Nu segð se wyrdwritere þæt seo wicce sceolde aræran þa of deaþe þone Drihtnes witegan Samuhel gehaten

OE Ælfric Homily (Corpus Cambr. 178) in J. C. Pope Homilies of Ælfric II. 792 Nu segð se wyrdwritere þæt seo wicce sceolde aræran þa of deaþe þone Drihtnes witegan Samuhel gehaten. 1425 Edward, Duke of York Master of Game (Digby) vi Þer beth some [wolves] þat eten children and men..And þei be cleped werewolfes, for men shulde be were of hem, or þe mann see hem.

Near the deep woods falling into the sky, seven hundred steps stepped little black twigs dare not speak. Against ritual abstract solitudes outline, fragmentary flights of fancy tracing twilight’s window shuttered, ghastly monotony, deliberation, and grey abyss.

Fields full thoughtless haste in cryptographic absence from a conscious world, mirror clouding over. Cellar debris looming certain symbols shuddering recognizable.

By night, a subtler thing witching, a werewolf shape, a vampire’s cigarette smoldering on the cobblestone, ghouls waiting at an abandoned bus stop, ghosts and spent skeletons ankle-bone slightly gnawed, but for the dark, figures moved uncertainly. Black lake, black boat, black stone.

Stars pale dusk, flat paper-cut shadows a few more breaths on an oblique road turns patient turning moment time unwinds rough-hewn pillars wrought iron and smoke.

Hypnotic figure chanting some such words sunk in settled gloom, fingers and toes grasp stone’s corner worn mortar smooth in the ruin. Bells tower, their shadows long rhythmic confusion, faintly dreaming wide tonal range collecting at the gates of a town already shut.

1745 J. Swinton Trav. Three English Gent. in Harleian Misc. IV. 358 These Vampyres are supposed to be the Bodies of deceased Persons, animated by evil Spirits, which come out of the Graves, in the Night-time, suck the Blood of many of the Living, and thereby destroy them. 1400 tr. Lanfranc Sci. Cirurgie 153 (MED) Take oile of rosis..terbentine..mummie [v.r. mumie]. 1721 tr. A. Galland Arabian Nights Entertainm. X. 123 Your Majesty knows that the Goules of both Sexes are wandring Dæmons, which generally infest old Building, from whence they rush, but by Surprize, on People that pass by. 1350 in R. H. Robbins Hist. Poems 14th & 15th Cent. 28 Sathanas..seyde on is sawe: ‘gobelyn made is gerner of gromene mawe.’ 1275 Laȝamon Brut (Calig.) l. 7876 Heo beoð ihaten ful iwis incubii demones. 1300 St. Bartholomew (Laud) 174 in C. Horstmann Early S.-Eng. Legendary 372 And þe Aungel heom scheuwede al a-brod þene deuel ase huy stude, Þe fourme of a grislich man þat al for-broide were And swarttore þane eueri ani blouȝman..Fuyrie speldene al stinkende out of is mouth he blaste And fuyr of brumston at his nose. 1788 Universal Mag. Sept. 117/1 Some supposed that the Zombies had carried him off [Fr. que les Zombis l’avoient enlevé]. OE Stowe Psalter cxxxiv. 17 Neque enim est spiritus in ore ipsorum : ne ne soðlice is gast on muðe heora.

Gate of what Lime-tree Flowers in soft-lit Arcades, insignificant in themselves

The model of a contrivance by means of which could certainly get possession of the sheets which were to be a rope; it was a short stick attached by one end to a long piece of thread. By this stick intended to attach the rope to the bed, and as the thread hung down to the floor of the room below, there should pull the thread and the rope would fall down. Tried it, and congratulated the invention, as this was a necessary part of scheme, as otherwise the rope hanging down would have immediately discovered me.

I pull the thread, unravelling round this tiny labyrinthine, a room for music and dance.

Sitting, sets the thread. Set of dining-room furniture constructing a whole geography of consciousness proceeding along inescapable pastimes merely accursed.

Empty dress stretched over their shoes plays in the background. Bleached dust expectations of necessity, haunted expression, a voice is singing. Lyricism to a reality both silent and unexampled. Time edge limits of wants irrational.

A small bead is tied to the thread on the outside of the bag. The purpose of the bead is to have something which may be seen and easily grasped so that the cork can be released without fumbling. In case the bag is of a material or design which would make the bead noticeable, there are two alternatives. One is to sew a number of beads onto the bag where such added decoration would be in keeping. The other is to run the thread through the material to the outside of the bag and, at a point about a half an inch distant, run the thread back through the bag and fasten it to the inner surface of the bag. This will make a loop of thread flat against the outside surface of the bag which, by slipping a fingernail under the loop, makes it simple to pull the thread and thereby remove the cork. The thread used must be extra strong to avoid any chance of having it break. Linen thread is suitable. When thread of a matching color is used, it is invisible, and even a contrasting color is not apt to be noticed and, when noticed, is meaningless.

An open pair of scissors down its throat along a single word of refined manners, circumstances naked and shivering, tiny moment among inscribed photos blurred and damaged. Symmetrical nothing of continual resemblance, vaguely waiting to remember the girls were pretty at the seaside, beneath black sky senses its wide sweep along boundaries of the body reaching. Thread touched unfolds.

This is not who I remember. The first body was an environment a land-mark on the frontier of tomorrow. In the meaning of the day the way one turns and looks—eyes for hands. Today the stranger the exile and spook are in my shaving mirror. In my dream you are real. I am as one who each day stands behind the tapestry and receives the needle to pull the thread taut and pass it back through. The design is no one’s.

This may just be an illusion, high heels flimsy brightly colored dresses tucking her blouse sprinkled with icing sugar, imagine deep sleeps in the afternoons peering through a keyhole, with a little culture, yards of fabric and not much trouble, getting dressed up for existence between belief and unbelief. Elevator door trundles shut.

Remembrance of things past, sigh the lack of many a thing sought, wail my dear time’s waste sessions of sweet silent thought in two hundred forty one minutes

OE Ælfric Catholic Homilies: 2nd Ser. (Cambr. Gg.3.28) xx. 194 Hit is awriten be ðam yfelum timan. OE Anglo-Saxon Chron. (Laud) (Peterborough interpolation) anno 654 On his time þa comon togadere heo & Oswiu Oswaldes broðor cyningas. OE Laws of Edgar (Nero E.i) iv. ii. 208 Mine þegnas hæbben heora scipe on minum timan, swa hy hæfdon on mines fæder. OE tr. Defensor Liber Scintillarum (1969) ix. 96 Multi enim se credebant longo tempore uiuere : soðlice hi gelyfdon lange timan lybban. OE Wulfstan Last Days (Hatton) 134 Wa ðam wifum þe þonne tymað & on þam earmlican timan heora cild fedað. 1160 Anglo-Saxon Chron. (Laud) (Peterborough contin.) anno 1137 Nu we willen sægen sumdel wat belamp on Stephnes kinges time.

To describe it, À la recherche du temps perdu is an album I released in two thousand twenty one. Six lp records, twelve sides each about twenty minutes.

Total run time two hundred forty one minutes. The album is based around the novels by Proust, Valentin Louis Georges Eugène Marcel Proust, and is predicated on a few threads … The music of the novels, the music Proust (an avid music collector) had in his head and in his collection, the anthems of the Faubourg Saint-Germain. What music one might hear getting lost in Paris of the Belle Époque? The content includes twenty six composers and a Dixieland jazz band: Bartók, Bellini, Berg, Brahms, Caccini, Chausson, Chopin, Debussy, Delibes, Donizetti, Franck, Hahn, Jungmann, Louisiana Five, Lully, Ravel, Saint-Saëns, Satie, Schoenberg, Schubert, Schumann, Scriabin, Strauss, Tchaikovsky, Verdi, Wagner and Weber.

The primary impetus for the album came from my truck.

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