Manuel Alvarez Bravo, La Buena fama durmiendo, 1939.
By saying “I’m sleeping with someone”, the fellow means he’s sleeping with the fragrance of her hair at repose, the forward jut of her hip-bones, the restlessness of her feet kicking the tympanic surface of the mattress. He’s sleeping with the contours of her embryonic familiarity.
The thundering noise from above is, in fact, thunder, if we define thunder with the generous elasticity that thunder generates, sequentially. A hawk lingers on an arterial wire, it was built in a rainstorm, the hawk’s plumage is rainfall, its mid-air colors and runoff.
A glancing moment, as when a boxer must claw the danger, given his struggle for viability within the emergency of his own footing. His opposite smites the blundering footage underneath his wobbly mentality, an idea that implies the spark of a knuckle upon the recalcitrant chin.
Your child years, your work years, your aged years. What a catastrophe—to need—to take action, the way bells and horns regulate the sluggish ambulation of conveyances bound for a hub, a destination-hub, the afternoon never able to clear or clarify its ambiguities.
Everything perishes: the belly of a mural tagged by tagger, afternoon darkening, downhill acceleration, even perishing perishes. What might happen—experts should theorize—when all perishing perishes: abrupt stop? but what of “stop”, seeing as it represents a perishable state?