A moving shadow, nothing, just a tree, a late light shifting from the expected place, all the small insignificant darknesses that gang up on the imagination. Here they move with their silent melodramatic shrieks seeking a wall to touch, and yet persisting in the darkness of the forest or the road.
A moving shadow, nothing, just a tree in field or forest. Here’s the midnight park behind the empty street. Under the skin, children are playing, and the train waits at the station, forever drawing in to crepuscular music on a stage with the reddest curtains you have ever seen.
A moving shadow, nothing, just a tree with a blonde woman walking away from it into a room or chair or a fluffy unmade bed where someone else is sleeping. Someone speaks in a voice inside a head. It might be hers or the tree in a landscape of speaking trees. Must you be so creepy, the voice is saying.
A moving shadow, nothing, just a tree. But David, you must stop these endless games, says the tree. Grow up, David. It’s late and we have to go to bed. Turn off the music. Concentrate on the shadows on the wall. Unpeel yourself from the wallpaper. Sit up. Lie down. Stop speaking. Shut up. Shut up.
A moving shadow, nothing, just a tree in the branches of which hoots an owl. Symptoms of dizziness. Another stage, more curtains, more transformations. One finds oneself by listening. Are you listening, David? And music pours from the tree in copious bars as if living were a matter of moving shadows.
The dream came weeks after I visited The Beautiful Captive, a solo exhibition by an Alexandrian artist. In an installation exploring enactments of domesticity, two goldfish were meant to be floating mindlessly around a glass bowl but upon looking closely, I noticed one of them had stopped moving. When I inquired, I was told the fish had died unexpectedly that morning, and that the assistant curator was on her way to the gallery with a replacement. Can I make you some tea while the new fish gets here?A red velvet curtain hung inches above a fireplace with a beige marble mantel, a vase carrying two birds of paradise crowning one side, emptiness the other.In the hearth not fire, but a belly of glass.At his talk that evening, the artist did mention Magritte, but did not say the looping goldfish were stand-ins for fire. I might have read that later, in the curatorial statement.In an old photograph (Geneva, c. 1993?) not one but two bees are trapped in a glass cup turned upside down—how did my father manage that? It was a game we played after we ate, as the light packed its things. When I could no longer see their honey stripes, or my mother’s orange lips, I knew it was night.diary excerpts [weeks preceding dream]No noteworthy dreams.No punctuation.Notes for my obituary: Survived by dust. No cats. Green milk. She always unlocked the door with the wrong key first. Kept her skin on a hanger as she slept. She was two women. One bird of paradise. One ran out.Not again—the dream of wearing glass gloves I can’t take off. Nails painted red. Like flame in ice.Now I cannot clean the house.
Один російський громадянин вийшов на вулицю з плакатом война російські міліціонери запакували його в автозак
Інші росіяни уважно спостерігали за цим і знімали все на телефони
Одна російська громадянка вийшла на вулицю з плакатом мир російські міліціонери запакували її в автозак
Інші росіяни почали ставати в чергу до автозака з плакатами й без
Один російський солдат почав читати роман одного російського бороданя далі обкладинки не пішов бо й так усе ясно читати між рядків його навчили ще в школі