Some Everybodies


Click the still to watch the film

Matter-nal Philosophy— gathering,dominion, and passing-by.

Conceptually a moving painting, the fixed-frame film documents tourist behaviour at an accident to an historic building in Bath, over a period of one year. Slowed film speed, colours referencing faded postcards, and frozen visuals capturing tourist snapshots, deconstruct monitoring techniques and traditional linear narrative. Subtitles consist of a scrolling 'communal narrative' of sound bites taken at the site.,

As seen from one perspective (a first-floor window), this work began as an engagement with site and the behaviour of moving bodies. I would like to explore its construction through the work of: quantum physicist and feminist Karen Barad, filmmaker Joseph Robakowski, artist Barbara Kruger, film theorist Professor Laura Mulvey, neurobiologist Antonio Damasio, Dirk Helbing (with particular reference to 'dynamical flow' and pilgrim crowd behaviour at Mecca) and the 'Arcades Project' of Walter Benjamin.



Matter-nal Philosophy— gathering, dominion, and the making of a video poem.

I am an artist and writer and my work as a video poet and printmaker addresses notions of duality, error and female or 'othered' subjectivity in relation to globalised systems and discourse. I was recently described by Karina Karaeva at Moscow National Centre for Contemporary Art as a 'visual philosopher', which affected me quite deeply, and also provided a 'resolutionary' experience of a 'return through practice' — a flow or rhythm gathered through art and released through our communal networks of understanding. Karina's words, with a joyous interactive circuitousness of artistic action and viewer response, returned via the artwork to re-view and re-generate both the artist and practice.

I recently completed a video poem entitled Some Everybodies which developed by instinct and chance to conclude (or be born) as something I would have wanted to visualise making in totality, if the creative process were linear and auto-selective. My philosophical theories emanate from process, and so, in this essay, I would like to discuss both the making of the film and conclude with a poem about the making.

Some Everybodies was filmed from a first-floor window with a fixed-frame camera, and observes tourist behaviour at a 'non-tourist' corner site in Bath, England (which also transpired to become the site of a minor accident) over a period of a year. Five hours of film was then edited to just over sixteen minutes. The film does not possess a traditional narrative structure or design, and has been described as a 'moving painting'. There is no central character (people are viewed more as moving bodies), and the momentum (rather than linear progression of scenes) has been slowed down to emphasise human interactions. Ultimately the film was 'made' primarily in the editing suite, rather than on-site through a directorial eye.

Dialogue from the site has been included as a multivalent 'communal poem' which scrolls as 'subtitles' beneath the images. Here the traditional understanding of sub-titles are, once again, questioned, no longer existing as semiotic colonisers of 'othered' national experiences, but evolving as asides from the passers-by themselves.

This visual sense of well-worn familiarity is juxtaposed against a sound track which has also been slowed down, creating primal groans and utterances from shouts, car breaks and the echoing, dull thud of Nike against football.

The visuals of the film have been artificially coloured - an accidental effect (created by a dissatisfaction with lacklustre visuals), which possibly reminds the viewer of faded postcards.

Another 'feature' of the film prompted by close observation of the visuals, is the frozen snapshot - when tourists' take snapshots the film also freezes, thereby capturing the mementos of other people within the temporality of the work.

In Death 24 times a second — stillness and the moving image Laura Mulvey (2006,183) states that: 'Halting the flow of film splits apart the different levels of time that are usually fused together.' She goes on to say: 'In detaching the time of the index — the materiality of the film, from the time of the fiction, the delayed cinema dissolves the imaginative power of the fiction leaving behind a space of the real.' Mulvey also points out that the normal playing out of a film's 'story time' has tended to mask movement as recorded time, replacing it with narrative drama. 'The 'then-ness, — the presence of the moment of registration, has to lose itself in the temporality of the narrative, the iconicity of the protagonists and their fictional world.'

The advent of the colour / postcard metonymy catapulted a film-as-artwork into a fairly substantial installation, where postcards and posters could interpolate their own language in a purpose-built space, pre-figuring the tourist's experience of the film-as-site and their transient conception of reality. Each postcard is taken from a still from the film, at the point where two stanzas of the 'poem' line up beneath the visuals. In this way the subtitled text determines the visuals selected. The cards made fifteen images, and it became clear that the text on the back of the cards, with an over-attention to indexical information, could be read as an 'artpoint', a social comment upon the psychology of the tourist/collector. As a final intervention a sixteenth card was added as a repeat of number one — thereby wholly undoing the collector's system and sense of control.

By now you have a fair idea of the film itself but now I need to shed light upon the philosophical thinking which created 'the film', where the term 'the film' becomes blurred into a quantum understanding of the artist's reality and art-inducing space or site or object which are all viewed as part of one apparatus of interactive understanding. The site as stimulus to making art provides a link in a circle, so that art might flow. The artist merely interrupts or harnesses this flow.

Philosophical Background Since Greek metaphysics all western enquiry frameworks have taken dualist masculine lives and beliefs as reality, interpreting nature or Being as idea-based form (and the word) not matter, separating masculine from feminine, active from passive, culture from nature, and intellect from instinct.

All our western cultural thinking therefore has been through a masculinised lens — a form-based understanding of both the creative process and the creative product, with a dualist silencing of matter and the feminine voice. This has been the benchmark which has been doubled and redoubled by all philosophers and thinkers since the ancient Greeks - from Descartes' diremption of culture from nature, and the mind from the body, to the Post-Structuralist, deconstructive thinking (still Structuralism but in the negative) of Derrida and the phallus-dominated prescriptive psychoanalysis of Freud and Jacques Lacan.

As feminist philosopher Luce Irigaray stated — women do not have a voice — they cannot speak as women except in the negative through masculinised language. I want, through my art, to confront a notion of voicelessness — particularly in relation to women artists using text — through a non-dualist practice.

Initially my artistic enquiries began by asking the question — how could text-based female artists in the 1970s and 1980s (e.g. Mary Kelly, Nancy Spero, Barbara Kruger and Jenny Holzer), producing work derived from oppressed, experiential subjectivity, be defined within Post-Modernist "authorless"1 discourse. Whilst male cultural producers were affecting voicelessness, women artists were struggling to find their voices, particularly in relation to humanitarian issues of abuse of power.

As the political theorist and psychotherapist Jane Flax states: 'In philosophy, being (ontology) has been divorced from knowing (epistemology) and both have been separated from ethics and politics.'2

My artistic practice aims to explore the possibility of uniting ontology and epistemology and I have come to term this philosophy of incorporation a matternal philosophy both as relational to and aligning with the behaviour of matter, and as a non gender-specific attention to nurturing, engendering a reciprocal, rather than dominating mode of practice. My work does not seek to replace a masculinised appropriation of culture with a feminine agency but to 'dissolve' the artificial boundaries which create an unethical, dualist cultural framework of practice. Is it possible to work without a masculine narrative structure or a masculinised process of making?

My theoretical journey travels between four primary 'maternal' concepts:; a pre-Platonic materialism; physicist and feminist Karen Barad's reading of Niels Bohr's quantum philosophy physics and her theories of agential realism; the philosopher Julia Kristeva's understanding of a maternal (albeit masculine) semiotic site, capable of de-stabilising language and, a traditional understanding of mothering as a relationship between artist and art object and/or process of practice.

It would not be possible to cover all these areas in this article nor would it be possible to relate them with equal weight to the making of the film Some Everybodies. However, it is important to meditate upon the background which informs the film — the path I have taken to enable the film to be made at all.

Women Artists and Text For me the philosophical drive for women to 'inhabit' or interweave text within artistic practice carries with it an ethical drive. This turn to the everyday, the commonplace language of the people began with women artists who were placed outside the pillared halls of the Modernist, heroic male artist's abstract expressive gestural, gallery-endorsed, immortalised cultural 'truth'. Women artists were not only the original outsiders but the custodians of the position of the original objects.

Examining our inherited masculinised frameworks through Freud and Lacan, in simplistic terms, women provided the lack and absence that gave male artists their agency and presence. However, if writing is in any way linked to subjectivity then it is to female subjectivity since the death of the author primarily referred to male authors attempting to ward off their masculinised inheritance.

Women's work however it has been portrayed, has always connected with the experience of being a woman. The experience of being male is the way the Western world 'is' — a masculine reality — we speak masculine experience, it is tautological to speak of 'masculine experience'. In art the terms male and artist were and still often are interchangeable - an accepted fact. Thirty years ago it was not possible to find new art (meaning new masculine art) — except by an artificial 'death' — a playing at death, a tortured narcissistic Post-Modern play - a linguistic death, which, edited appropriately, allowed for a rebirth.

In this way the feminine drive, an ethical drive for co-writing history (active since the Feminist Movement of the 1970's), carried the 'Real' and experiential subjectivity, against a play of 'authorlessness' — of masculinised regression or mimesis openly displayed. In short the feminine art which engaged with language carried forward collective momentum and ethical subjectivity.

The Real and agential realism An ethical drive has to turn to the Real or an understanding of the real. In matternal philosophy a real understanding of reality is 'the Real' — in accordance with the behaviour of the quantum universe. Physicist and feminist Karen Barad's seminal work Meeting the Universe Halfway — quantum physics and the entanglement of matter and meaning offers an understanding of reality which supports a non-dualist philosophy of being. Karen Barad (developing her theory of agential realism as read through the work of Niels Bohr) (2007, p.247) states: "According to Bohr, the central lesson of quantum mechanics is that we are part of the nature we seek to understand". She explains that Niels Bohr's philosophy-physics has shaken the foundations of Western epistemology. Classical Newtonian physics, Cartesian epistemology and representational thinking all support an inherent subject object distinction, alongside the notion that language is a transparent presentation of reality. Bohr's theories (which the wave/particle two slit experiments endorse) establish that the measurement process is part of the object being measured — the 'apparatus' of the experiment, thereby removing the distinction between object and subject, or artist and object.

In relation to making Some Everybodies it is necessary to keep in mind a quantum reading of film theory where theory isn't separate from making, the mind is not acting upon an object as in traditional film theory — in fact the making is the process of the non-thinking which achieves an art statement. This aims to achieve a turn-to-inclusion of the feminine with the masculine and matter with form.

In the Beginning was the Word - but the word was 'with' matter
For some time now I have been heavily influenced by a short passage from Carol Bigwood's quiet but highly significant work Earth Muse (1993, p.82): "...for the pre-Socratic philosophers, Being was named phusis, which is a simultaneous movement of unconcealing and concealing... and is our first western understanding of nature. However, for Plato, truth is the unconcealment of the idea ... Phusis through Plato, is ultimately reduced to a field of passive matter." "Thinking is no longer a preserving of logos through attunement to the sway of phusis... Rather, man possesses logos in his self-contained mind." However, Bigwood (1993, p. 281) goes on to say: "We can find an inner bond between logos and phusis by tracing the root meaning of logos back to legein, which means "to say", but more fundamentally to lay-out or let-lie. In legein, as in phusis, a bringing-together or gathering prevails".

Art as 'Gathering Point' - The gathering of Text and Matter
I view art as a 'gathering', an intraction of matter and form. In this way also, I find myself placed between art and writing. I am an artist and writer. I produce artwork and produce work as a writer — a playwright and/or journalist, yet I also incorporate text in visual art, which appears, at first glance to conflate two genres.

In 'art' or the process of producing a visual image I (or some part of the I — perhaps the ego) responds to an external or internal trigger which feels like a good general 'gathering point' for art. The gathering point site could be visual or text — in other words, words are indicators of a general concept rather than as objects in themselves. I am 'scripting' or 'writing' or 'generating' a visual statement which incorporates text as image and with image. Text is read as it is read anywhere else except that my particular philosophy is the encompassing apparatus of relation for the significance of the words. It could be said that my artworks are a form of 'gathering point' where text can be read maternally.

Line-age in Visual-age (Text in Video Poetry)
In some ways, as all-ways, it is simpler to indicate the non-being of my words in art, rather than fully account for their being. My work is not concrete poetry. The visual arrangement of the words is not significant in conveying the effect which traditionally centres on the meaning of the words, the rhythm, the rhyme or scanning. I am also not simply playing with meaning by random re-arrangement of syntax.

My work, in hindsight/site could be described as language poetry, although I must point out that, although I have an MA in Creative Writing I am an artist and I do not pretend to follow or read any particular poet to any degree, or situate myself within a poetic group of any kind (in general I actively avoid groups). When I say this I am actually not passive in this 'place I am in', but actively keen to keep myself responsive to a proletarian materiality — rather than build a place which is of myself and therefore too close to see or feel anymore. As such I prefer not to identify too much with being an artist or writer, as if staking a claim to a privileged space. I feel I visit this space from my life as a mother and this keeps me liking the trip.

Of course authored subjectivity is of interest to me. I also feel an affinity with Japanese poetry (I always have done) which distils and strengthens syntax and image and tends to situate the reader within the action or agency of undiluted materiality (paradoxically inducing a meditative resting or disarmed listener). The aural experience feels like a perfect gift — as if being given the freedom and generosity to float hallucinogenically on a sensual warm breeze, without having to be burdened with an author's ego or primally repressed western myopic conflictions masquerading as sentiment.

It is not my goal to remove the author — but to re-site the viewer's experience of subjectivity. Can there be a non-experiential subjectivity?

Philosophically, the subtitles or text in Some Everybodies is cited, sited and sighted as feminine/masculine because the subjectivity lies with a lyrical (yes, I feel this word is of relevance once again) momentum of being which aligns with the behaviour of matter moving to exist. Lyrical here is not a lover's anguished heart wrapped and interwoven through metonymous objects and landscapes but the aesthetic and biological lyricism of all-being reciprocal. The lyric is severed from the author as one dominant sensate being, but encompasses all sensate and insensate beings. In the apparatus of this film agency delivers an ungendered momentum. This should then allow the viewer to take a balanced view.

If classical dualist, masculine thinking wrongly situated text as a transparent presentation of reality, then a text-as-part-of-matter allows a 'real' transparency of the subjective position as a one without an unethical directive.

In ImageTexT: Interdisciplinary Comics Studies, an essay by James McDougall, McDougall describes Ezra Pound's great work The Cantos as a brilliant failure at saving English lyrical poetry, but he goes on to state (p.1): With this rupture in lyric tradition The Cantos succeeds in bringing the IMAGE TEXT clearly onto the page and, in the process, forcing the lyric off the page. With the reader unable to depend on the lyric to provide comfortable and familiar rhetorical and narrative devices, the poetic text asks the reader to develop a literacy in reading images; perhaps the closest approximations to Pound's visual poetics would be comic books and animation — two media that were emerging contemporaneously with The Cantos.'

McDougall's fascinating assessment of Pound's failure of the lyrical line enabling the creation of, and dependence upon, the Image Text is of great relevance to text-based filmic works. I see Some Everybodies as Image Text as lyric, but a lyric not as line, as matter.

The artistic or poetic 'I' whether unconscious, as in the Surrealists and Andre Breton, or as a linguistical river of association seeming non-association (therefore also possibly unconscious) of Gertrude Stein, is always building/unbuilding the road it travels on. In Some Everybodies the overheard extracts of language are statements, continuous statements, which embody the space. These words are generated by the site which becomes the site of the film which situates the phrases as subtitles. This subtitular signage (traditionally appropriated as a site of colonisation of an 'othered' language) is close and personal in this film and within the action of the whole cinematic experience. Although the actual words spoken do not correspond with the images shown, this only accentuates the symbiosis between the location and its multivalent utterances.

In this way 'I' as the artist uses the words as the substance of the site, as parts of the whole. I filmed the site and the notion of collecting the phrases from the site as a poem devolved from the filming process. The words belong to an artistic space and remain there. I do not acquire them under my name. In this way this work is a strange piece — the words are not statements of subjectivity because people are viewed as part of the momentum. Therefore traditional understandings of poetry could be said to be fairly inadequate. When Julia Kristeva states (Kristeva 1980, 281)that 'meaning's closure can never be challenged by another space, but only a different way of speaking', I would argue that a new understanding of form with matter will arrive at the open mouths of new meaning.

To experience the work of Robert Bly and his dive into a non-dualist 'Deep Imagism' is not equivalent to experiencing the film although his clean, spare images are said to transcend a conscious/unconscious barrier. Bly depicts with words although the site of the words might draw forth the words — as water from a well, then the site is reformed in the 'return of the words'. In Some Everybodies the site is the physical space and also the filmic space. The words float within the socio/economic/site-specific/temporal/historical/emotional motion of human being, forever recombining in different combinations. The film is not 'about' the site but a 'gathered materiality' of the site through the apparatus of artist, text and image.

1Roland Barthes' landmark essay The Death of the Author, 1968.

2Jane Flax, in Discovering Reality, Sandra Harding, Merrill B Hintikka, Kluwer Academic Publishers, The Netherlands, 2003, p 248



Some Everybodies— the poem of the making of the video poem

No Beginnings

         Why the site? ACCIDENT.

By staying still near a place of sensitive interactions — on a human scale — sounds, and GENTLE ALTERATIONS — I became connected to the FLOW OF HUMANITY or NARRATIVE — if you see humanity as narrative or EMBODIED PATTERN — as CONTRIBUTING to a whole FLOW which is not LINEAR and BOUNDARIED but SEEPING and GRADUALLY DISSEMINATING ACTION through all of us.

Why my connection to this embodied situation — Why Me? Happenstance of situation. I was in the right/write place at the right/write time.

My responsiveness to the small and sane actions, sounds and interactions enabled the film to be conceived.

         Still camera — I need to find stillness amongst the chaos and the MEDIA BOMARDMENT

Is it possible to EMBRACE film — not find a RESISTANCE to the duality of viewer / audience and SCREEN.

Increasingly I tense up when watching television or a film. The masculine narrative drive to death and conflict is bad for me.

In retrospect the PASSING SCENE was enough. The GLUT and EXCESS of our DECADENT society has provided a GLUT and EXCESS of visual images. The viewer is required to respond ever more quickly, to be unable to discuss the content of the film at all.

         At this point traditional cinema has achieved NO CONTENT through FEEDING US TO EXCESS - a structure of engorged plot formation, BOMARDMENT of NOISE and VISUAL IMAGERY and leaves the audience EMPTY BUT DISTURBED. RIGID FORMULAS, CAR CHASES / WOMEN DESTROYED, MURDERED / ENEMIES endlessly seeking thrills from duality.

         I connect with POINTS OF GENERATION. Maybe there are POINTS OF GENERATION — these points are not fixed, like a FROZEN DELAYED point in a film, but POINTS WHICH LEAD TO ... as I make the DOTS they lead to THOUGHT, FURTHER ACTION, OR THEY ARE ENERGY POINTS which are not STILLED AND POTENTIAL or harnessed POTENTIAL ENERGY as in a dam (Carol Greenwood, Earth Muse), but POINTS WHICH RESONATE back and forth allowing ENMESHING with other THOUGHTS. The type of energy is a CAPABILITY of EMBODYING new MOVES, new WAYS OF LOOKING, THINKING AND BEING.

         This is sent through the artist as also OPEN TO FLOW and new INTERACTION.

I began with a site to REPRODUCE. I let the site SPEAK. As a corner it was a place of INTERESTING INTERACTION or GENERATION.

         Philosophy emanated from the process of choosing — from the flow of ideas

The FLOW OF IDEAS came from THOUGHT PROCESSES connecting with traditional or normative understandings of text and image — through placement and use and typeface and function — and RECONSTRUCTING THE SAME through placement and typeface and use but DISTURBING the politics of the all central figure — the central character — the central collector of the images as postcards — the controlling central character either within or external to the film. This is both PLEASANT and DISTURBING for the viewer who is normally catered for in being provided with a PREDICTABLE pattern of events which are CHRONOLOGICAL. i.e. ADHERING to and IN TIME WITH a masculine narrative.

         People being filmed

Normative understandings of films broken so that

—there isn't a central character

—the chronological order of viewing can be varied, or there isn't a chronological order

—This is an ARTISTS FILM

I do not have a title — there isn't a beginning.

The viewers do not come with PRE-SET CODES. They must come with OPEN MINDS not CLOSED MINDS (minds already programmed to know, therefore already dissatisfied). The best characters to provide the joy of non-narrative cinema are ourselves in INNOCENCE, without SELF-AWARENESS, moving without GESTURES only MOVING LIMBS.

THE DIFFERENCE BETWEEN ART FILMS AND CINEMA IS ENDLESS POSSIBILITY

The audience must come without CENTRAL CHARACTERS, STARS, 'PEOPLE WHO HAVE 'BEEN IN", THEY MUST COME AND LOOK AT THE ACTUALITY OF HUMAN MOVEMENT UNSTAGED, UNDIRECTED BY AN AUTHORIAL EYE.

HERE ARE WORDS SPOKEN, ACTIONS MADE, WEATHER EXPERIENCED, SUN SHONE, FOOTFALLS QUICK AND SLOW, SHRIEKS, THINGS FORGOTTEN, DIRECTIONS CHANGED, BUMPED INTO-NESS HAPPENS

HERE IS A NON-MASCULINE NARRATIVE — NO CHRONOLOGICAL TIME — CYCLICAL MOTIONS, CORNERS, ACCIDENT

MY WORKING PROCESS IS ALSO WITH FEMININE UNDERSTANDINGS OF TIME

A BACKWARD and FORWARDNESS

REPETITION

A SWELLING OUT OF EXPANSIVE EMBRACING not COLLECTING, not CATALOGUING, not REGISTERING or IMPRINTING

HERE MATERIALITY IS WITHIN PHOTONIC CAPABILITY

         OF THE 'NOSTALGIC' COLOURING OF THE FILM AND THE ACCOMPANYING POST CARDS

HERE IS THE LANDSCAPE ARTIST — THE EMOTION of OURSELVES, our FRAGILE SELVES, an ALREADY HAPPENED AS COLOURS REMOVE THE RED of NEWNESS, SHINY REDNESS which the SUN responds to first. HERE IS the POSSIBILITY to ALREADY HAVE NOSTALGIC FEELINGS FOR A NEW THING, to alter EMOTIONAL RESPONSE through DIGITAL TECHNOLOGY. HERE COLOUR REMINDS US AS WE ENGAGE WITH NEWNESS.

COLOUR REMINDS US OF HAVING DONE THIS BEFORE — POSTCARDS in FLEA MARKETS — SUN BLEACHED, WORN, TANGIBLE, RECORDS OF HAVING BEEN, OTHER PEOPLE'S SENTIMENTS, THE VULNERABILITY OF LOVELY PEOPLE MISSING EACH OTHER IN CAREFULLY CONSTRUCTED PLACES WITHOUT THE BURDEN AND DICTATES OF DUTIFUL ACTION, YET MISSING THOSE DUTIFUL ACTIONS OF CLEANING, WASHING, SHINING, ACCUMULATING and IN THESE LONELY 'HOLIDAY' PLACES, OF NO POSSIBILITY OF SINKING CREATIVE ENERGY INTO OBJECTS WE POSSESS WE MUST GENERATE MORE OBJECTS TO POSSESS THROUGH OUR CAMERAS, OUR POSTCARDS, OUR NEUROTIC NEEDS TO SEND MESSAGES AND CODES OF LIFE WHICH MUST BE THEN PLACED ON OUR MANTLEPIECES, OUR NOTICEBOARDS, OUR DESKS.

THIS FILM HAS BECOME, in the LAST INSTANCE a film about the foolish COLLECTOR who has already COLLECTED. The mind that comes to get away and acquire more to get away from. It is not the getting but the sorting, the indexing, the making everything ordered as it should be to him that matters. It is not to let go but to order more. And order of tourist sites is ordered through a material recognition of the universe we are within. As children perceive the universe and our position within it so does the indexer of events and places. All things happen at this site, SOME ARE PHOTOGRPAHED

         AND THIS TEXT, the film and the POSTCARDS — seried moments ironically 'enwritten with their indexical masculine messages, as a little in-joke on the vocabulary, the whole act of documenting are MATERNAL processes because they do not adhere to form and the word of masculine, linear narrative — the narrative that must be and where women must be lack for the masculine narrative to be. This whole work and its process has evolved exponentially — as and in and of and within - as an INTRACTIVE process of USACTION. I did not predetermine to a pattern of masculine narrative. I was not central, nor was any human, the SITE is central if anything, but the site is not permanent. Films are founded on the return to permanence or stability or union whilst knowing that this does not REALLY happen. The MASCULINE NARRATIVE does not give salvation for this knowing impermanence is REAL. It creates in the audience a reciprocal energy drive to overcome which never can overcome. So it creates a sense of hopelessness from effort achieved through abstract concepts. A MATERNAL narrative which ALLOWS a MULTI-VALENT, reciprocal two-way energy flow can only cleave to what is real. There are no abstract concepts for the viewers to cling to. This film does not ask the viewer to be a fool. The film asks the viewer to take a new position — one which thinks responsively to our surroundings and sees those moments of humanity as all we have — as a mother still thinking for and with her children might do.

         So do not COLLECT this film. Do not file it, or index it, or build a cupboard for it. Or, alternatively, look on EBay for the other 15 cards in the collection and begin building. Which narrative you prefer is entirely up to you or to everybody.

WORKS CITED

Ekleksographia:
Wave Two

November, 2009

Poetry