This (historical) object has decided to exist obliquely and by virtue of its existence to become correlated with the approaches taken to it by diverse groups of object-beholders—constituents—who appear motivated in their actions by a hunger for possession, or by the opposite impulse to escape from themselves into what they see. Dredging up strange but deeply felt emotions, they apply them directly to the screen—which is gray and framed by burnt plastic. One pushes it aside like a shadow. Austere but fragrant (redolent)the object branches down stairways, through hallways, out doorways, along streets and rivers until, carried away by birds, it is allocated over numberless empty landscapes. Out of its dispersion new objects are confected, to be placed side by side, on a mountain meadow, while a backward-looking daylight wanes, and the hand recedes that grasps the string stretching away to the great dead images of the past. I reach toward them from the present. How is it thinking of them, transparent or ashen, implausible then and now, arranged in the casual order of assumed routines, unconsciously shuffling through the days that bore them and that they came to represent as signs conceived to recoup an intensity and splendor that defined some prior synthesis—how is it by occult operation ordinary things occur? Whose present with its ‘here’ is here? Who drinks nectar through a nail?
from HallucinationFind more by William Fuller at the library
Copyright © 2011 William Fuller
Used with the permission of Flood Editions.