PRODUCTION IS RECEPTION (36): AS-OF-NOW UNTITLED (2)

Still no title. I think it will probably have to wait until the end. The writing began in earnest in over the weekend, finally, and as this long weekend approaches, maybe there will be significant progress. What follows is the middle of the in-progress draft, two braided threads of text:

[…]

& it can cut deeply & it will be impossible to put it back together again; you can never read the same book twice, you can never go home; time passes; every piece of light is brand new in the unstoppable wave of time; & your hands are hopelessly wounded, scrawled with characters, words, gestures, trembling; terrifying machines in the terrifying light; try and try, your hands will never arrest the book in time; all you can do is bleed &

—a morning with folds, fast heartbeats, folds, and joy; joyful light shining through this glass, this stain; it is the morning, a blemish, a blush; the already scarred face of a new day; gorgeous in the light and twisted like that; red like that; read like that; brown, white, blue, yellow, white; and sheets turning folding; waking in the wake of this light; this day; this light; this day; this light; this day; this light; always new in every repetitive push; this terrifying machine; this time; this day; this light; turning and the light pushes through, awkward, groaning, fumbling, the light passes bashfully; this morning; stripped down to thick & bright, this white gorgeous in the way that it is read; never a sight as such in darkness; never a site as such in darkness; this is joy; this morning; this sight; this is sight; and waking; this morning; made; this light; unmade; folds; the mechanics of these things are incredible; movement, the way movement happens; always new; this day; this light; as such; thick & hanging, everywhere; like that; just like that—

& this is the ultimate measure of time &

—this is where we can begin, thankfully;
[…]

I spent some time playing around with different structural conventions, on how to break the phrases in way different from the “natural” sentence. I don’t know if this solution will be the one actually used, but we’ll see—I do like the rhythm. I’ve also been thinking about the punctuation conventions of early manuscripts, before the rules of punctuation had solidified at all.

And the “normal” text is written only using “you” and “it” as pronouns, while the italicized text is only written using “it.” Very simple structural choices or exclusions like those can help to build very strange texts.