La Far

Figure

31 f i g u r e Then [the object] as retreat among ten or twelve yards my hands heavy [lift] Shadow positing the thing as a way of stopping [use] Will I mean for? I think of “before it can happen” delay in the newspapers covering over her body] you know the big blue and white buildings [gray and white] in front of myself 32 Open mouth without scream The men return with sacks [over their shoulders] [“I can feel the tablecloth”] [before it can happen] The scene quiet as I leave it [and they became one person] This in the act of emerging— accounts for the blurred—grass. Being fired at [seven] times. The grass in the act of emerging, already from ten or twelve yards, right among us, the being fired at, already there. Then “grass” already there. Nothing new is [happening]. What I 33 can’t say about the bullet, the grass silvering as it’s posited [there are sides] [burgeoning] [back down] Photography becomes social because we can’t kill anything Also not seeing herself also showing her the photograph You see, she’s moving back [then the—still—being left] [we see or we know by then] to feel myself rising but I want to feel—the other going down—I cannot feel down for the other. I cannot feel “observe” for the other I can only observe the other [it used to be]—I would have to begin as the object. What I “know” comes in and shuts 34 As we have to have—the beginning—of the line [the plane in another language finding back] What if I stood in a building [between “disciplines”] Up to now we’ve been talking about photographs which are in existence—[which you choose] Now let’s talk about photographs which are not in existence We will have to talk about all of them [“this” as the only human interaction] First there is the photograph The bag of peas and potatoes falls flatly on the floor of the—lift [but suddenly through a graph] 35 DS You prefer to FB Totally alone. With their memory Answers are made by finding back and changing the questions [injury] But tell me who today has been able to record anything that comes across—as a fact without causing [I meant] to the image if I had really thought about what causes somebody to scream, what is it would come like the water which is [already there] Buoyancy: an open mouth may not be a scream [“not”] [on the other side of] [limit] The image of the human— —the names for things— 36 there would not be centuries— [stopping action?] We throw something on Now:which the other does not know : and this constitutes the demarcation point [what we call describing a technique] [what we call nor to tell time] [the voluntary] [one slick side] from “now on” we saw a dorsal fin in the water. There was no time. In which that became what we saw say A man but further off [waving] The side of sleep like a bell 37 Also people sitting on benches a kind of caution [the numbers being called before they came up] what they mean. And yet I don’t know what they mean. A strategy [but you can throw] [now working beyond reason] [now /wavers/] [There’s a further step to that: the whole questioning of what appearance is] [I mean it comes about somehow one doesn’t know how] [Somebody paints my room] [reading the poem as] [thinking about doing] [like a street] [the images would be naked figures, but not literal naked figures] 38 [“this” limit to my pain] [and the other side of the limit] Because this is not a film, I cannot say what grass means [I saw you from the hill in the park and running, came into each word for the first time] I write back and if shadow has a subject is unaware for charity we have to posit action described as the hawthorn she comes up the walk its opposite like a shadow zip, [she] whispers zip ...