linda marie walker

june 24th 1998

"While recently 'away' writing and music merged, as they'd been promising to do for awhile. Trouble began. As this went back a long way (to childhood) - to the impossibility of not-talking, and not-dancing. At the moment of 'merge' the dilemma was clear (or momentarily still): to-write (the verb) is ... like a (country) 'road', say (or 'Hells Rarebit' on Fila Brazillia's 'Luck Be A Weirdo Tonight'). Or, another language (and therefore 'sound'). Like, having a collection of books or records or knives or dolls. To-write is to-collect. Or, that's what I imagine. Like when Barthes writes: "In Schumann's 'Kreisleriana (Opus 16; 1838), I actually hear no note, no theme, no contour, no grammar, no meaning, nothing which would permit me to construct an intelligible structure of the work. No, what I hear are blows: I hear what beats in the body, what beats the body, or better: I hear this body that beats." Well, this is what I hear in the music of Fila Brazillia. This, now, 1998. Then there's Clarice Lispector. She begins her novel 'The Hour Of The Star' with a dedication: "I dedicate this narrative to dear old Schumann and his beloved Clara who are now, alas, nothing but dust and ashes. I dedicate it to the deep crimson of my blood as someone in his prime. I dedicate it, above all, to those gnomes, dwarfs, sylphs, and nymphs who inhabit my life ..." I only realized tonight the Barthes/Lispector connection to Schumann. So, my question is to do with 'emergency' or 'en-slog': to do with electronica-music (or thickness, density; or a form of sliver or plane that is imperceptibly compact/ambient (e.g. Fila Brazillia), and Schumann, and their relation to to-write (as a compositional or scoring 'awayness'). Writing as music: "To weep and believe. This story unfolds in a state of emergency and public calamity. It is an unfinished book because it offers no answer." (Lispector, ibid) (Thank go(o)dness.)
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