On real people. Or people who become real.
On the hatred of a certain author’s Neat Houses lined neatly together on neat roads that go nowhere.
On magic. Not spells or incantations or charms, but those under which people fall, perhaps becoming real.
Writing a girl as a photograph. She cannot be unless edited with chemicals, ink, blurred parts and frowzy hair, intentionally for anticipation of a tenure, articulating homework not her own in a thrift-store pullover that indicates cats and discarded memories and fingerprinted lenses. Her jeans, too much last century, forming perfect lines so unlike this century’s sprayed-on “jeans” that reveal perfect lines.
How does one manage disheveled, dusty, baggy and still exist? Essentially a fly-paper that attracts weirdos that are not real – do not exist. But the voice and the reticence and the averted gaze whisper “unreal” while it all seems unintentionally intentional while the self-same stickers affirm what seems to be what she is [not] saying without ever mentioning it.
By a passing admission of cats, both dead and alive, and simply not here. Reading rare monographs on tin-type and cyan as if everyone else should be. Introverted enough that a sudden press for paper-encased foam might foment a quaking cry later on after dinner (if she can get through the mundane-ity of that, even). Expert in balancing exposure suspended in a didactic public revelation, over clothed and perpetually frumpy, but clearly not beneath all that. Jeans are always telling.
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About somebody I’ve met before, but don’t actually know who enough to write about, but thought about enough for a few minutes, enough to write about. Word paintings don’t have to be right, if they still make a picture.