Light Between the Cracks

Full Spectrum by Adam Rogers -> Chevreul / Ministering Menaces / Just Passing Through

Finishing book called Full Spectrum by Adam Rogers on Color theory. Its lovely. Journalistic. Really digs into the chemistry and physics, discovery, usage and manufacture of all things color. Nicely done.

Dude has me going after: Michel Eugène Chevreul, prominent French chemist, who made significant contributions to chemistry and color theory. For instance, he wrote original theory on how colors make halos of complementary effects on other colors nearby —

Something that happens to me wrt language, all the time…? HAH.

The laws of contrast of colour : and their application to the arts of painting, decoration of buildings, mosaic work, tapestry and carpet weaving, calico printing, dress, paper staining, printing, military clothing, illumination, landscape, and flower gardening, &c.

by Chevreul, M. E. (Michel Eugène), 1786-1889. Myself just this moment downloading it from Internet Archive. This is an English translation of with pictures: https://archive.org/details/lawsofcontrastof00chev

Keep Pursuing Light in Cracks

As a form.

Novel today reconfiguring first two sections. So there’s a lot of chop chopping going on.

There was a scene, and the way in which it was set up, put a drag on the opening, that was more than I wanted it to be, but in another way, less than I wanted it to be.

Needed to reveal its opposites arriving at same time, in a way that, Cioran talks about, not causing unease. And yet, the unease question is popping on another side of itself, too.

When to say NO. Let the unease be felt…

Then pull a switcheroo, its the beast and beauty sides of revelation, monster with a heart, and beauty that is afflicted with ministering menaces.

Form Creating its Own Form

The old in and out.

Chop chop vs. trying to keep a handle on simplexity. And then poet shows up and yells at me. Remember, remember Chatterton, remember remember, create your own form, out of old forms, into new forms. Mr. Dynamite.

Chop chop is a form I sometimes go after, and talk about all the time.

So that movement is constant, not so much as between phrasing, like Acker, as between placement. This gig that gig, vanishing and reappearing…

At anytime reader could be anywhere. A constant feeling in the form itself, of vanishing and reappearing into reality. Something I am reaching for.

The disappearance sniffing Pessoa’s — is but not is, the simultaneousness of dream with dreary reality as a condition of oddity and ferocity, and dangling with sweetness of finding itself in heightening interpretations —

But, also more like Byron, closer to understanding tragedy, what cant or wont escape enchantment, or mesh of itself, turnings into periods of hell known insidiously to most forms of rapture.

As well as: destitute periods versus — hunger for luxury, material goods.

Time Standing Still

Gods and forms of gods as mesmerisations flashing through, flashes of the metaphysic as that battle, with the eternal, things LuLu cant quite get away from symmetries, signs, enchantments, that are ancient, that are felt as time forever standing still.

Moments of it filling her top to bottom, as if existence is mere trifle, and those moments of negation a fleeting charm more important than conceding to her identifying with life. Very Pessoaesque that thing.

Still, its American. Not necessarily keeping things occurring in different time frames right next to each other. Poe-sy slippery with madness, with descent as discovery of freedom and the tragic, and what “the subjective” hungers for, including love.

Always: Just Passing Through

Anyway, thats what I am working through today EOD.

Appears to me as something I am trying to pull off.

That want to make it feel flighty — caught between grazing for grace and splurges of demonic quandary as freedom exercising relief from containments and a unquenchable want to refuse or risk having to confront becoming one or another, specific thing that identifies with time in which exists —

Except as passing through.