PORTRAIT I

She
has a kind of bandage wrapped around
her jaw.
To keep the jaw closed, or
encourage closure
when the jaw is injured.

And,
you might see it,
although that is the wrong word,
that there is a blind woman on the street

Who wears dark glasses and a cane
and it is the same thing,
her jaw is closed.

And her words are
the same.

In the kitchen,
for instance,
she looks at
the objects,
and,
they are brightly coloured.

Hummus.
Garlic.
Cereal.
Tomatoes are
a different example.

There are no words on tomatoes.
Whereas packaged things
indicate
what they are.

A tomato is unknowable.
It only reflects itself.

But
the tomato can be known
with the assistance of
a knife.

Maybe it's not a pleasant thing to think about,
but that's cooking,
and,
she hums when she is happy.
And she cries when she is unhappy but
at no point
do the words
or that
if her mouth is closed,
then the words have no way to escape.

Do they form
within her?
How would I know?

I don't control
her.

I think if you look at
her back,
you would see
the
points, no,
the regions,
where she sleeps poorly.

That everything remains
animated
to her.

The direct experience,
which cannot be
put away.

Not like the garlic.

In the fridge,
or in the bowl,
the garlic.

Of course she cries
when the onions,
but that's a different kind of
crying.

That the onions cause the visible expression.
What is invisible,

inside.

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PORTRAIT II

The question of
orange,
not the fruit
but the colour,
is that it functions like a traffic cone,
to keep people away
and to be visible
to keep people away.
That if one is invisible
then people will be walking all over you!
They won't even know it.
The tragedy of the invisible man.

And,
in terms of wingspan,
or,
the bones in one's fingers,
well,
the viewpoint he has
is that when you're orange you've gotta take care of this stuff.
That you might be waiting for a train, as they say,
halfway round the world.
When it comes, 
or what it means,
if you're over the ocean.
Some island or other.
In the shadow of the lagoons where the dead walk.
He's seen the dead.
He's seen
skulls of the dead.
Massive skulls.
Tapering to a point,
with,
horns.
And teeth.
Tapering to a point.
The ears are tapering to an etc.
Or should that be horns.
Are tapering to an etc.
One might say what's the point of digging up old bones.
Looking for fish.
And, (he says)
this is an old song I would like to sing to you.
About fifteen years old, or a little more. 

He would hate to be discoverable on radar.
Stealth is not the problem,
it's the government.
They have too much money.
Bad things happen around large concentrations of money.
It's like a sinkhole.
They put too much money in it and it's sinking.
Oh, that's gold.
Whereas,
on a liminal note,
the corridors of wind are 
reflective of
the ocean.
That the water forms a corridor
and the ocean forms the wind.
Or the mountains form the wind.
And the mountains on the ocean form the wind off the ocean.

When the wind is hot,
it's an indoor wind.
Speaks of
the south.
But the wind on the ocean 
carries us away.