Jen Hval New draft

I
A prisoner cannot be subdued
even with a knife at throat.

Take my voice.
Take it now.
even with a knife at throat.
Feel how it rummages in the mouth
Like the first foreign tongue in your mouth
furnishes the space behind your lips
the patterns
the arch
And raises the temperature in your brain

Speak it louder.
A serrated blade of consonants strokes the vocal cords
with a knife at throat.
LOUDER!

Take these words.

That is why at this time he is a
prisoner.
It is the essence of being a prisoner
today

They’ve been spoken before.
By me. And others
Take them with my voice
Take them now

he cannot be subdued, only
murdered.

Speak it.
There is nothing they can do.
It has no master.
You have it all
And I have it
And after a while, we forget what we own
We can only feel a strange
Tickling

II
Performance is a high risk area. You know this.
Performance is normalised. No/rmalised, you know what it means.
No interaction of the limbs.
No co-ordination of the organs.
No one is out there touching.
Or as he once told me: “it’s not that it’s dangerous, it’s just that it’s easier this way. And I want it easy.”

Instead, they design wonderful dreams down at the Fantasy Design and Maintenance.
I was out of a job, and Switzerland didn’t care for performers.
They offered me money for dreams.
To sell to the people sitting in their little bedsit apartments with their hands on the keyboard, looking out the window, occasionally down on the street.
And I said yes.
And then I was down there every day posing and developing movements for people to see, to sense. They absorbed my body heat. Packaged the smell of cunt.
I spent most of the time as thirteen-year old Filipino girls, or even younger schoolboys, like I’d seen them in pictures, uniforms and big eyes.
Occasionally, I’d be something else.
Or nobody. Some people aleady have their memories to fill in the gaps. They just need my shadow.
But in all my characters, I never had a voice.
The customers were quiet, too.
All I could sense was the climaxing grunt.

III
Here though...I can feel you.
THE BRAIN HAS PAPER THIN WALLS.
It’s like books:
You can hear the next page chattering away behind the thin paper curtain.
Rearrange the order of the sentences, and we can have a conversation.

You say you were born in 2000. You say millenium bug. So was I.
And here we are, millenium pests
You know insects just needed time to learn how to see in the dark.

I didn’t see them coming. I didn’t know what I’d done.
I didn’t touch anyone.
Perhaps someone touched me.

But this is better.
They call it senseless.
That’s because they can’t see us.
Isn’t it?

So take my voice in your mouth
It feels like a little seashell whispering underneath the tongue
Tickling
And spreading
I’m learning to feel this tickling
I read it once:
SHRIEK: sound beneath the skin, traveling beneath the skin at the pace of blood: intravenal song. Brain stem level.
LOUDER.

Thanks for your comments on my previous draft! Unfortunately, I posted that while I had trouble accessing the site, which meant that I knew nothing about the discussions in the forums, and the drafts. Sorry about that.

I'm trying to create something that is kind of embracing the power of the network of the censored, and trying to avoid falling into the 1984-trap.

I don't know if this quite works, but I'm imagining this voice is speaking to Mitnick, and also I'm trying to make connections to other people's work (btw, the Diamanda Galas research continues. The italics are from her lyrics).

You have managed to retain the sense of poetic dreaming from the last draft whilst tying it in so beautifully with the rest of Senseless.

I love that she is talking to Mitnick too. Constantly questioning...

Can I find Diamanda Galas in most record stores, or do you have samples on your blog? I would love to listen to some of the songs that you got the lyrics from, maybe incorporate this kinda thing into the performance...?

i love your piece so much. especially the image of a brain with paper thin walls - its a beautiful way to integrate elements from other monolgues. What I find really interesting is contrast you created between the isolated world of bodies and computers and the senseless - a community of dreams and voices....

On the subject of Diamanda's music, you can find it in big record stores (we have a few of her albums.)
There is a song here that you can download (although this is a rather "pretty" song)
And there's a few mp3s here that you may listen to.

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