From: Dahlia's Iris - secret autobiography and fiction
by Leslie Scalapino
The drivers put people in constricting hoops. Base on decreasing.
In the elation (which would follow) there's no hoop. Outside it's boundless.
Running is not within it.
Out one carried in a sedan chair, Circe takes people's beings so that they're captured by her, ramming as jostling hooks another sedan chair with N in it. forcing N back from seeing the occasion outside. Who then swims up blowing her own gown a rage of jealousy so that she dies and is separated from her corpse there. Separates from her clothes left on the bed that are her outline.
Slaves' outside evening or evening, Pal Mal Comic
It is the same as war, our sensations and words replaced in it (elation), Andrew Chen maintained. (This is placing puritanism before feeling; but Andrew doesn't do that when he's feeling, doesn't place anything at all then).
She didn't agree anyway. Outside, elation outside of action one is in even - has no fighting or war either - it is before one.
Citizen Debree is so lazy that although he might see this, could, he doesn't bother.
How does that connect to the rungs, the plates of people enslaved, pressed living in plateaus of cubicles - it's at the same time.
Keeps realigning to it as it can't disrupt it? as nothing can disrupt the system of slaves - starting is it's everywhere huge shimmering at once.
A bellicose man brayed, opposing it - but then that was merely his ego and he reproduced it by his ego. It's really outside. Waves high-rises in place, not shifting or wafting but a wave since we were children, or before, our sense of terror has been to keep there, in it, even to comprehend it as to drop out is when death has already occurred.
The relation to terror is people, not death.
Later, no longer constricted chest in the stage prior to elation, without elation of the drug of hunting either, she has the recurring sense the hoop of constricted chest is created by someone. Whereas before, it bursting was created by either movement or stillness - outside, before elation. Or at least, she thought that. Then.
To dismiss her (in his memo), Robespierre, an old friend, refers to her self (as speaking, sensation, words) - yet he means any self at all, anyone's. To dismantle. Where she'd referred to collapsing the mind onto the time it is [in]) - (A mind is time? she said speaking to him once) - he says this is merely "reification" in the wave. He says people do that asthe present.
So she has to jump outside of, or before, (while it is) oneself. The wave is one being placed before it, also. Wave is 'not itself''? One is 'as' only the motion itself, one's motion?
He doesn't want reification - of the plateaus of enslaved people as his idea. For the directors, where everyone is always shimmering, attached to each other, labor is the only import or export. The only existing. Robespierre wants obedience. He will change the ground - seeking it (obedience). To what.
The flaneur, the detached stroller, no longer exists. Instead, individuals on all economic and class levels at once are both seeing and creating the interaction that is them: which is then exterior, is 'society' (that is, the illusion of simultaneity).
Jealous Robespierre only attacks a thing that is good, never anything that is bad (in ability or skill or evil). Is being in hell. That is a hell. She leaves Robespierre.
Walking, the street, where there are trees on either side lit gold by the ascending evening, which is as if arising and illurnining gold air but which is not in the air. appears to be the motion of the trees attached by huge flowing roots and boughs not moving in this instant of seeing. One's. as seeing has the motion, is it there. its quiet yet men arc hunched over in the street, their backs not distinguishable from each other hunched. not even animate yet like the tree roots and trees in the evening anyway. walking or seeing alone is not rooted in an evening, then. yet one having the physical sense of utterly happy that's not even elation but also in the trees and the bowed men's backs, working. without reference to them either; being utterly happy is not in any's sight. Or the relation of the men hunched in the street working to evening. not moving in one's instant of seeing either; the motion of the trees gold is not in evening which when everywhere will be dark being utterly happy at present only. the trees and the hunched men will be in dark also to evening. Oar to slaves' outside evening or evening.