tell me we'll never get used to it


(photo by ryan mcginley)



aperfectcommotion: Jen Bervin, The Composite Marks of Fascicle 28, detail, from The Dickinson Fascilies [Bervin embroidered Dickinson’s handwritten punctuation and editorial notes] “I have never doubted Dickinson’s profound precision, however private, nor that the energetic relation of these marks and variants is anything but integral to her poetics. I have come to feel that specificity of the + and – marks in relation to Dickinson’s work are aligned with a larger gesture that her poems make as they exit and exceed the known world. They go vast with her poems. They risk, double, displace, fragment, unfix, and gesture to the furthest beyond—to loss, to the infinite, to “exstasy,” to extremity.”

aperfectcommotion:

Jen Bervin, The Composite Marks of Fascicle 28, detail, from The Dickinson Fascilies

[Bervin embroidered Dickinson’s handwritten punctuation and editorial notes]

“I have never doubted Dickinson’s profound precision, however private, nor that the energetic relation of these marks and variants is anything but integral to her poetics. I have come to feel that specificity of the + and – marks in relation to Dickinson’s work are aligned with a larger gesture that her poems make as they exit and exceed the known world. They go vast with her poems. They risk, double, displace, fragment, unfix, and gesture to the furthest beyond—to loss, to the infinite, to “exstasy,” to extremity.”

(Source: mythologyofblue)

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    “I have never doubted Dickinson’s profound precision, however private, nor that the energetic relation
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