ass and thank goodness dissolves the
first stone or this erosion of the dismissal
for she cheats all lost time by playing
opposite
silently on the outskirts of town
without context (swallowing but concise)
so she says: that’s senseless
or irony of the after-effect the abolished
without history and mother tongue in hospital
convulsively white this body speaks
perhaps to amuse herself underground
but at heart charged without restraint
she start over from the bottom of the page
filled with the unleashed scents that undress her:
flying
drying up or fictive the liar opens
her fist this abduction all confined by the masculine
spread out
her withdraw – it depends – at what price
and the beyond amends her history
you get wet and dry up in pleasant parallels
drifting when the net is lifted
or concealed down to your feet you put on the brakes
and yet this pretext intervenes with your hand as process
a gripping sift of the inside or a return to self
this morning shifting history with a silent e
La Partie pour le tout
1975, tr. 2010
CALLIGRAPHER / IN DRAG
from Daydream Mechanics
tr. Larry Shouldice
December 1970
text that can be read horizontally as before different in the number of coincidences of the fragments assigned as such to the role will be silenced for revealing herself through the written matter itself fragmentation of meaning fragment this space for what is written glimpsed the spectacle of the written. before the onlooker before the cross-dresser to the birth of ambiguity (aperture from which surges forth life) before the spectacle finally a calligrapher duplicates without erasure before the cross-dresser the mark left vague in the atmosphere left mark curve in movement gesture of writing. calligrapher in drag intentional double usage of one on / by the other double surface multiple purpose. before the text travestied with insistence and connotation
, in the comma sense scar line drawn backwards to its centre (lower belly) and licit mobile link and justification for what follows, in the case in which the visible the slope of the calligraphy produces quick impatience unanimous thus I provoke riot I in the plural person cause insist riot, opening up of meaning if multiple travesty threat subversive false eyelashes face new incidence and checkmate
the allusions understood the threshold passed to choose an original form of allusive denunciation for with finger with arms to make the facts precise incoherent the system including a meaning a place in terms of denunciation a void. return to the first version the indecent illegible spectacle repulsing / attracting in sight and in knowledge before inevitable travestied and anonymous initiators.
the commentary is printed thus in intensifying fervour the inclination of the text legible in its beginnings this commentary limited in itself the present in the flexibility of muscles invested with a hard male resistance in drag (pleasure and confusion) in the transgression
cancelled everything before this to haunt your look rather in form of abbreviation outlawed
Méchanique jongleuse
1973, tr. 1980
JUNE THE FEVER
from Lovhers
tr. Barbara Godard
i read the text of your project. i am writing you now from a sidewalk café on St. Denis where i have been sitting for an hour. it is a fine day and all about there is an air of reality. this café is called La Cour, it has a little yellow fence.
i don’t know why, but rather than reading what you have written, i’d like to imagine it. i picture you obsessively in the midst of writing excessively as if nothing could stop you – so, you never worry about anything. when you quote, however, you must stop, it seems to me. for example, when you point out what Y observes: the relationship of thought to language is not a thing but a process, a continuous movement from thought to word and from word to thought, what happens in your eye?
i go at your project in pieces because literally it burns me. each fragment becomes my ‘integral’ of you, the total work in the sense of an equivalence, of a shared reading facing the certainties i sometimes push away with tears, with forgetting or again with writing so as never to forget even if it is never entirely a question of memory: ‘a convenient fiction’ to quote Murray whom you quote yourself.
reading the text of your project, i become aware of the extent to which our fictions intersect: looking in our respective circles for the statement of the theory and the theory of play which will put into motion the very emotion of motion.
the waitress just brought me another beer. of course, that doesn’t interest you. however, in your text you write and oriented toward action in everyday life. i am obstinately looking for traces of everyday life in your work. nothing. everything is in the beyond. entirely real however in each of your gestures/ totally abstract. sometimes i even pronounce ‘an abstraction’ in your presence. you know however about my fever for everyday life and reality. my desire for words, my appetite for what allows me to imagine the real.
here i am trying to write by exploring all the mechanisms that serve to distract this i (permanent and unexplored) for you have clearly seen in your text of the project that nothing is written about identity without this motivation-mobile as is said about meaning on the look out or about meaning upended, turned back on itself. in reading you i am constantly seeking to displace myself in
