening to theticktacked clock.

You’ve ever been before that
The world borned with the variant.

You shoud take the polarized count
On the radiowave he poped off her son
To hear the monaural sound..
If you wanna see the game around
Plez make all flesh dryed

We never take everyone’s tight
You and I already bear the night

After a heavy centry it lost a sober
We never have everlasting lives
But we ganna see the sight of agave
Than all they gave again

http://www.haikyo.com/

TURN ON THE BIG LIGHT

Concurring strongly with this statement of Josh Corey’s:

I’m interested in heteroglossic poetry, whether literally (poetry that incorporates other languages, dialects, and modes or classes of speech) or otherwise (forms of poetic heteroglossia that intrigue me include poems that deal elegantly with the mundane and quotidian, or with the brute facts of the desiring and perishable body, or with the various modes and incarnations of history). I think it’s worth approaching these questions of genre from this more existential angle: to interrogate forms and modes for their ontological and epistemological possibilities.