It was gone for too long … not for me because I only really care as a byproduct of my son caring … but gone for too long for my hockey-mad boy. The hockey strike is over now tho’ and the shortened season is better than no season at all, you can be sure of that.

Current psychological latitude: gratitudinal.

(Current linguistic attitude: I will fuck with you with love in my heart, language, baby. Now and forever.)

So many boats in my dreams, this last while. Boats and boats and then again boats. I like boats, always have (particularly those powered by muscle not motor), maybe as the result of having for a father a man who in his youth was a sailor or maybe as the result of my Piscean nature.

After the Alphabets
W.S Merwin

I am trying to decipher the language of insects
they are the tongues of the future

Because I love the sad and beautiful truth of nothing-can-stay.

So yes, I’m making a beautiful bookthing. It’s that wondermental thing known as: a labour of love.

What I’m doing right now is I’m writing a thing, a beautiful thing, a bookstory thing. It’s hard going — oh god, it is — and for all the wild-ride moments of outpour, there are many many — many! — ice ages of brainfreeze. When you write a thing as a pen-for-hire, you push through the brainfreeze, because money and somebody else’s deadline are great motivators. But when you make something with joy in your heart and when it’s a collaborative effort to boot — I’m making this thing with James Cook, whose delicious photographs will join up with the words I write — you let the going be slow because you’re waiting for a strange kind of knowledge — epiphany, I guess you’d call it — waiting to see in a way you’ve never seen before, waiting to understand, waiting to make connections.

I love Milton Glaser.

You know how much I love words and the physical act of writing, how much I love the graphemic grace of  the thing that is written? Yeah, you do. And you know how much I like holding a pencil in my hand and making marks on a paper with it — marks with meaning, I mean — and also how much I like reading a paper full of writing from someone else’s hand? Well, I like all that very much, you know I do, but I like something else too:

Swarm
by Cheryl Coon

Dave Kinsey at Fecalface has a treat for you, me, and the lamppost:

You know what I love? I love “yes”. I love “yes” so much, and so hard, and  also its more boisterous adjutants “hell yes” and “fuck yes”.

A couple of days ago when I was stopped at a street corner waiting for the light to change, a man walked up from behind me, stood beside me, looked at me, smiled, and said, “Nice legs, librarian.” Now, I’m really not a woman who enjoys strangers making commentary on her appearance but he didn’t have the stink of testosterone poisoning about him so I didn’t just default to my “Fuck you, you fucking fucker” setting. Plus? He called me “librarian”. And oh good lord, I do love me a librarian, so very very much I do, and am always so happy to meet a fellow member of that tribe, which obviously that man was.

Butcher’s charts take it all apart.

Sewing patterns put it all together.

The sundering and the reconciling … they interest me, both. I maybe love taxidermy because it requires both; I should maybe love the jigsaw puzzle more than I do, for the same reason.

Often I think of the poetry of objects
about the way a seam is resolved
or the way a spine grows
about the things we make with our bodies
and the bones from out of our bodies

The world spins on its axis, on and on and on, no matter who comes here or leaves here, no matter how happy or sad you are, no matter, no matter.

Gah. Some words are nasty. Nasty with nastyburgers and a side of nasty.

I read a blog (very intermittently kept) written by a Korean artist who writes in English, which is not her first language. Her tiny strange observations are often very beautiful and made more so by the flaws in her English, a lot more so, I think, because those flaws can be very illuminatory — that skewing of language can make you look at a thing from a whole different perspective. The accidental nature of some of the beauty she writes makes her observations fresh and astonishing.

Lisa Auerbach’s Tract House project is full of badassery and makes me happy.

And here we are in a brand-new decade. I like that, a lot, because I’m much attracted to notions of new beginnings, even tho’ a new decade is no more a new beginning than a new day is and I’m still actually living the same life I’ve been living all along. I mean, the digits 2-0-1-0 don’t in any way change the unfoldment of a life. But the symbolism is juicy and yummy and also the questions posed to me about the last decade and the next decade by the very clever Sheila Killian are juicy and yummy and made me engage in some reflectional brain activity, which is generally a bit hard and scary and also deeply worthwhile.