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She had the feeling of them as adults and her the same age as them, yet had the other feeling as well in order for her to come then. She saw a couple who were entwined together and her feeling about them came from the earlier episode of seeing the men who were nude and having the sense of them being adolescent boys. Really she'd had the sense of the men she'd seen as being adults and herself the same age as them. The couple she watched were also around the same age as herself—the man being aware of someone else's presence after a time and coming.

The woman pleased then though she had not come. She had intercourse with the man who had the features and organ of a leopard and whom she had first seen with the group of men who lacked these characteristics. The other men were attractive as he was. Yet having the sense of the difference between him and the others, she found it pleasant for him to come and for her not to come that time.

The same thing occurred on another occasion with him. She compared the man to plants, to the plants having a nervous aspect and being motionless. The man coming when he had the sense of being delayed in leaving—as if being slowed down had made him come and was exciting, and it was during the afternoon with people walking around. He was late and had to go somewhere, and came, with a feeling of delay and retarding—rather than out of nervousness.

Playing ball—so it's like paradise, not because it's in the past, we're on a field; we are creamed by the girls who get together on the other team. They're nubile, but in age they're thirteen or so—so they're strong. No one knows each other, aligning according to race as it happens, the color of the girls, and our being creamed in the foreground—as part of it's being that—the net is behind us.

A microcosm, but it's of girls—who were far down on the field, in another situation of playing ball—so it was an instance of the main world though they're nubile but are in age thirteen or so. My being creamed in the foreground—so it's outside of that—by a girl who runs into me, I returned to the gym.

It's in the past—yet is repressed in terms of the situation itself, poor people who're working, the division is by color. We're not allowed to leave the airport on arriving—others not permitted to stop over—we're immature in age, so it's inverted. Therefore receded—we get on the bus going to the city and look around, seeing people dressed shabbily.

A man—I was immature in age—was a stowaway so not having been active, taken from the ship we're on in a row boat. A sailor had fallen out of the row boat then, was embarrassed. So it's like paradise—the embarrassment, therefore it's depressed—seen by his waving at us as the other sailors are coming to him.

The class period endinng—it's evanescence not because it's in the past, they'd stamped their feet while seated since the teacher hadn't been able to discipline them. She's old—the red hair coloring had been mocked—they're inactive. So it's evanescent because they're inactive. Though I am as well. She'd asked me to pull on her hair to indicate it was her real hair, which I do—them being unaware of this—as the class is disbanding, composed of girls and boys.

Everything is impermanent, Life is Animation by Stamp

It is also an instance in the past, so it's depressed—yet the people on the bus aren't nubile, rather are mature. We're girls—have to urinate which is unrelated to immaturity—refusing to do so in front of others; we require the bus to leave us. Therefore there aren't other people, we urinate, and then look around. Tall, though they are nubile—playing leap frog is out of place; we're required to do so.

(PDF) Dilemmatic boundaries | Emily Critchley -

It's contemporary in time so it's not depressed—I was immature, thirteen in age or so; responding to the other girls kicking as they jumped over some of us. So it's not depressed—but not as being active. I'm creamed, until the crowd of girls is pulled off by an instructor who's in the gym. Attending a funeral—it's contemporary in time, not being in itself depressed; taking a ridiculous aspect—birds that sing loudly in the chapel where the funeral service is being held.

The birds are mechanical—so it's being creamed.

Like in the earlier episode of playing ball. Our being creamed in the foreground of the field by the other girls. A microcosm, but it's of sailors—though I'm given attention standing in pictures with one or two of the men.

They've come into a port at one time—I'm immature in age—it doesn't occur for that reason but is inverted, the sailors flirted with girls. Which is contemporary in time therefore.

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And being mechanical since I'm interested in the sailors, then merely interest. There is no way to live, only living itself in a present that is intolerable, dangerous, sexual, blunted, and ecstatic. Edges of meaning and relationship become here the intensive ground of their endlessly volatile statement. So that. As if. It were. Dana Miranda marked it as to-read Oct 01, Geof Huth marked it as to-read Dec 13, Doug is currently reading it Mar 17, Ray Osborn marked it as to-read Feb 18, Ally marked it as to-read Aug 28, Octipi marked it as to-read Feb 14, John Varner marked it as to-read Jan 17, Alma Q marked it as to-read Jan 31, Paul Bisagni marked it as to-read Sep 21, Noah Leventhal marked it as to-read Apr 16, Xuan marked it as to-read Apr 28, Rebecca Valley marked it as to-read Jul 19, Anna marked it as to-read Sep 05, There are no discussion topics on this book yet.

About Leslie Scalapino. Leslie Scalapino. Leslie Scalapino July 25, — May 28, was a United States poet, experimental prose writer, playwright, essayist, and editor, sometimes grouped in with the Language poets, though she felt closely tied to the Beat poets. A longtime resident of California's Bay Area, she earned an M. One of Scalapino's most critically well-received Leslie Scalapino July 25, — May 28, was a United States poet, experimental prose writer, playwright, essayist, and editor, sometimes grouped in with the Language poets, though she felt closely tied to the Beat poets.

Scalapino was born in Santa Barbara, California and raised in Berkeley. She traveled throughout her youth and adulthood to Asia, Africa and Europe and her writing was intensely influenced by these experiences. In childhood Scalapino traveled with her father Robert A.

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Scalapino published her first book O and Other Poems in During her lifetime, she published more than thirty books of poetry, prose, inter-genre fiction, plays, essays, and collaborations. Scalapino's poetry has been widely anthologized, including appearances in the influential Postmodern American Poetry , From the Other Side of the Century, and Poems for the Millennium anthologies, as well as the popular Best American Poetry and Pushcart Prize series anthologies.

Her work was the subject of a special "critical feature" appearing in an issue of the online poetry journal How2. From until , Scalapino ran the Oakland small press she founded, O Books. Scalapino taught writing at various institutions, including 16 years in the MFA program at Bard College. Books by Leslie Scalapino.