"Objects in the House" from "and now to begin as if to begin begin of beginning again and again and again (in the continuous present with Gertrude Stein"
She says she has a fancy.
She has a fancy for a house not this house but that house within the building that contains houses as she says.
Here I sit.
Six rectangular beige pieces of cut fabric hang at varying lengths off the side of an ironing board with white legs.
She talks to me about explaining while explaining her explanation for wanting.
They move.
Wanting and waning.
Too many cords are tangled creating knots upon knots knots upon.
Cut it loose.
Nothing is going to hurt you.
Yes cut it loose.
But she does say that the objects on a table are hazardous.
Things practice cautious things.
She says she has a fancy. She has a fancy for a house not this house but that house within the building that contains houses as she says. Here I sit. Six rectangular beige pieces of cut fabric hang at varying lengths off the side of an ironing board with white legs. She talks to me about explaining while explaining her explanation for wanting. They move. Wanting and waning. Too many cords are tangled creating knots upon knots knots upon. Cut it loose. Nothing is going to hurt you. Yes cut it loose. But she does say that the objects on a table are hazardous. Things practice cautious things.
Not this house.
On the bed there are four pillows a home for a prayer book with prayers, a rosary for praying, fallen hair from praying, a needle and some thread to stitch it all together I say.
Twenty eight spools of thread lean forward and they don’t have names just numbers like 7780 which is a green and if she were to name it she would call it cabbage.
One two three four I can see lined up along the edge horizontally positioned for optimal viewing each one bearing a different face with different eyes looking at you with indifference.
A red string lays along the white floor board tracing.
Not this room.
Not this house. On the bed there are four pillows a home for a prayer book with prayers, a rosary for praying, fallen hair from praying, a needle and some thread to stitch it all together I say. Twenty eight spools of thread lean forward and they don’t have names just numbers like 7780 which is a green and if she were to name it she would call it cabbage. One two three four I can see lined up along the edge horizontally positioned for optimal viewing each one bearing a different face with different eyes looking at you with indifference. A red string lays along the white floor board tracing. Not this room.
But perhaps this is the wooden table.
And these objects are the objects that lie on a table.
No these objects don’t lie on a table they lie in a table within glass so that she and I and maybe he may look in but not touch to soil the surfaces of what she and I and maybe he can see.
Believe it or not there is a banana made of glass and clothed in beeswax the colour of honey let us call it Aganetha.
This brass rose bowl has ten holes for ten stems of roses is no longer brass in colour but mottled should a rose be.
This table is a building for a house made of papered ruins with shattered transparency glass windows and a speckled cherry brick with a turquoise tiled roof covered in snow that sparkles and is made in Japan let us call it Dorothy.
Six ladies curtsey as if in a state of repose if it weren’t for the way they stare with tight lipped smiles unlike the wide smiles of those nuns the nuns.
Things in miniature as they say.
But perhaps this is the wooden table. And these objects are the objects that lie on a table. No these objects don’t lie on a table they lie in a table within glass so that she and I and maybe he may look in but not touch to soil the surfaces of what she and I and maybe he can see. Believe it or not there is a banana made of glass and clothed in beeswax the colour of honey let us call it Aganetha. This brass rose bowl has ten holes for ten stems of roses is no longer brass in colour but mottled should a rose be. This table is a building for a house made of papered ruins with shattered transparency glass windows and a speckled cherry brick with a turquoise tiled roof covered in snow that sparkles and is made in Japan let us call it Dorothy. Six ladies curtsey as if in a state of repose if it weren’t for the way they stare with tight lipped smiles unlike the wide smiles of those nuns the nuns. Things in miniature as they say.
I will play the piano.
He says the navel orange is taking on the shape of the jaundiced yellow lemon its neighbour.
Age ages aging aged.
Talking to inanimate objects.
Garlic cloves in white netting to be chopped and to be minced and to be.
Music as noise as composition of the sound that we see never sitting still.
I will count.
Two potatoes one yam two bananas.
What good is a vase with no flowers flowering baby’s breath and crimson red crimson jujubes.
Thumb on C index on F.
And yes I have hesitated about singing.
And yes I have hesitated about singing.
And yes I have hesitated.
I will play the piano. He says the navel orange is taking on the shape of the jaundiced yellow lemon its neighbour. Age ages aging aged. Talking to inanimate objects. Garlic cloves in white netting to be chopped and to be minced and to be. Music as noise as composition of the sound that we see never sitting still. I will count. Two potatoes one yam two bananas. What good is a vase with no flowers flowering baby’s breath and crimson red crimson jujubes. Thumb on C index on F. And yes I have hesitated about singing. And yes I have hesitated about singing. And yes I have hesitated.
What is the difference between an object on a table and its shadow.
These objects on a table stand still life.
We have talked about these objects her and I and the life that stands still in their presence.
We have talked about the now and the nowing of time and how nothing is really in the now without the ing of doing.
The shadow it moves not moved but moving.
In its movement the shadow is the ing of the object making it making making.
This is a wooden table.
Her and I have sat at a wooden table we have sat on a couch we have sat on chairs with backs we have sat and are sitting after being seated.
It the shadow rotates and revolves it rearranges all compositions with a silence of a memory that tracks time through space and outlines and overlaps and converges and.
Replacing and misplacing and.
Making things recognizable so they no longer need to be seen because they cannot be seen in their familiarity.
The wooden table stands still standing within its shadow.
What is the difference between an object on a table and its shadow. These objects on a table stand still life. We have talked about these objects her and I and the life that stands still in their presence. We have talked about the now and the nowing of time and how nothing is really in the now without the ing of doing. The shadow it moves not moved but moving. In its movement the shadow is the ing of the object making it making making. This is a wooden table. Her and I have sat at a wooden table we have sat on a couch we have sat on chairs with backs we have sat and are sitting after being seated. It the shadow rotates and revolves it rearranges all compositions with a silence of a memory that tracks time through space and outlines and overlaps and converges and. Replacing and misplacing and. Making things recognizable so they no longer need to be seen because they cannot be seen in their familiarity. The wooden table stands still standing within its shadow.