Archive for May, 2007

Palme d’Or!

Not even the atemporals like me are blind to this contemporary happiness. So I will carry on the news, plaster your name on my stream of consciouness, because you made me so proud.

Romanian director Cristian Mungiu won the Palme d’Or prize at the 2007 Cannes Film Festival for 4 months, 3 weeks and 2 days.

From CNN “The low-budget, naturalistic film about a student who goes through horrors to ensure that her friend can have a secret abortion beat out 21 other movies in competition for the Riviera festival’s top prize, the Palme d’Or…

Thank YOU.

SHUKAR COLLECTIVE

Summer is here. The crowd-puzzle of people where you fit in and get dissipated simultaneously. I issue myself into these summer people in my jeans and plain black top with something random hung around my neck and colourful hairpins, the strap of the uniform-bag cutting my body, diagonal on the torso. I am less than perfect. Sticky-sweet skin. Attentive antennae. Let’s be collective.

I raise my right hip and allow it to pick up an urban gypsy vibe. Like ink in water, crossing through the ribcage into my left arm. Wave. Eyes half closed and smile. I’m in.

I am not beautiful. Not smart, not interesting, not special, not clear and precise, I do not carry personal experiences, I am made of the same substance as everyone else, I have nothing to share, I am no mirror. No remarkable hair or shape of eyes or things to utter to strangers, no sharp smile like a needle into hearts. I don’t know anything. No Cauchy-Hadamard theorem, no poems like fists full of violets, no absolute or relative truths.

I do not matter.

It’s wonderful, not to matter.

All that matters is the movement. We are one. Our chaotic kinetics of summer concert crowds converges to one great body of featureless creatures, riding the same wave.

http://www.myspace.com/shukarcollective

The Lover

amant.jpg I am so vaguely her; yet somewhere in my swamps I still keep a crystal clear recognition of her kind. This is something constructed such a long time ago, when I was still struggling to form somehow, trying on masks. Eventually the masks stuck to my skin, some less, some more and from that collection of remains, I have emerged. Me - a fractured creature, as everyday layers. The core I save for final justification of myself.

It is almost June and June makes me like this; it acts like Proust’s madeleine. Duras, de Beauvoir, Millet – these queer & terrible French mothers that have taught me things I never wanted to know, by initial pure construction. Too late. I have learned detachment, ennui, analysis-dissection-philosophy of a love performed for intellectual reasons first and only then for everything else. The frighteningly lucid female mind and her magnifying glass on him, the lover. No male cruelty, no male intelligence can conquer that, because essentially, they fear this particular woman paradigm. Her dark whims originating from the beginning of time, exhaling red earth and tied to his instrument - reason. A monstruous combination which should have not been allowed. He cannot split himself - he loves her as if she were purely woman, purely instinct. Yet she picks up a pen, she is not a blind priestess, she analyses and becomes a source of pain. Like so many monsters, she is mostly concerned with herself and that creates such heartbreaking women. Mademoiselle Horror. 

L’Amant by Duras is what I love best from my French mothers. A beautiful red mud for my sparkling heart. It is a book to be read in June and an Annaud movie to be seen in June. I turn away from L’Amant with a clever love demon in my head, a taste for odd details and the Caucasian curiosity to bodies of Asian races, to skin and habits that are not mine. The pile of new essential books next to my bed, bought at the summer fair with sun decomposing perfume on my neck, breaking it to its first parts, mutating them. Dior’s Dune still smells the same, still decomposes and dies into the same thing each summer since I was 17. Night wind breathing in my room, filling my bed with wet jasmine, honeyed linden bloom. Cherries and coffee in the morning, while air is still cool and touches my breasts like a lover. Dust mixing with sweetness on my legs in the afternoon. Irresponsible, perception-twisting summer lethargy. Viens.

Octavian Paler is dead

Rest in peace. Tonigh we are a bit highschoolish and to those of you who know nothing of him, allow me. This is all about Adam.

The Death of Words

“A face of sand

and hands of sand

and the tongue in my mouth also sand

I cannot say anything to my defense

in this court of sand

with lights of sand

clerks of sand

memories of sand

and someone to turn over the hour clock.

Everything I ever loved has turned to sand

everything I ever did wrong has turned to sand

and judges of sand

are trialing me

and sentencing me to death

on a scaffold of sand” – Octavian Paler, from Imaginary Letters

Strict Machine reads Rimbaud

Because HE likes me like this. And we have nothing else to give him, nothing at all. We wrap these metal python-thighs around him in a dandelion ballet of transitions. We are his non-deterministic finite automaton. And he has all the right potential to know what we mean by that. As Goldfrapp licks us with her cherry-bomb-red-vinyl tongues –

“Wonderful electric
Wonderful electric
Wonderful electric
Cover me in you

I’m in love, I’m in love
I’m in love with a strict machine”

 I’m from her aesthetic – pale skin, Slavic-Germanic eyes, a determination like the one Rimbaud described in Une Saison en Enfer. Read it yourselves, it’s called -Mauvais sang-. Be drunk on its cruelness and monstruous spine and art.  

Oh alright then. Some Rimbaud to be read together, under an open window with late spring wind swelling white curtains, kissing the vaguely leopardess skin on my shoulders.

 “Tedium’s no longer my love. Rage, debaucheries, madness, all of whose joys and disasters I know – all my burden is laid down. Let us appreciate without dizziness the extent of my innocence.”