DI CT EE

TheresaHak Kyung Cha

TANAM PRESSNEW YORK 1982

 TO MY MOTHERTO MY FATHER

@ 1982by TheresaHak Kyung Cha

All rights reserved
First Printing 1982
Manufactured in the USA

ISBN 0-934378-10-X(cloth)
ISBN 0-93437849-6(paper)

Tanam Press
40 White Street
New York, NY 10013

The publisher gratefully acknowledges

the support of the National Endowment
for the Arts and Beard'sFund.
May I write words more naked than flesh,
stronger than bone, more resilient than
sinew, sensitivethan nerve.

Sappho
CLIO HISTORY
CALLIOPE EPICPOETRY
URANIA ASTRONOMY
MELPOMENE TRAGEDY
ERATO LOVEPOETRY
ELITERE LYRICPOETRY
THALIA COMEDY
TERPSICHORECHORALDANCE
POLYMNIA SACREDPOETRY
 Aller A la ligne C'dtait le premier jour point
Elle venait de loin point ce soir au diner virgule
les familles demanderaient virgule ouvre les guil-
lemets Qa c'estbien passdle premier jour point
d'interrogation ferme les guillemets au moins
virgule dire le moins possible virgule la r6ponse
serait virgule ouvre les guillemets Il n'y a q'une
chose point ferme les guillemets ouvre les guille-
mets Il y a quelqu'une point loin point ferme
les guillemets

Open paragraph It was the first day period

Shehad come from a far period tonight at dinner
comma the families would ask comma open
quotation marks How was the first day interroga-
tion mark closequotation marks at least to say
the leastof it possible comma the answerwould be
open quotation marks there is but one thing period
There is someone period From a far period
closequotation marks
DISEUSE

She mimicks the speaking.That might resemble

speech. (Anything at all.) Bared noise, groan, bits
torn from words. Since she hesitates to measure the
accuracy, she resorts to mirnicking gestureswith the
mouth. The entire lower lip would lift upwards then
sink back to its original place. She would then gather
both lips and protrude them in a pout taking in the
breath that might utter some thing. (One thing. Just
one.) But the breath falls away. With a slight tilting
of her head backwards, shewould gather the strength
in her shoulders and remain in this position.
It murmurs inside. lt murmurs. Inside is the pain
of speech the pain to say. Larger still. Greater
than is the pain not to say. To not say. Says
nothing against the pain to speak. lt festers in-
side. The utound, Iiquid, dust. Must break. Must
uoid.

From the back of her neck she releasesher shoulders

free. She swallows once more. (Once more. One
more time would do.) In preparation. It augments.
To such a pitch. Endlessdrone, refueling itself. Au-
tonomous. Self-generating.Swallows with last efforts
last wills against the pain that wishes it to speak.

She allows others. In place of her. Admits others to

make full. Make swarm. All barren cavities to make
swollen. The others each occupying her. Tumorous
 layers, expel all excessesuntil in all cavities she is
flesh.
She allows herself caught in their threading, anony-
mously in their thick motion in the weight of their
utterance.When the amplification stops there might
be an echo. She might make the attempt then. The
echo part. At the pause. When the pause has already
soon begun and has rested there still. She waits in-
l:,lr::., sidethe pause.Inside her. Now. This very moment.
'l i, ,'
ll'iil,,' Now. She takes rapidly the air, ii gulfs, i.r po"pu.u-
lnside her aoids. lt doesnot contain
further. Ris_
ing from the empty belozo,pebble lumps of gas,
M.oisture. Begin to flood her. Dissoluing Lrr,
Slou, slousedto deliberation.Slout and tltick.
The above traces from her head moving downward
closingher eyes, in the same motion, slJwer parting
her mouth open together with her jaw and throat
which the above falls falling just to the end not stop_
ping there but turning her inside out in the same
motion, shifting completethe whole weight to elevate

ili.'',
:
li':,
tion for the distancesto come. The pauseends. The
voice wraps another layer. Thicker now even. From
the waiting. The wait from pain to say. To not to.
upward.

Begins imperceptibly, near-perceptible.(Just once.

li;,i, say. Just one time and it will take.) Sh; takes. She takes
iil1l11',
' the pause. Slowly. From the thick. The thickness.
lii,i', She usouldtake on their punctuation. She utaits
l: ll, '
' From weightedmotion upwards. Slowed.To deliber_
i:,1,,,' to seruicethis, Theirs. Punctuation. She u:ould
ation even when it passedupward through her mouth
il:,,' become,herself, demarcations,Absorb it. Spill
again. The delivery. She takes it. SIow. The invok_
iiir,t i t . S e i zeu p o n th e p u n ctu ation. Last air . Giue
iji , . ing. All the time now. All the time there is. Always.
; her. Her. The relay. Voice. Assign. Hand it. De-
; i:

i ; t , '' And all times. The pause.Uttering. Hers now. Hl.,

Ii Iiuer it. Deliuer.
li, : ' bare. The utter.
Ni" . :
tl: She relays the others. Recitation. Evocation. Offer-
ii ', ing. Provocation. The begging. Before her. Before
l.i:!,,,
ilii',r:' them.
liiil,'
i;:1.::' "
I ,..
Now the weight begins from the uppermost back of
: ): .t .
her head,pressingdownward. It stretchesevenly, the
entire skull expanding tightly all sides toward the
front of her head. She gasps from its pressure, its
c o n t r a cti n gmo ti o n .
O Muse, tell me the story
Of all thesethings, O Goddess,daughterof Zeus
Beginningwhereveryou wish, tell evenus.
Ecrivezen francais: 9. Why didn't you wait so that I could write you?
1. If you like this better, tell me so at once.
2. The general remained only a little while in this Compldtezles phrasessuivantes:
p l a ce . 1. Le lac est (geler)ce matin.
3. If you did not speak so quickly, they would un- 2. Je (se lever) quand ma mdre m'appeler.
derstandyou better. 3. Elle (essuyer)la table avec une 6ponge.
4. The leaveshave not fallen yet nor will they fall 4. Il (mener) son enfant A l'ecole.
for some days. 5. Au marchd on (acheter) des oeufs, de la viande
5. It will fit you pretty well. et des legumes.
6. The peopleof this country are lesshuppy than the 6. Il (jeter)les coquillesdes noix qu'il (manger).
people o'f yours. 7. Ils (se promener) tous les soirs dans le rue.
7. Come back on the fifteenth of next month. no 8. Elle (pr6fdrer)le chapeauvert.
sooner and no later. 9. Je(esp6rer)que vous m' (appeler)de bonne heure.
8. I met him downstairs by chance. 10. Ils (envoyer) des cadeauxA leurs amis.
9. Be industrious: the more one works, the better
one succeeds.
10. The harder the task, the more honorable the
l a b o r.
11. The more a man praiseshimself, the lessinclined
are others to praise him.
12. Co away more quietly next time.
Traduire en francais:
1 . I w a n t yo u to sp e a k.
2. I wanted him to speak.
3. I shall want you to speak.
4. Are you afraid he will speak?
5. Were you afraid they would speak?
6. It will be better for him to speak to us.
7. Was it necessaryfor you to write?
8 . Wa i t ti l l I w ri te .
Tell me the story
Of all thesethings.
Beginningwhereveryou wish, tell evenus.

11
 Black ash from the Palm Hosannah. Ash. Kneel
down on the marble the cold beneath rising through
the bent knees.Closeeyesand as the lids flutter, push
out the tongue.
The Host Wafer (His Body. His Blood.) His. Dis-
solving in the mouth to the liquid tongue saliva
(Wine to Blood. Bread to Flesh.)His. Open the eyes
to the women kneelingon the left side.The right side.
Only visible on their bleached countenancesare the
unevenly lit circles of rouge and their elongated
tongues.In waiting. To receive.Him.
Waiting. Nearing, nearerand nearerto the altar of
God. Infusion of the surplus perfumes,bee'swax, in-
cense,flowers.
Place back the tongue. Now to the forehead,
between the two brows or just above. Hands folded
fingers laced to expel all extraneousspace.One ges-
ture. Solid. For Him.
By then he is again at the other end. He the one
who deciphershe the one who invokes in the Name.
He the one who becomesHe. Man-God. Placesbles-
sedleavesblessedashesfrom the blessedpalms in the
left hand. Black dot of ash on the forehead.Through
Hosannah Hosannah in the Highest. Through the
Mea Culpa Mea Culpa through my most grievous
sin. Crucifixion to follow. Of Him. Of His son.
Standnot too quickly the stationslooking down at
the red of the carpet hand placed on triangle white
fake lace scarf not to slip fall from the head, the head
of hair the sin covered. The nails of the shoessnag on
the carpet down the aisleto the water bowl the finger

13
 reach to make the cross from the same forehead side number from the situation, such as the Depart-
by side not to eraie the dark ash to the chest once to ment of the North, or from the nature of the soil.
the left shoulderonce then to the right in the Name of Each department is administeredby a prefect.
the Three in One, the mystery of all Three being One. Parisis not only the capital of France,it is the cap-
At the same time. Nine steps down from the main ital of the world. Do you know that there are
gate is dusk now, evening, nightfall. about ten thousand Americans in Paris, who
would quit to go to heaven?
5. Shecall shebelieve shecalling to shehascalling
Translateinto French: becausethere no response shebelieve she calling
1. Today would be the Feast day of the Immaculate and the other end must hear. The other end must
Conception.Shewould have been voted to crown see the other end feel
the BlessedVirgin. She herself would be sinless she accept pages sent care of never to be seen
would be pure would be chastein her heart. She never to be read never to be known if name if
ii,,:, would be silent.Often. Most of the time. Most of- name be known if name only seenheard spoken
i,;.l ten than not. Far too often.
i;i', : ' read cannot be never she hide all essential
;, , .
1,;,
' 2. "O *y God, I am heartily sorry for having of- words words link subjectverb shewrites hidden
ir t : , , i
jr. l fended Thee, and I detest all my sins becauseof the essentialwords must be pretended invented
,
i , .1;.
Thy just punishments,but most of all, because she try on different images essential invisible
i:
they offend Thee my God, who art all good and 6. We left London at half past seven and arrived at
deservingof all my love. I firmly resolve the help Dover after a journey of two hours. At ten o'clock
i
li : of Thy grace to sin no more and to avoid the near the boat left the harbour. The trip acrossthe chan-
iir
il,li,' occasionof sin, Amen." nel took only an hour and a half. The sea was
:. lt'ir
r'- rJ ,
3. Near Occasion calm, we did not feel the slightestof motion. We
4. Francewas formerly divided into thirty-two pro- made a stop of an hour at Calais, where we had
vinces, such as Brittany, Provence, Franche- luncheon. It was rather dear but well served. At
Comte, etc., but sincethe Revolution of seventeen six o'clock in the evening we were in Paris. The

I eighty-nine, it is divided into eighty-six depart-

ments. The names given to the departmentscome
entire trip was only a matter of a little more than
ten hours and an expenditure of fifty francs.

',il
, , iii1 almost all from the rivers that traversethem, such
as the Loire, the Seine, etc.; some are borrowed
from the names of the mountains, and a small
7. Forget and would be forgotten close eyes and
would be forgotten not say and they are forgotten
not admit and they are forgotten like sins say
1^

',,1,,.1..1
t..'il 15
la
 them they are forgiven forgotten and they are for- urongs erased.Reducedto spotless.Pure. When
gotten I receiueGod, all pure. Totally. For the Dtuelling
8. In the name of the Father, and of the Son, and the of God Housed in my body and soul mttst be
Holy Spirit, Amen. Bless me father, for I have clean. Free of sin. Any sin. Mortal sin. The
sinned, my last confession was. . . I can't re- greater the sin, greater the forgiueness,greater
member. Name how many; one. two. three. the Glory of God in His forgioeness. I haue
weeks months years. none. Venial sin. SmaII sins. Hardly toorth the
Name all the sins. mention. Sins, all the same. Thoughts euen. No
Name all the mortal sins if any, how many. matter hoto inuisible. Euerything is uisible to
Name all the venial sins, how many. God. Thought as aisible as utord as act.
r,tr
.i
Get the penance. Act of Contrition. I am making the confession.
,j i{ Say thank you Father. To make utords. To make a speech in such
',Iij
: ,.i Say all the penance. tongues.
i iiit 9. The young poet who composed the Marseillaise Q: WHO MADE THEET
r:l' :l
ii was called Rouget de Lisle. He wrote it when he A: God m ade m e.
: iI To conspire in God's Tongue.
l' . f i was in Strassburg in March or April, seventeen
,,i: bfl
ninety-two. He spent a whole night composing Q: WHERE IS GOD?
,i
1
this beautiful song; however, he wrote nothing A: God is eueryuthere.
before the next morning. After writing what he Accomplice in His Texts, the fabrication in His
,i Ou;n lmage, the pleasure the desire of giuing
had composed, he went to the house of his friend
l ii
.l

Dietrich to show it to him. He sang his new song
I i1
I
i before his friends. The mayor's wife accompanied
him at the piano. Everyone applauded. Soon it
'i I
I was sung everywhere in France.
I
I ln His Oun lmage in His Oun Resemblance,in
"Blessme father, for I have sinned. My last confes-
sion was. . . I can't rememberwhen. . . Theseare mv
sins."
I am making up the sins.-Forthe guaranteeof ab-
solution. In the beginning again, at zero. Before
Heauen epen. Before the Fall. All preuious
lmage to the toord in the mind of the confessor.
Q: GOD WHO HAS MADE YOU IN HtS
OIIVN I/KENESS.
A: God utho has made me in His oton likeness.
His Outn Copy, In His Oun Counterfeit Present-
ment, in His Duplicate, in His Own Reproduc-
tion, in His Cast, in His Carbon, His lmage and
His Mirror. Pleasurein the image pleasurein the
copy pleasure in the projection of likeness
pleasurein the repetition. Acquiesce,to the cor-

T6 77
 respondance. Acquiesce, to the messenger.
Acquiesce,to and for the complot in the Hieratic
tongue. Theirs. Into Their tongue, the counter-
script, my confessionin Theirs, Into Theirs. To
scribe to make hear the Toords,to make sound
the words, the roords, the words made flesh,
First Friday. One hour before mass.Mass every First
Friday. Dictde first. Every Friday. Before mass.
Dict6ebefore.Back in the study hall. It is time. Snaps
once.One stepright from the desk. Singlefile. Snaps
twice. Follow single line. Move all the way to the
right hand side of the wall. Single file. The sound in-
strument is made from two piecesof flat box-shaped
wood, with a hinge at the center. It rests inside the
palm and is snappedwith a defined closing of the
thumb. Framed insideis an image of the Holy Virgin
Mary robed in blrre with white drape or white robe
with a blue drape over her head, her eyes towards
Heaven, two hands to Heaven, shrouded in clouds,
the invisible feet. Framed inside next to her is the
sacredheart of Jesus,a piercedheart enflamedsingle
threadedthorn acrossabove emanatingsilver light.
Image of JesusChrist pointing his left index finger to
chestwounded mark on right hand reachingreaching
perhapsever so gently.
Singlefile silencegliding stepsone at a time
the organ has started already
Lesenfantsde Mon Sacr6Coeur. (All capital letters)
The organ plays over again
Vo u s l'a ve z d i t V o tre P ro messe.. .nos espoir notr e
18
bonheure (or was it votre) dans la tendresse.. .(or
was it ma tendresse)
les enfants de Mon Sacre Coeur
over and over
the single file waits at the door of the chapel. The
seniorsfirst. The line dividesin two. Waiting in two
lineswith spacebetween.The singing has begun. The
words are in the blue books in case you have for-
gotten them. The chosen ones to crown Mary the
lmmaculate Conception enter in the center. The
white uniforms. The ribbon of satin, today, blue
draped acrossfrom the right shoulder down to the
left side of the w ai s t. Banner . Of bl ue and w hi te
satin.T he i m ageof M ar y s eated.In the c enter .W hi te
lilies.One in the centerto carry the banner.The eight
others, 4 by 4 in single file behind the one with the
banner.9 i n al l . Eac hpew hol ds ni ne.One m oni tor to
count the nine then to the next pew. The next verse.
And then back to the first. Over and over. Until it
begins.The novena of the ImmaculateConception.
NOVENA: NINE EACH. THE RECITATION OF
PRAYER AND PRACTICINC OF DE-
VOTIONS DURING A NINE DAY
PERIOD
And it b egi ns .
L9
From A Far
W h a t n a ti o n a l i ty
or what kindred and relation
w h a t b l o o d re l a ti o n
w h a t b l o o d ti e s o f b l o o d IN NOMINE
w h a t a n ce stry
w h a t r ace g e n e ra ti o n LE NOM
w h a t ho u secl a n tri b e sto ck str ain
w h a t l i n e a g ee xtra cti o n NOMINE
what breed sect genderdenomination caste
w h a t s tra y e j e cti o nmi sp l a ced
T e r t i u m Qu i d n e i th e ro n e th ing nor the other
Tombe des nues de naturalized
w h a t t r a n sp l a n tto d i sp e lu p on
CLIO HISTORY
 YU CUAN SOON

BIRTH: By Lunar Calendar, L5, March 1903

DEATH: 12, Oc tober , 1920.8:20 A.M .

She is born of one mother and one father.

:i
,1
rl 25
ii
.l
I

:i
 She makes complete her duration. As others have
made complete theirs: rendered incessant,obsessive
myth, rendered immortal their acts without the
leisure to examine whether the parts false the parts
real according to History's revision.
Truth embraces with it all other abstentions
other than itself. Outside Time. Outside Space,
Parallels other durations, obliaious to the delib-
eratebrilliance of its outn time, mortal, deliberate
marking. Obliuious to itself. But to sing. To sing
to. Very softly.
She calls the name Jeanned'Arc three times.
She calls the name Ahn Joong Kun five times.
There is no people without a nation, no people
without ancestry. There are other nations no matter
how small their land, who have their independence.
But our country, even with 5,000 years of history,
has lost it to the japanese.
"Iapa\ at once created an assembly, in the
. name of the King, for the 'discussion of every-
thing, gJeatand small, that happenedwithin the
1,1
I
realm.'This assemblyat first met daily, and af-
l terwards at longer intervals. There were soon no
I lessthan fifty Japaneseadvisersat work in Seoul.
They were merr of little experienceand less re-
sponsibility, and they appirently thought that
they were going to transform the land between
the.risingand setting of the sun. They produced
-and
endless ordinances, scarce a dav went bv
save that a number of new regulalionr *".'.
issued, some trivial, some striking at the oldest
and most cherished institutions in the country.
The Government was changed from an absolute
monarchy to one where the king governed only
by the advice of the Ministers. The power of di-
rect addressto the throne was denied to anyone
under the rank of Governor. One ordinance
createda constitution, and the next dealt with
the status of the ladies of the royal seraglio. At
one hour a proclamation went forth that all men
were to cut their hair, and the wearied runners
on their return were again dispatchedin hot haste
with an edict altering [he offiiial language.Noth-
ing was too small, nothing too great, and noth-
ing too contradictory for these constitution-
mongers. Their doings were the laugh and the
amazementof everv foreigner in the place.
"Acting on the Japaneselove of ordei and of de-
fined ranl, exact titles of honour were provided
for the wives of officials. Thesewere divided into
nine grades: 'Pure and Reverent Lady,' 'Pure
Lady,' 'Chaste Lady,' 'Chaste Dame,' 'Worthy
Dame,' 'CourteousDame,' 'JustDame,' 'Peaceful
Dam e,' and'U pr i ghtD am e.'At the s am eti m e the
King's concubineswere equally divided, but here
eight divisionswere sufficient:'Mistress,''Noble
Lady,' 'ResplendentExemplar,' 'Chaste Exem-
plar," ResplendentDemeanor,"Chaste Demean-
or,' 'ResplendentBeauty,' and 'ChasteBeauty.'
The Japaneseadvisers instituted a number of
sumptuary laws that stirred the country to its
depths, relating to the length of pipes, style of
dress,and the attiring of the hair of the people.
Pipeswere to be short, in place of the long bam-
boo churchwarden beloved bv the Koreans.
 Sleeveswere to be clipped. The top-knot, worn
by all Korean men, was at once to be cut off.
Soldiers at the city gates proceeded to enforce
this last regulation rigorously."
Cuan Soon is the only daughter born of four chil-
dren to her patriot father and mother. From an early
age her actions are marked exceptional. History re-
cords the biography of her short and intensely-lived
existence.Actions prescribedseparateher path from
the others. The identity of such a path is exchange-
able with any other heroine in history, their names,
dates, actions which require not definition in their
devotion to generosity and self-sacrifice.
In Guan Soon's16th year, 1919, the conspiracyby
the Japaneseto overthrow the Korean Government is
),i achieved with the assassinationof the ruling Queen
f: Min and her royal family. In the aftermath of this
ti incident, Guan Soon forms a resistant group with
1l fellow studentsand actively begins her revolutionary
work. There is already a nationally organized move-
ment, who do not accepther seriousness,her place as
a young woman, and they attempt to dissuadeher.
She is not discouraged and demonstrates to them her
conviction and dedication in the cause. She is ap-
pointed messengerand she travels on foot to 40
towns, organizing the nation's massdemonstrationto
be held on March 'J,,\g]9. This date marks the turn-
ing point, it is the largestcollective outcry against the
Japaneseoccupation of the Korean people who will-
ingly gave their lives for independence.
irl
.,.tl
r1
The only daughter of four children she makes
completeher life as others have made complete.Her
mother her father her brothers.
' " 'l saw four places where engagementshad
been fought. At one place it had been a drawn
battle, the Japaneseretiring with five killed. The
other three were Japanesevictories, owing to the
lons range of theii rifles and their superior am-
*,riitiot-; and only one of their victories was
obtained without casualtiesto themselves.I saw
enough to realise that it was no picnic for the
Japanese.
" 'One is forced to ask who is in chargeof these
men who are nothins more than brigands.Their
mode of warfare seeils to be purposily designed
to stir every honest.man into a frenzy. Is this
their object? If not, why do they practice so
wicked, so mad a policy? Let the authorities
either police the whole disaffecteddistricts effec-
tually and properly, or elseconfesstheir incapa-
city for controlling Korea.' "
SUPPRESSIONOF FOREIGN CRITICISM
September26, 1907
"We are informed that a bad fight took place
about eight miles from Su-won on Sunday, S9p-
tember f2th. Thirty volunteers were surrounded
by Japanesetroops, and although no resistance
was offered, they were shot down in the most
cold-blooded fashion. This not being quite
enough to satisfy the conquerors, two othe-rvol-
untee-rswho haclbeen capfured were brought out
 and were decapitatedby one of the officers. We
may mention that this news does not come from To the others, theseaccountsare about (one more)
native sources; it comes from European." distant land, like (any other) distant land, without
any discernable features in the narrative, (all the
The "enemy." One's enemy. Enemy nation. Entire
same) distant like anY other.
nation against the other entire nation. One people
This document is transmitted through, by the same
exulting the suffering institutionalized on another.
means, the same channel without distinction the con-
The enemy becomes abstract. The relationship be-
tent is delivered in the same style: the word' The
comes abstract. The nation the enemy the name
image. To appeal to the massesto congeal the infor-
becomeslarger than its own identity. Larger than its
,rrutL. to make bland, mundane, no longer able to
own measure.Larger than its own properties. Larger
transcend their own conspirator method, no matter
than its own signification. For this people. For the
how alluring their presentation. The responseis pre-
people who is their enemy. For the people who is
coded to perform predictably however passively
their ruler's subject and their ruler's victory.
possible. Neutralized to achieve the no-response,to
Japan has become the sign. The alphabet. The vo- make absorb, to submit to the uni-directional corres-
cabulary. To this enemy people. The meaning is the
pondance
instrument, memory that pricks the skin, stabs the
Why resurrect it all now. From the Past. History,
flesh, the volume of blood, the physical substance
the old wound. The past emotions all over again' To
blood as measure,that restsas record, as document.
confessto relive the samefolly. To name it now so as
Of this enemy people.
not to repeat history in oblivion. To extract each
To the other nations who are not witnesses,who
fragment by each fragment from the word from the
are not subject to the same oppressions,they cannot
image anotirer word another image the reply that will
know. Unfathomable the words, the terminology:
not repeat history in oblivion.
enemy, atrocities, conquest, betrayal, invasion, des-
struction. They exist only in the larger perception of
History's recording, that affirmed, admittedly and
unmistakably, one enemy nation has disregarded the
humanity of another. Not physical enough. Not to
the very flesh and bone, to the core, to the mark, to
the point where it is necessaryto intervene, even if to
invent anew, expressions,for this experience,for this
outcome, that does not ceaseto continue.
 PETITION FROM THE KOREANSOF HAWAII
TO PRESIDENTROOSEVELT
Honolulu,T.H.
luly 12,7905
To His Excellency,
The President of the United States
Your Excellencv,-The undersignedhave been
authorisedby the 8,000 Koreansnow residingin
the territory of Hawaii at a special mass meet-
ing held in the city of Honolulu, on July IZ, \gOS,
to present to your Excellency the following ap-
ti ' j.
li r peal:-
lt l
;) We, the Koreans of the Hawaiian Islands,
voicing the sentimentsof twelve millions of our
coultrymen, hrrmbly lay before your Excellency
the following facts:-
Soon after the commencementof the war be-
tween Russia and Japan, our Government made
a treaty of alliance with Japan for offensive and
defensive_purposes.By virtue of this treaty the
whole of Korea was openedto the Japanese,and
both the Government and the people have been
assistingthe Japaneseauthorities in-their military
t'.. operations in and about Korea.
The contents of this treaty are undoubtedly
known to your Excellency,thirefore we need not
embody them in this appeal. Suffice it to state,
however, the object of the treaty was to preserve
the ildependenceof Kofa and japan and to pro-
tect Eastern Asia from Russia'saggression. -
Korea, in return for Japan'sTiiendship and
protection againstRussia,has renderedservices
to the Japaneseby permitting them to use the
country as a base of their military operations.
When this treatv was concluded, the Koreans
fullv expected thit Japan would introduce re-
forms it to the govelnmental administration
;t;G the line of tXe modern civilization of Eur-
.p" i"J nmerica, and that she.would adviseand
counrel our people in a friendly manner' but to
o.ri dituppoiirtment and regret!t Iqpulese Gov-
"
ernment fias not done a singlething in the way -ot
improving the condition of the Korean people'
Oti th" cJntrary, she turned loose several thou-
rur,d ror.tgh and disorderly men of her nationals
i" fot"ulwho are treating the inoffensive Kor-
eans in a most outrageousm.anner.The Koreans
are bv nature not a quarrelsome or aggresslve
peopl6, but deeply resent the high-handedaction
;a tfrtiuputt"tu towards them.-We can scarcely
believe that the ]apaneseCovernme-ntapproves
the outrages committed by its people in Korea,
but it hal done nothing to prevent this state of
uffuitr. They have been, durln-gthe last eiShteen
months, forcibly obtaining all tlqe special privi-
legesand concessionsfrom our Government,-so
lhit to-duy they practically own everything that
is worth having in Korea.
We, the cotti*ot people of Korea, have lost
confidence in the promises Japan made at the
time of concludingihe treaty of alliance, ald we
Joubt seriously tEe good intentions which she
professesto hive to*ards our people. For geo-
sraphical, racial, and commercial reasons we
ilruttt to be friendlv to Japan, and we are even
willine to have hei as oui guide and example in
the m"attersof internal reforms and education,
but the continuous policy of self-exploitation at
the expenseof the Koreans has shaken our con-
fidence in her, and we are now afraid that she
will not keep her promise of preserving our inde-
pendenceas a nation, nor assistingus in reform-
ing internal administration. In other words, her
policy in Korea seemsto be exactly the same as
that of Russiaprior to the war.
The United States has manv interests in our
country. The industrial, commercial, and reli-
gious enterprisesunder American management,
have attained such proportions that we-believe
the Government and people of the Unites States
ought to know the true conditions of Korea and
the result of the Japanesebecoming paramount in
our country. We know that the people of Ameri-
ca love fair play and advocate justice towards all
men. We also know that your Excellency is the
ardent exponent of a squire deal between indi-
viduals as well as nations, therefore we come to
you with this memorial with the hope that Your
Excellencymay help our country a[ this critical
period of our national life.
We fully -appreciatethe fact that during the
conference between the Russian and Japanese
pea_ce envoys, Your Excellency may not Careto
make any suggestion to either paity as to the
conditions of their settlement, but we earnestlv
!,op" that Your Excellency will see to it that
Korea may preserve her autonomous Govern-
ment and that other Powers shall not oppressor
maltreat oqr people. The clausein the tiiaty be-
tween the United States and Korea gives us a
claim upon the United Statesfor assislance,and
this is the time when we need it most.
Very respectfully, Your obedient servants,
(Sgd.) P.K. Yoon
Syngman Rhee
JO
March '1,,lgltg. Everyone knows to carry inside
themselves,the national flag. Everyone knows equal-
ly the punishment that follows this gesture' Tlt'
march 6egins, the flags are taken out, made visible'
waved, u*ty individual crying out the independence
the freedom to the people of this nation' Knowing
equally the punishment. Her parents leading the pro-
.urrior, fell. Her brothers. Countless others wbre fired
at and stabbed indiscriminately by the enemy sol-
diers. Guan Soon is arrestedas a leader of the revolu-
tion, with punishment deserving of such a rank' She
is stabbed in the chest, and subiectedto questioning
to which she reveals no names. She is given seven
years prison sentenceto which her reply is that-the
nution itself is imprisoned. child revolutionary child
patriot woman soldier deliverer of nation. The
eternity of one act. Is the completion of one existence'
One martyrdom. For the history of one nation' Of
one people.
Some will not know age. Some not age. Time stops'
Time will stop for some. For them especially.Eternal
time. No age. Time fixes for some. Their image, the
memory oithem is not given to deterioration, unlike
the captured image that extracts from the soul pre-
cisely6y reproducing, multiplying itself. Their coun-
tenanceeltok.t not the hallowed beauty, beauty from
seasonaldecay, evokes not the inevitable, not death,
but the dy-ing.
Faceto face with the memory, it misses.It's missing'
Still. What of time. Does not move. Remains there'
3/
Missesnothing. Time, that is. All else.All things else.
All other, subject to time. Must answer to time, ex-
cept. Still born. Aborted. Barely. Infant. Seed,germ,
sprout, less even. Dormant. Stagnant. Missing.
The decapitated forms. Worn. Marred, recording a
past, of previous forms. The presentform face to face
reveals the missing, the absent. Would-be-said
remnant, memory. But the remnant is the whole.
The memory is the entire. The longing in the face of
the lost. Maintains the missing. Fixed between the
wax and wane indefinite not a sign of progress. All
else age, in time. Except. Some are without.
fuT u,t-,ruiow
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_/ Efprn'u rr* U, Ve
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t' FA _,,_,p
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t fa.z't @ t"fu/ t22

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rnbs;^p ryfr6 4*
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wof *r"l\r/$f o ii
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u/W N4( r^^'142'

9tr"a^4 taue+f t* a ..
fl*fr.a
/r,/t n o-(. ftrutln)
7till w\r{ 6 h''- /Zc*- '
ag 3/a4 ' a,eL ry
a'*4 h h"'-'^('
Er*e' Y/'a6
:" w ,?A(onffi/ ou'fi4'
Me'
CALLIOPE EPICPOETRY
 Mother, you are eighteenyears old. You were born
in Yong Jung,Manchuria and this is where you now
live. You are not Chinese.You are Korean. But your
f amily moved here to escapethe Japaneseoccupation.
China is large. Larger than large. You tell me that the
hearts of the people are measuredby the size of the
land. As large and as silent. You live in a village
where the other Koreanslive. Sameasyou. Refugees.
Immigrants. Exiles.Farther away from the land that
is not your own. Not your own any longer.
You did not want to see.You cannotseeanymore.
What they do. To the land and to the people.As long
as the land is not your own. Until it will be again.
Your father left and your mother left as the others.
You suffer the knowledge of having to leave. Of
having left. But your MAH-UHM, spirit has not left.
Never shall have and never shall will. Not now. Not
even now. It is burned into your ever-present
memory. Memory less.Becauseit is not in the past. It
cannot be. Not in the least of all pasts. It burns. Fire
alight enflame.
Mother, you are a child still. At eighteen.More of
a child sinceyou are always ill. They have sheltered
you from life. Still, you speak the tonguethe manda-
tory ldnguage like the others. It is not your own.
Even if it is not you know you must. You are Bi-
lingual. You are Tri-lingual. The tongue that is for-
bidden is your own mother tongue.You speakin the
dark. In the secret.The one that is yours. Your own.
You speakvery softly, you speak in a whisper. In the
dark, in secret.Mother tongue is your refuge. It is
being home. Being who you are. Truly. To speak
m a k e s yo u sa d . Y e a rn i n g .To utter each wor d is a
privilegeyou risk by death. Not only for you but for
all. AII of you who are one, who by law iongue tied
forbidden of tongue. You carry at centerthe mark of
the red above and the mark of blue below, heaven
and earth, tai-geuk; t'ai-chi. It is the mark. The mark
of belonging. Mark of cause.Mark of retreival. By
b i r t h . B y d e a th . B y b l o o d . you car r y the m ar k in
y o u r ch e st, i n yo u r MA H -UHM, in your MAH_
U H M , i n yo u r sp i ri t-h e a rt.
Yo u si n g .
Standing in a shadou, Bong Sun flouer
Your form is destitute
Long and long inside the summer day
When beautifully flouers bloom
The louely young uirgins uill
H a ue p l a ye d i n yo u r h o nor .
In truth this would be the anthem. The national song
forbidden to be sung. Birth less.And orphan. They
take from you your tongue. They take from you the
choral hymn. But you say not for long not for al-
ways. Not forever. You wait. you know how. you
know how to wait. Inside MAH-UHM fire alight
e n f l a me .
From the Misere to Gloria to Magnificat and
S a nctu s. T o th e A n ti p honaloig. Because
surely. Soon. The Answer usould ,omn. The
response.Like echo. After the oblations. The
offering, The sacrifice, the uotiue, the dezsotions,
46
the nouenas,the matins, the lauds, the uespers,
the uigils,the euensong,the nightsong,the atten-
danci, the adoration, the l)eneration,the honor,
the inuocations,the supplications,the petitions,
the recitations, the uo'LDs,the immolations'
Surely, all these and more. Ceaseless,Again'
Ouer and ouer.
You know to wait. Wait in the Misere' Wait in the
Gloria. Wait in the Magnificat. Wait in the Sanctus'
For the Antiphonal song. Antiphonal hymn' The
choral answer. In the ebb and tide of echo'
They have not forbidden sight to your eyes' Y-ou
see.You are made to see.You seeand you know' For
yourself. The eyes have not been condemned' You
seeinspiteof . Your sight' Let that be a lessonto you'
You see farther. Farther and farther. Beyond what
you are made to seeand made to seeonly' You pass
ihe mark, even though you say nothing' Everyone
who has seen, sees iarther. Even farther than al-
lowed. And you wait. You keep silent' You bide
time. Time. Singlestonelaid indicatingthe day from
sunriseto sundown. Filling up times belly' Stone by
stone.Three hundred sixty five days multiplied thirty
six years. Some have been born into it. And some
would.die i nto i t.
The days before the reclamation. Your father'
Your mother. Dying while uttering the words' Their
only regret. Not having seenwith their very eyes, the
overthiow. The repelling. The expulsion of the peo-
ple who have taken you by force' Not to have wit-
nessedthe purgingby sulphur and fire. Of the house'
Of the nat i on. An
 presenceis felt by the Japaneselanguagethat is being
You write. You write you speak voices hidden
maskedyou plant words to the moon you sendword spoken. The Japaneseflag is hanging at the entry of
the office. And below it, the educational messageof
through the wind. Through the passing of seasons.
the Meiji emperor framed in purple cloth. It is read at
By sky and by water the words are given birth given
specialfunctions by the principal of the school to all
discretion. From one mouth to another, from one
the students.
reading to the next the words are realizedin their full
meaning. The wind. The dawn or dusk the clay earth The teachersspeak in Japaneseto each other. You
and traveling birds south bound birds are mouth are Korean. All the teachersare Korean. You are as-
pieceswear the ghost veil for the seed of message. signed to teach the first grade. Fifty children to your
class.They must speak their name in Korean as well
Correspondence.To scatterthe words.
as how they should be called in Japanese.You speak
Mother you are eighteen.It is t940. You have iust
graduated from a teacher'scollege. You are going to to them in Korean since they are too young yet to
speakJapanese.
your first teachingpost in a small village in the coun-
It is February. In Manchuria. In this village you are
try. Your are required by the government of Man-
alone and your hardshipsare immense.You are timid
churia to teach for three years in an assignedpost, to
and unaccustomedto the daily existenceof thesevil-
repay the loan they provided for you to attend the
lage people. Outside the room and board that you
teacher'sschool. You are hardly an adult. You have
pay, you send the rest of your pay home. You cannot
never left your mother's, father's home. You who
ask for more than millet and barley to eat. You take
are born the youngest of four children. Always
what is given to you. Always do. Always have. You.
ailing. You have been sheltered from the harshness
Your people.
of daily life. Always the youngest of the family, the
You take the train home. Mother. . .you call her
child.
already, from the gate. Mother, you cannot wait, She
You traveled to this village on the train with your
leaveseverything to greet you, she comes and takes
father. You are dressedin western clothes. At the sta-
you indoors and brings you food to eat. You are
tion the villagers innocently stare at you and some
home now your mother your home. Mother insepar-
follow you, especially the children. It is Sunday.
able from which is her identity, her presence.Long-
You are the first woman teacher to come to this
ing to breathethe sameair her hand no more a hand
village in six years. A male teacher greets you, he
than instrument broken weathered no death takes
addressesyou in Japanese.Japan had already occu-
them. No death will take them, Mother, I dream you
pied Korea and is attempting the occupation of
just to be able to see you. Heaven falls nearer in
China. Even in the small village the signs of their
 9leep.Mother, my first sound. The first utter. The You are moving inside. Inside the stillness. Its
first concept.
slownessmakes almost imperceptible the movement.
is sun?lay afternoon. you must return
,It to the Pauses. Pauseshardly rest. New movement, ending
school'Your studentsare at the station
you. They seeyou home and bring waiting for only to extend into the next movement. Stops as
you food-'It i, elongation into the new movement. You say this is
May, it is still cold in ManchJri".
V."- work how Heaven should be. You say this is how it must
Monday, Tuesday, Wednesday,
and Thursday be death. (Memoryless.Dreamless.)Afterwards. The
passes.On Friday morning you
do not f."f *"ff. thick the weight of stillness.You are moving accord-
Feverand chi' possessthe body
ut th";; ,i*.. ingly never ahead of the movement never behind the
You arestandingin-thesunlightagainst
the tepidwall movement you are carrying the weight from outside
to warm yourself..you aregivingin.
To tn. futiio tn" being the weight inside. You move. You are being
Iure behind yoy beforeyoi uti uround
you beneath moved. You are movement. Inseparably. Indefin-
your skin the sh,?rpair tegins to blow
tn" *i"al ably. Not isolatable terms. None. Nothing.
the body, dark fires risinfto battl" fo,
lri"i.rvl',f,."f You come to a house.Enormous in size.There are
summoningthe coaxingthe irresistable
][ dru* ,lptu._ women standing before the house dressed in cos-
ing sleepdensewith-imigescondensing
LI
iii
spacein between,No drought to thJ
spells,words, noise. Music"eq",rr,
themwithout
extentionsof
tumes made of a strange and beautiful cloth. They
are carried in a light breeze faintly lifting above
ground as if their bodies wore wings. From the dis-
tion. You areyieldingto them.in"y "";;;';;;;"._
are too quick to tance their movements are reduced to make almost
arrive.You do not know them, ,ru,,r",
have,"ur-ii"* clearer the movement.
but they seekyou, inhabit you *hol",--;rp*d'you
airless,spaceless. To one side of the houseyou seea very wide flower
They force their spee.h;;;;
and direct your speechonly to them. ;., bed. There is no end in sight. You passalong it when
\.1

you come upon a very large hall where an orchestra

is playing music. On the other side, some women
_,Y"" are going somewhere.you are somewhere.
drap'edin long silk cloths are dancing. They entrance
This stillness.you can:rotimaginehow.
still. so st'r you. Numb you. You watch in awe for what seemsto
all around. Such stillness.Iil;
endless.Sp*iou, be a very long time. Such calm, you cannot imagine
without the need for verification
of space.li;rh;"g an expressionthat would describeit. Curiosity pulls
moves.So still. There is no struggle.
it,
own. No where other. No time other o*i "lJ'i,, you further and you move towards what looks like a
.or,."irruttu. restaurant. There are people very well dressedin not
Total duration without needfoilerification
of time. our native costumesand not foreign costumes.You
 snart
passthem and walk for a long time. From the oppo_ lesussaid unto him It is written again' I hou
7 'n"t
site direction, three women are approaching ytu. temPt the Lord thY God'
eat from
Their strange beauty increaseswith their slow pro- The third o.,. ,uy, to you, "then you must
gression towards you. You notice that they each mine."
^"--
carry a,large dish of food. you cannot ideniify its A-aguin,
- the devil taketh ttiry ttp into an ex-gee-d-
him all the
origin, but it captivates you completely. ;;;-hfuh *;;;"i"; .;."d showeth
i.iieaJ*t;iih; ;;rld,- and the glorv o'f them;
Their spirit takes your own. you are immobilized
9' ile-;;ith him, Ail thesethingswill I give
they hold you to their sight and approach even
ih;; if ih";""iowilt fall down and worship.me'
nearer. ThuV smile to you they say to you they have
^- ii't;;-tuitt-l.t"s unto lit,
10 9t! thee'hence'
prepared this food especiallyfor you. The first one Siti", for itii"writi;;, Thou shalt worship the
stands facing you and asks you to eat from it. you I"ra inv Cod, andhiq .onlvs\a,lt$?Y Y:"'
shake your head in refusal inspite of its aroma and 11 r."".tn ttim,'andbehold'angels
^- ih*; [nLa-"-"ii
the beautiful arrangement. iu*. and ministeredunto him'
you
Then was Jesusled up of the Spirit into the wil_ You cannot accept and the third one pushes
;'If you do not eat, you must be-
dernessto be tempted of the devil- down and says,
2 And when he had fasted forty days and forty come a cripple!" You fall. You fall deep' - :
father
1ig\ts,.he w-asafterward ahungered. Your *o[h". holds your hand and your
3- And when the tempte{ came tJ him, he said, If
thou be the Son of God, .o.n*u.d that-iiler" y.;;lieht nu"d your fingers begin to curl you ask
the
stonesbe made bread. it"- tJ unfold th.*. You feel on your hands
say
4 But he answeredand said, it is written, Man shall warm tears from your mother and father. They
a close'
not live.by bread-alone, but by every *"ia tf,ut when one is uborli to die the fingers curl to
saying how
proceedethout of the mouth of God. Shehas eatennothing your father'svoice
They
The second one offers you from her dish and you can she live. Upon heiring this you ask to eat'
wish' They
refuse again. You cannot speak you only shake your r"v in", the dying ask foi food as a last
head in disagreement. give you to eat.
5 Then the devil taketh him up into the holy city, No rnore sentenceto exile, Mother' no black crows
and setteth him on a pinnacie of the temJle. - to mourn you' Neither takes you neither will
take
6 And saith unto him, Ii thou be the Son o'f 6od, you let them
you Heaven nor Hell they fall too near
cast thyself down: for it is written, He shall *ir" to
hrs angels charge-concerning thee: and in tleir iall to each other you come back you come back
hand they shall bear thee up, lest at any time your one mother to Your one father'
thou clash thy toot against a stone.
 I write. I write you. Daily. From here. If I am not
writing, I am thinking about writing. I am compos-
ing. Recording movements. You are here I raise the
voice. Particlesbits of sound and noise gatheredpick
up lint, dust. They might scatter and become invis-
ible. Speech morsels. Broken chips of stones. Not
hollow not empty. They think that you are one and
the same direction addressed. The vast ambiant
sound hiss between the invisible line distancethat this
line connects the void and space surrounding enter-
ing and exiting.
They have not questioned. It is all the same to
them. It follows directions. Not yet. They have not
learned the route of instruction. To surpassovertake
the hidden even beyond destination. Destination.
I have the documents.Documents, proof, evidence,
photograph, signature. One day you raise the right
hand and you are American. They give you an
American Pass port. The United Statesof America.
.'rl
:l
,t
Somewhere someone has taken my identity and re-
ii
;:l
ii placed it with their photograph. The other one. Their
ri. 1
, ' lr" i signature their seals. Their own image. And you
learn the executivebranch the legislativebranch and
the third. Justice.Judicialbranch. It makesthe differ-
ence. The rest is past.
You return and you are not one of them, they treat
you with indifference. All the time you understand
what they are saying. But the papersgive you away.
Every ten feet. They ask you identity. They comment
upon your inability or ability to speak. Whether you
are telling the truth or not about your nationality.
They say you look other than you say. As if you
didn't know who you were. You say who you are
but you begin to doubt. They search you. They, the
anonymous variety of uniforms, each division,
strata, classification,any set of miscellaneousproper-
ly uni formed. They have the right, no matter what
rank, however low their function they have the auth-
ority. Their authority sewn into the stitchesof their
costume. Every ten feet they demand to know who
and what you are, who is represented. The eyes
gather towards the appropriate proof. Towards the
face then again to the papers, when did you leave the
country why did you leave this country why are you
returning to the country.
You see the color the hue the same you see the
shape the form the same you see the unchangeable
and the unchangedthe sameyou smell filtered edited
through progress and westernization the same you
seethe numerals and innumerablesbonding overlaid
the same, speech,the same. You seethe will, you see
the breath, you seethe out of breath and out of will
but you still see the will. Will and will only espouse
this land this sky this time this people. You are one
sameparticle. You leave you come back to the shell
left empty all this time. To claim to reclaim, the
space.Into the mouth the wound the entry is reverse
and back each organ artery gland pace element, im-
planted, housed skin upon skin, membrane, vessel,
waters, dams, ducts, canals,bridges.
57
 Composition of the body, taking into considera-
tion from conception, the soil, seed, amount of light
and water necessary, the geneology. Not a single
word allowed to utter until the last station, they ask
to check the baggage. You open your mouth half
way. Near tears, nearly saying, I know you I know
you, I have waited to seeyou for long this long. They
check each article, question you on foreign articles,
then dismissyou.

.i:
:1
\.
URANIA ASTRONOMY
 She takes my left arm, tells me to make a fist, then on the table in one long spill, exhale of a spitt.
open. Make a fist then open again, make the vein It takes her secondsless to break the needle off its
upp.u, through the skin blue-green-purple tint to the body in attempt to collect the loss directly from the
translucent surface.Pump them open and close' She wound.
takes the elastic band and ties it tightly around the
left arm. she taps on the flesh pressesagainst it her Stain begins to absorb the material spilled on.
thumb. She removes the elastic to the right arm'
She pusheshard the cotton square against the mark.
Open and close the right han{, fist and palm' She
takes the cotton and rubs alcontol lengthwise on the Stain begins to absorb the material spilled on.
arm several times. The coolness disappears as the
something of the ink that resembresthe stain from
liquid begins to evaporate. she takes the needle with
the interior emptied onto emptied into emptied upon
its empty body to the skin.
this boundary this surfa.u. Mor". Others. Wt u.,
No sign of flow ior_
sible-everpossibleto puncture to scratch to impiint.
Sample extract
Expel.Ne te cachepas. Rdvbletoi. Sang.Encre.bf ir,
Specimen type
body's extention of its containment.
Should it appear should it happen to appear all
of a sudden, suddenly, begin to flou begin-to
c'ollectbegin to spill otser flou flood should it
happen to.
Contents housed in membranes. stain from within
dispel in drops in spills. Contents of other recesses
seepoutward.
Too long. Enough already. One empty body wait-
ing to coniain. Conceived for a single purpose-and
for the purpose only. To contain. Made filled' Be
full. She pulls out the needle and the skin lifts'
Should it happen that the near-black liquid ink
drauss the line from point mark graoity follout
(ineuitably, suddenli in one line dousnthd arm
 J'ricoutaisles cygnes. I heard the swans
Les cygnesdans la pluie. J'6coutais. in the rain I heard
J'ai entendu desparoles vrai I listenedto the spoken true
ou pas vrai or not true
impossiblei dire. not possibleto say.

Lii. Des ann6esaprds There. Years after

Impossible de distinguer la Pluie.
Cygnes. Paroles souvenus. D6ji dit.
Vient de dire. Va dire.
Souvenu mal entendu. Pas certain.
no more possibleto distinguish the rain.
No more. Which was heard.
_Sw-qns.Speech.Memory. Already said.
Will just say. Having just said.
Rememberednot quite heard. Not certain.
Heard, not at all.

ii ,
.tiL'
La Pluie fait r6ver de sons. Rain dreamedfrom sounds.
The pauses.Exhalation.
Des Pauses.Exhalation.
ii,i Des affirmations toutes les affirmations. Affirmations. All the affirmations.
,x'i. Peu i peu Little by little
i{'.
, i'
ill,
,il Impossible de distinguer les paroles Not possibleto distinguish the speech
Exhaldes.Affirmdes en exhalation Exhaled.Affirmed in exhalation.
:ii,
ilil , exclam6esen inhalation Exclaimedin inhalation.
,iii' Ne plus distinguer la pluie desr€ves To
-distinguishno more the rain from dreams
r[i ou dessouffles or from breaths.

La langue dedans.La bouche dedans Tongue inside the mouth inside

la gorge dedans the throat inside
le poumon l'organe seul th-elung organ alone. The only organ.
Tout ensembleun. Une. All assembledas one. Justone.

i;tili[;!i
 LA. Plus tard, peu certain, si c'6tait There. Later, uncertain,if it
was
la pluie, la parole, mtimoire. the rain,.thespeech,memory --
Mdmoire d'un r€ve. Re memberedfrom dream.
Comment cela s'6teint. Comment l'et6indre. How it diminishesitself. How
to Dim
Alors que cela inish i ts el f. As
s'dteint. it dim s .

Mordre la langue. To bite the tongue.

Avaler profond6ment.Plus profond6ment. Swallow. Deep. Deeper.
Avaler. Plus encore. bwallow. Again even more.
Jusqu'ace qu'il n'y aurait plus. D'organe. Just until there would be no more
of organ.
Plus d'organe. Organ no more.
C ri s. Cries.
i,

lii
Peu d peu. Lesvirgules.Lespoints. a time.Thecommas.
"l.i
,l'i lfr ne
tat Theperiods.
Lespauses. pauses.
:1, Avant et aprds.Tous les avants.
Tous les aprds.
Bgforeand after. Throughout.
All advent.
1i All following.
1r
rii Phrases. Sentences.
ir
Paragraphs.Silencieux.A peu prds Paragraphs.Silent.A little
lil nearer.Nearer
,ii despageset despages Pagesand pages
rll
l en mouvement rn movement
,ii lignesaprds
,l,t
line after
i lignes line
r videsi gauchevides d droite, videsde mots. void to the left void to the
right, void the
de silences. words the silences.
l

J'6coutaisles signes. rhesigns.Remnanrs.

Missing.
Les signes muets. Jamais pareils. if"f,
r ne mute signs.
Never the same.
Absents. Absent.

68
69

Images seulement.Seules.Images'
Les signes dans la pluie, i'6coutais'
Les paroles ne sont que pluie devenuesneige'
Vrai ou pas vrai.
impossible A dire.
Imagesonly. Alone. Images.
The signsin the rain I listened
the speakingno more than rain having becomesnow.
True or not
true
no longer possibleto say.

Des ann6es et des ann6es.Dizaines.

Yearsand years.Ten upon ten.
One hundred upon one hundred.
Centaines.
hundreds years after. No longer possible
Aprds. lmpossible de distinguer' L'entendu.
to distingui s h.
Signes.Paroles.M6moire. D6ie
dit vient The audible. Signs.Spoken.Memory.
Which was already
de dire va
said to be
tl:
dire
'll Souvenir mal entendu, incertain' saidiust to
,i, i.
La pluie r6ve de sons. Des Pauses' say will
:il , say goi ng to j us t s ay
,,j rl E xh a l a ti o n .
'ii'
Des affirmations toutes les affirmations memory not all heard, not certain.
.ltl

'lil en exhalation. Rain dreamsthe sounds.The pauses.Exhalation.

ll ' Affirmation all affirmations
i
in exhalation.
ri l
ri
',tr
';l
.til Peu i peu Little by l i ttl e
, , i'''
i'' Li, des anndesaprds, incertain si la pluie There. Then. Yearsafter. Uncertainif
l la parole souvenuescomment c'6tait comme the rain the speakingrememberedhow it had been
c'6tait comme si c'6tait. as it had beenif it had been.

Mordre la langue. Avaler. Profonddment' Bite the tongue.Betweenthe teeth.Swallow

Plus profonddment. Avaler. Plus encore' deep.Deeper.Swallow. Again, evenmore.
J'usqu'a ce qu'il n'y aurait plus d'organe' Until therewould be no more organ.
Plus d'organe. No organ. Anymore.
C r i s. Cr ies.

Peu i peu. Lesvirgules.Lespoints. Bit by b i t. C om m as ,per i ods ,the

Lespauses.Avant et aprds.Apr,ls avoir 6t6. pauses.Beforeand after.
T ou t. After having been.All.
Avant avoir 6tti. Beforehaving been.

Phrasessilencieuses. Phrases silent

Paragraphessilencieux Paragraphs silent
despageset despagesi PeuPrds Pagesand pagesa little nearer
en mouvement to movement
lignes line
apreslignes after line
v i de ri g a u ch e A d ro i t. void to the left to the right.
Vider les mots. Void the words.
Vider le silence. Void the silence.

72
/J

,'.ii[r
l \irl

One by one.
i The sounds,The soundsthat move at a time
'
i qtops .Star tsagai n.,Ex c epti onE r
, stop sand s tar tsagai n
-t

r t hll but ex c epti ons .

Stop . Star t. Star ts .
Contractions.Noise. Sembla.nae of noise.
." Broken:speech. One to onei, a iirne.
lr-

, Cr ac k edtongue..Br ok en to'ngue.
' Pidgeon.Semblanceof sp'eech.
\) ' Swal l ow s .Inhal es .Stutter .$ta1ts ,,Stopsbefor e
starts . ! ;
I About to. Th'enslops.Exhale
: swallowed to a srjddenarre.tt:i
Rest. Without. Can do without rests.Improper
'to rest before begun'even.,,Probation of iest.
W ith qut them al l .. l
' Stop s tar t. :
,,,lWhere propel pauses' wet"."*p.cted.
, ' But no m or e.
MELPOMENE TRAGEDY
 be seensitting in the first few
,S.T:,rit rows. She
sitting
in thefiistfewr;;r. ai;;il; jJl
Tylibe
better I --
0..r...*;;';#;
- _ . - ",v quyuy
vvq Ji from
- "- - ^ - - - ^ l '
r r u r r l that
l l l a t which lis
s left
ill::i"lng
r_,r ,. 1 .
oenrnd tar away "i:rybehind w n l cn

-back more for closer

ser vieW
v
face to faceuntil
:::.",i11 3oru.singutar.A-lldi;; ;;; ""iiirrr.i;";.;
::
in ll
the liew
^,1,:
dark,
tt)r";i:;i;
theablolut"au.r.*;r";ir;'ril;#J f:::i:"ili
I{ORTH KCIREA
She is stretchedout as far as
the seatallows until her
neck restson the back of the
,.ut. St," pulls her coat
just below her chin enveloped
in on" massbeforethe
', ti
Csaor moving shades,flickering light
till
JAFAN through-tL"
window, Iengthof the g".dJ.,, tf,. "".,pry
irEu,J" o"ri".,
l;iI a symmetry.
The correct time beyond the
windows the correct
i ', WONJ{J
SEOUL I season the correct forecasL
-Beyond tf,u "*ptlr"tf-,.
setting, immobile. placid. Extreme slii";rr.
iii fl\!Y-'
-.9....:t
Misplaces nothing. Nothing
equivalent. Irreplace_
able. Not befor e.N ot after ." - " r
i r.l T TH*NGJU
SOUTHKORSA
vgrtow $€A-, The submissionis complete.
iii l .
*
A N OC N G
vision to immobility. Aba'do.,,
Relinquisheseven the
all protests to that
t r. ylll ytll upl"uj to.the sighi.About
ro appear.
,ANGJU
MASAN
forecast.Break..Break, by a1lmeans.The illusion
that the act of viewingi, i.
;;ke alterationof the
visible'Th-eexpursion ir i*-.Jiut". Not one second
is lost to.the repli-cation tt"-iJrai,y.
ance of the "f Total sever_
seen. Incision.

79
 APril 19 come. The Japanesewere defeatedin the world war
and were making their descentback to their country.
Seoul,Korea
As soon as you heard, you followed South. You
Dear Mother, carriednot a singlepiece,not a photograph, nothing
19th' eighteen years to evoke your memory, abandoned all to see your
4. 19. Four Nineteen' April
Nothing h;;;h;g"d' *" are at a standstill' I nation fr eed.
later.
"t j :::i^'i,,',ff
'.r
foreigntongue' r i,;:'#' #ff5.,1
nX.i.";:ll Fr om another epi c another hi s tor y . F r om the
missingnarratiue, From the multitude of narra'
standstill'
;;rhilhul .hut'ged'A tiues .M i s s i ng.F r om the c hr oni c l esF. or another
It isnot6.125' ii. five'June25th1950'Not telling for other recitations.
you had
today. There are no bombs as
Not this day''*t"'y
not fall' their shiny brown Our destinationis fixed on the perpetual motion of
describedtt.*'TfityJ"
one by one after another' search.Fixedin its perpetualexile. Here at my return
metallic backs uk;'iiJt's
in eighteenyears, the war is not ended.We fight the
North standing
The population standing before samewar. We are insidethe samestruggleseekingthe
:j lii
migratesNorth
before south foi ;;;';6*d'thot a samedestination.We are severedin Two by an ab-
rii , ll S p ri n g a 'n 'd S o uth for .W inter becomes stract enemy an invisible enemy under the title of
il. li fo r return' Destination'
i.
tt, l
' metaphor1o''ittn longing of liberators who have conveniently named the sever-
H o me l a n d ' ance,C i v i l W ar . C ol d W ar . Stal em ate.
ri
lir, sand bags barriers' all I am in the same crowd, the same coup, the same
rit , No woman with child lifting
to come' revolt, nothing has changed.I am inside the demon-
]I
: J t l,
d*ing the night for the battles
stration I am locked inside the crowd and carried in
i ,,
' l ri,l than towards yet
r
There is no desination other its movement. The voices ring shout one voice then
another war' Many
i ,!;
ll
rll another refuge from yet many voices they are waves they echo I am moving
deceptionsin the
g e n e ra ti o n ''i o " a nd, many in the direction the only one direction with the voices
chronology toutards the des-
L

sequence the only direction. The other movement towards us it

'"iii
ti n a ti o n . increasessteadily their direction their only direction
in vain' The thirty six our mutual destinationtowards the other against the
You knew it would not be by three
Thirty six,years multiplied other . M ov e.
years of exile. ''ittf your
hundred una iit" duyt' That one day I feel the tightening of the crowd body to body
This day did finally
country would be your own'
8l
now the voices rising thicker I hear the break the
singlemotion tearing the break left of me right of me
the silenceof the other direction advancebefore. ' .
They are breaking now, their sounds, not new' you
hure heard them, so familiar to you now could you
ever forget them not in your dreams, the conse-
quenceslf tn" sound the breaking' The- air is made
visible with smoke it grows spreadswithout control
re-
we are hidden inside the whiteness the greyness
duced to parts, reduced to separation' Inside an arm
lifts above the head in deliberate gesture and disap-
pearsinto the thick white from which slowly the legs
Lf another bent at the knee hit the ground the entire
body on irs left side. The stinging, it slicesthe air it
entersth"usI lose direction the sky is ahaze running
the streetsemptied I fell no one saw me I walk' Any-
where. In tears the air stagnant continuesto sting I
am crying the sky remnant the gas smoke absorbed
the sky I im crying. The streetscoveredwith chipped
bricks and debris.-8..".lS.. I seethe frequentpairs of
shoes thrown sometimes a single pair among the
rocks they had carried. Because.I cry wail torn shirt
lying I stepamong them. No traceof them'.Exceptfor
t"heblood. Bu.u.rru.Step among them the blood that
will not erasewith the rdin on the pavementthat was
walked upon like the stoneswhere they fell had fal-
len. Because.Remain dark the stainsnot wash away'
Because. I follow the crying crowd their voices
among them their singing their voices unceasingthe
e m p t y s t r e e t.
9,)
There is no surrenderingyou are chosento fail to
be martyred to shed blood to be setan example
one uho has defied one uho has chosen to defy
and usasto be set an example to be martyred a-n
animal uselessbetrayer to the causeto the wel-
fare to peace to harmony to progress.
..lt is 1,962eighteenyears ago same month same day
all over again. I am elevenyears old. Running to the
front door, Mother, you are holding older
brother pleadingwith him not to go out to-ithe dem-
onstration.You are threateninghim, you are begging
to him. He has on his school uniform, as all the other
studentsrepresentingtheir schoolsin the demonstra-
tjon. You are pulling at him you stand before the
door. argueswith you he pushesyou away. you
-He
useall your force, all that you have. He is prlpared
to join the student demonstration outside. you
can
hear the gun shots. They are directedat unyo*. -
Coming home from school there are criesin all the
streets.The mounting of shouts from every direction
from the crowds arm in arm. The students. I
saw
them, older than us, men and women held to each
other. They walk into the others who wait in their
uniforms. Their shouts reach a crescendoas they
approachnearer to the other side. Criesresistingcries
to move forward. Orders, permission to use force
against the students, have been dispatched. To
be
caught and beaten with sticks, and ftr others, shot,
remassed,and carted off. They fall they bleed
they
die. They are thrown into gas into the lrowd
to be
squelched.The police the soldiers anonymous they
duplicate themselves,multiply- in number invincible
they execute their role. Further than their home
fr,.iher than their mother father their brother sister
further than their children is the execution of their
of
role their given identity further than their own line
blood.
You do not want to lose him, my brother, to be
killed as the many others by now, already, you,say
you understand, you plead all the same they are kill-
ing any every one. You withstand his strength you
call me to run to Uncle's house and call the tutor.
Run. Run hard. Out the gate. Turn the corner' All
down hill to reach Uncle's house' I know the two
German shepherd dogs would be guarding one at
each side, chained to their house they drag behind
them barking. I must brave them, close my eyes and
run between them- I call the tutor from the yard'
above the sounds of the dogs barking' Several
studentslook out of the windows. They are in hiding
from the street, from their homes where they are
being searched for. we run back to the house the
tutoiis ahead of me, when I enter the house the tutor
is standing in front of him. You cannot go out he says
you cannot ;oit the D-e-m'o. De. Mo' A word, two
,o,rnds. Are you insane the tutor tells him they are
killing any student in uniform. Anybody' What will
you d-efendyourself with he asks' You, my brother'
you protest your cause' you say you are willing to
die. Dying is part of it. If it must be' He hits you' The
tutor staps you and your face turns red you stand
silently againstthe door your head falls. Mv brother.
You are all the rest all the others are you. you fell
you died you gave your life. That day. tt rained. It
rained for several days. It rained more and more
times. After it was all over. you were heard. your
victory mixed with,rain falling from the sky for many
days afterwards.I heard that the rain does not erase
the blood fallen on the ground. I heard from the
adults, the blood stainsstill. year after year it rained.
The stone pavement stained where yoti fell still re-
mains dark.
Eighteenyears pass. I am here for the first time in
eighteenyears, Mother. we left here in this memory
still fresh,still new. I speak inother tongue,a second
tongue. This is how distant I am. From then. From
that time- They take me back they have taken me
back so precisely now exact to the ho,r, to the day to
the seasonin the smoke mist in the drizzle I turn the
corner and there is no one. No one facing me. The
street is rubble. I put my palm on my eyes to rub
them, then I let them cry freely. Two sihool children
with their book bags appear from nowhere with their
arms around each other. Their white kerchief, their
white shirt uniform, into a white residue of gas,
crying.
I pass a second curve on the road. you sordiers
appear in green. Always the green uniforms the
patchesof camouflage. Trees camouflage your green
trucks you blend with nature the trees hide yo,r"you
cannot be seenbehind the guns no one ,.u, yo., th.y
have hidden you. You sit you recline on th. earth
next to the busesyou wait hours days making visible the thumb and the index
finger iust so.
your presence.Waiting for the false move that will That m uch
conduct you to mobility to action. There is but one you tuant to kill the time that is oppression
itself.
move, the only one and it will be false. It will be ab- Time that deliuersnot. Not you, not
from its
solute.Their mistake. Your boredom waiting would expanse,uithou,t dimension,definei
not by its
not have been in vain. They will move they will have limits. Airless, not a thought rising nrin,
.thin,
to move and you will move on them. Among them. that there are things to be forgotten, Eflortless.It
You stand on your tanks your legsspreadapart how should be eff ortless.Effort lf,ss
fu
many degreesexactly your hand on your rifle' Rifle the closerit is the closelr to it. Autay and,against
to ground the sameangle as your right leg' You wear time ing. A step fo^ruard
from Uait . norFiing'-'
a beret in the 90 degreesun there is no shade at the out. Backing off , Off periphery extended.
Fr"om
main gate you are fixed you cannot move you dare imaginary to bordering on diiision.
At least
n o t m o ve . Y o u a re yo u r p ost you ar e your vow in someuherein numeralsin relation
to the
.nomine patris you work your post you are your na- equator, at leastail the *,7tt haue
them at reast
'tion
defendingyour country from subversiveinfiltra- ualls are built betuteenthei'mat least
the mirit:ia
tion from your own countrymen. Your skin scorched uniforms and guns are in abeyance
of them.
as dark as your uniform as you stand you don't hear' lmaginary borders. Irn ima{inabre
boundaries.
Y o u h e a r n o th i n g . Y o u h e a r no one. You ar e hidden Sufficemore than that. SHE opposesHer.
you seeonly the prey they do not seeyou they can- SHE agains ther .
not. You who are hidden you who move in the More than that. Refusesto becomediscard
crowds as you would in the trees you who move decom pose d obl i v i on.
inside them you close your eyes to the piercing the From its memory dust escapesthe particles
breaking the flooding pools bath their shadow mem- m ater ialstillr es pi r ati onm ov e. pead ai r
still
ory as they fade from you your own blood your own s tagnant
water still exhalesmist. pure hazardignitin;flumi.,g
fleshas tides ebb, through you through and through'
itselfwith the slightestof friction likeTirefryl
ih;'i;r,
You are this that shouldbur n. N ot bur n, i l l um i nate.
Il l um i nateby
close to this much losing.Lightenby l os s .
c l o seto i t. Yet it losesnot.
Extend arms apart iust so, that much' Open Her nam e.F i r s tthe w hol e nam e.T hen
s y l l abl eby
the thumb and the index finger iust so. syllablecounting eachinsidethe mouth.
Make them

87
 rise they rise repeatedly without ever making visible Arrest the machine that_purports
lips never open to utter them. to employ de_
mocracy but rather causesthe successive
Mere names only names without the image not hers refraction of
her none other than her own. Sulfi..
hers alonenot the whole of her and even the image f"f.lp"_...,',.
exorcize from this mouth the name
would not be the entire the words the
memory of severancethrough this
,: her fraction her invalid that inhabits that rise act by tt i, u.t
to utter one, Her once,Her to utter ".rywith_
voluntarily like flint at once, She
out the separateact of uttering.
pure hazard dead substanceto fire.
Others anonymous her detachments take her
place.Anonymous against her. Suffice that should be
i
nation against nation suffice that should have been
i
divided into two which once was whole. Suffice that
should diminish human breaths only too quickly.
SufficeMelpomene. Nation against nation multiplied
nations against nations against themselves. Own.
Repelsh:r rejects her expels her from her own. Her
own is, in, of, through, all others, hers.Her own who
is offspring and mother, Demeter and Sibyl.
Violation of her by giving name to the betrayal, all
possible names, interchangeablenames, to remedy,
to justify the violation. Of her, Own Unbegotten.
Name. Name only. Name without substance.The
everlasting,Forever. Without end.
Deceptionsall the while. No devils here. Nor gods.
Labyrinth of deceptions. No enduring time. Self-
devouring. Devouring itself. Perishing all the while.
Insectthat eats its own mate. .. 1r-,,
.
Suffice Melpomene, arrest the screen en-trance
flickering hue from behind cast shadow silhouette
from back not visible. Like ice. Metal. Glass. Mirror.
Receivesnone admits none.

89
ERATO LOVEPOETRY
She is entering now. Betweenthe two white columns.
White and stone. Abrasive to the touch. Abrasive.
Worn. With the right hand she pulls the two doors,
brass bars that open towards her.
Columns. White. Stone. Abrasive
and worn.
The doors closebehind her. She purchasesthe ticket,
a blue one. She stands on line, and waits.
The time is 6:35 p.m. She turns her head exactly to
the left. The long hand is on 6 and the short hand on
7. She hands her ticket to the usher and climbs three
steps, into the room. The whiteness of the screen
takes her back wards almost half a step. Then she
proceedsagain to the front. Near front. Close to the
screen. She takes the fourth seat from the left. The
utmost center of the room. She seeson her left the
other woman, the same woman in her place as the
day before.
Whitenessof the screen.Takes
her backwards.
She enters the screen from the left. before the titles
fading in and fading out. The white subtitleson the
black background continue acrossthe bottonn of the
screen.The titles and namesin black appear from the
upper right hand corner, each letter moving down-
wards on to the whitenessof the screen.She is drawn
to the white, then the black. In the'whitenessthe sha-
dows move across, dark shapesand dark light.
Drawn to the white, then
the black. The shadows
moving acrossthe whiteness,
dark ,h";;,
light. ""Ji"rt

94
YJ
 ExtremeCloseUp shot of her face.Medium Long shot
of two out of the five white columns from the street.
She enters from the left side, and camera begins to
pan on movement as she entersbetween the two col-
umns, the camera stop at the door and she enters.
Medium CloseUp shot of her left side as she purchas-
esthe ticket her full figure from head to foot. Camera
holds for a tenth of a second. The camera is now
behind her, she is at the end of the queue.Long shot.
Cut to Medium CloseUp shot of her from the back.
She turns her head sharply to her left. cut. The clock
in ExtremeCloseUp. Same shot of her head turning
back. Sheleavesthe camera,other facesenter, of the
others in line, and camera is stationary for a brief
tenth of a second.CloseUp shot of her feet from the
il back on the three stepsleading into the theatre,cam-
era following her from the back. She stops. Her left

iin
foot lifts back half a step then resumes. Camera is
stationary,tilts upward and remainsstationary. Pans
to the right, while zooming out, the entire theatre in
view. The theatre is empty, she is turning right into
the aisleand moving forward. She selectsa row near
ii l the front. fourth seat from the left and sits. Medium
CloseUp, directly from behind her head. She turns

ll i.
her head to the left, on her profile. Camerapans left,
and remains still at the profile of another woman
seated.Camera pans back to the right, she turns her
head to the front. The screenfades to white.
Mouth moving. Incessant.precise.
Forms the words
heard. Moves from the mouth
to the ear. With the
hand placed acrosson the other,s
lip, ,rro.rirrr,'io*_
96
 ing the words. She forms the words with
her mouth
as the other utter acrossfrom her. she shapes
n.. rlp,
accordingly, gently.she blows whos and'whys
and
whats. On verra. O-n. Ver-rah. Verre.
AL. On
verra-h. Si. S-i. Shehears,we will see.If we will
have
to seeif. If. We would wait. Wait to see,We
would
have to wait to see, Wait and see. If. For a
second
time. For another time. For the other overlapping
time. Too fast. Slow your pace. please. Slo*"r,
much slower. For me to follow. Doucement.
Lente_
ment. Softly and slowly. For a second time.
For
another time. Two tim-es.Together. Twofold. Again.
again.
*nd _separately, together. Different p"f".u.
Sametimes.Sameday. Sam" y"ur. Delays,Uy t
o.rrr.
By night and day. At the same time. to the
time.
twice. At the same hour. Same time. All the
same
time. At the time. On time. Always. The time.
One expects her to be beautiful. The title which
carries her name is not one that would make her
anonymous or plain. "The portrait of . . . " One seems
to be able to seeher. One imagines her, already. Al-
ready before the title. She is not seenright away. Her
image, yet anonymous suspendsin one's mind. With
the music on the sound track you are prepared for her
entrance. More and more. You are shown the house
in which she lives, from the outside.

Then you, as a viewer and guest,enter the house.It is

you who are entering to see her' Her portrait is seen
ihrough her thiirgs, that are hers. The arrangementof
her house is spare, delicate, subtly accentuating,
99
 rather, the space, not the objects that fill the space.
Her movements are already punctuated by the move-
ment of the camera, her pace, her time, her rhythm.
You move from the same distanceas the visitor, with
the same awe, same reticence,the same anticipation.
ii
Stationary on the light never still on her bath water,
ii then slowly moving from room to room, through the
ili
,) same lean and open spaces. Her dress hangs on a
il door, the cloth is of a light background, revealing the
i.,r surfacewith a landscapestained with the slightest of
': ::
hue. Her portrait is not representedin a still photo-
l: i graph, nor in a painting. All along, you see her
if
i':1
without actually seeing, actually having seen her.
,tri You do not seeher yet. For the moment, you seeonly
i iill
illI her traces.
,r, "Letterof Invitation to the
fr
lll
wedding of sisterTh6rdse
of the Child Jesusand the Holy Fu...
jl
1l God Almighty, Creator of H"u.,o.r,
^ and Earth,
l: ;i
i''i ,
S_overeign Ruler of the Univerr", th" Most Glorious
rl !
i:rl:
Virgin Mary, eueen of the Huu.,r"r,ly
Court, an_
iri nounceto you the SpiritualEspousal
iiri of TheirAugust
ijt Son, Jesus,King of ki.gr, una iora
I r{i of tordr, liith
l'', little ThereseMirtir,, ,,o-* princers
iii;l
and Lady of His
Kingdomsof the yoly Childh;od and
the passion,
',[l

n'r assigned to her in.d9w1yby her Divine Spouse,

.i t , ,
which kindoms sheholds her titles of fro*
notlitrloi rf,.
Child Jesusand the Holy Fu.". -
MonsieurLouis Martin, proprietor
and Master of
the Domainsof Suffering fi;;iliation and Mme
Martin, Princessand LaJy""d of Hoio, of the H.u.r.r,ly
Court,wish to haveyou iake puri in tn.
lA"rile;
"f
101
 ;,
: their Daughter, Thdrbse, with
i
t;: Jesus,the Word of
1;r: Cod, the Second person of the Adorable
,i
:;l Trinity,
who through the operarion of the Holv
l;i
Sp;;;';",
-Heaven.
i:
made Man and Son of Mary, of
eueen
:ir , Being unable to invite you to the Nuptiai
j Bi"rrirre
rl: yllch was given on Mount Carmel, S.pt"rnU.r-A,
t
" ii
'1"
1890, (the heavenly court alone *u, admitt.Ji
i
are neverthelessasked to be present Vou
l. l
at the Return
l;
1i
i, from the Wedding which will iake place
t, Tomorrow,
the Day of Eternity, on which day
Jesus,Son of God,
will come on the Clouds of Heaven in
the splendo.of
His Jvlajesty,to judge the Living and
the Dead.
hour b-eingas yet uncertain,you are invited
, flu to
: nold yourself in readinessand watch.,,
Until then. The others relay her story. She is married
to her husbandwho is unfaithful to her. No reasonis

f;
given. No reasonis necessaryexceptthat he is a man.
It is a given.
Hermarriage to him, her husband.Her love
for him,
her husband, he_rduty to him, her husband.
He is the husband, and sheis the wife. He is the man.
Sheis the wife. It is a given. He doesas he is the man.
She does as she is the woman, and the wife. Stands
the distance between the husband and wife the dis-

I tance of heaven and hell. The husband is seen.En-

tering the houseshoutingher name, callingher name.
You find her for the first time as he entersthe room
calling her. You only hear him taunting and humili-
ating her. She kneels beside him, putting on his
clothesfor him. She takes her place. It is given. It is
i",
the night of her father's wake, she is in mourning.

ro2
103
 Still the apprenticeship of the wife to her husband'
He leaveslh" too*. She falls to the floor, your eyes
the
move to the garden where water is dripping into
stone well from the bark of a tree. And you need not
see her cry. "l still cannot understandwhy women
are so easily
excommunicatedin Italy, for every minute someone
was saying: "Don't enter here! Don't enter there, you
will be excommunicated!,, Ah poor women, ho*
they are misunderstood!And yet they love GoJ-in
il much larger numbers than men do and during the
Passionof Our Lord, women had more.or.rrugulhur,
the apostlessince they braved the insults of tlhe sor-
diersand dared to dry the adorable Faceof
Jesus.,,He
allows misunderstanding to be their lot on earth
since, He chose it for Himself. In heaven, He will
show that His thoughts are not men,s thoughts, for
then the last will be first."
grad-
She moves slowly. Her movements are made
a"ff, made" to extend from inside her' the
to the
*o*u.,, her, the wife, her walk weighted full
""f,
the
g.ou.d. Stillness that follows when she closes
space
Ioor. She cannot disturb the atmosphere.The
in
*h.r" she might sit. When she might' She moves
the
i,, pu.rr.r. She yields spa:-eand in her speech'
of
,u*". Hardly rplukr. Hardly at all' The slowness
n"i ,p"u.h when she does' Her tears her speech'
the
Sh; climbs the steps slowly' While she climbs'
day
lake changesfrom the lake at dawn the lake at
pass-
ih" luk" at-dusk the lake at moonlight. The time
il; ;"; ihe lake. The time it takes her to climb the
steps. 1o4 105
 Upon seeingher you know how it was for her. You
know how it might have been. You recline, you
lapse, you fall, you seebefore you what you have
seen before. Repeated,without your even knowing
it. It is you standing there.It is you waiting outsidein
ll the summer day. It is you waiting and knowing to
j:
wait. How to. Wait. It is you walking a few stepsbe-
fore the man who walks behind you. It is you in the
" silencethrough the pines,the hills, who walks exactly
I rl
ri;l three stepsbehind her. It is you in the silence.His si-
r;':|i lence all around the unspoken the unheard, the ap-
:i . prenticeshipto silence.Observed for so long and not
ir
ending. Not immediately. Not soon. Continuing.
r , tl C o n t a i n e d .Mu te n e ss.S p e e chless ness.
lir'i
ii,
l
It is you who know to hear it in the music so late in
,i,fi
iril
ti il
the night. Then it becomesyou, the man, her com-
tl
. . l,r l
panion, the live-in student accompanying her to
' ,l, lil
ij1 school how many times as a young girl. It is you who
il
il: hears his music for her while she sleeps.It is you
i,il :
,lli , sitting behind him looking at the moon the clouds the
'ia
l'
itrl lake shimmering. You are she, she speaksyou, you
ilbi
YUi
1rfl
speak her, she cannot speak. She goes to the piano
ti'i1lt while he plays. You know that he cannot speakeither.
iLij
'I

1 lf l
The muteness.The void muteness.Void afteruttering.
Iri

, 'lt l
Of. Each phrase. Of each word. All but. Punctua-
tion, pauses.Void after uttering of each phrase. Of
each word. All but. Punctuations.Pauses.
They do not touch. It is not like that. The touch-
l;1
ing made so easy the spacefilled full with touch. The
entire screen.To make the sequencesmove. In close
u p . T o fa b ri ca te th e re sp onse. So soon. Too
106

lriir
:;.i;i
:
,.,
,il1?
 immediate. To make fulty evident the obiect. The
touch. Making void the reticence of space the inner
residenceof space. Not this one. It's not like that.
He plays the piano, his own composition as he would
ot th. ancient string instrument. Abstract, but fa-
miliar to you. Ancient and familiar. You think you
have seen this before. Somewhere else. In Gertrude'
It is her, with her elbows on the piano. It is you see-
ing her suspended, in a white mist, in white layers of
*"*ory. In layers of forgetting, increasing the den-
sity of mist, the opaque light fading it to absence,the

fl oblect of memory. You look through the window- and

the music fills and breaks the entire screen from
somewhere. Else. From else where.
You know how it was. Same. For her. She would
do the same. She would sit at the piano as her sadness
grew in her breath without any destination. She
iould set before each note, until the music would
induce her and she would acquiesce.
From the other room you knew as she would begin
playing. You walk inside the room, you sit behind
her you knew the music, which ones.
Mother you who take the child from your
back to
your breast you who unbare your breast
to ttre cnira
her hunger is your own the .nita t"k.; ;;;;
pain with her nourishment ;;;,

Mother you you who take the husband from

your
back to your breast you who unbare your
breast to
the husband his hunger your own the husband-A;,
away your pain with his nourishment
108 109
 I

She asks if you want to sing a song and you move

next to her on the bench and you sing for her as she
plays for you.
"l am only a child, powerlessand weak,
and yet it
is my weaknessthat givesme the boldnessof offlring
,',
myselfasVICTIM of yourloue, O Jesusllntimespast,
,,l
:l
victims, pure and spotless, were the only on.,
acceptedby the Strong and powerful God. To satisfy

I
Divine lustice, perfect victims were necessary,but
the Lausof Loue has succeededto the law of fear, and
Loue has chosenme as a holocaust,me, a weak and
imperfectcreature.Is not this choiceworthy of Loue?
iil Yes, in order that I ove be fully satisfied,it i, .,...r_
sary that It lower itself, and that It lower Itself to
nothingnessand transform this nothingnessinto
fire,
t O Jesus,I know it, love is repaid by love alone,
and so I searchedand I found the way to solacemy

i" Perhapsshe loved him. Her husband. Perhapsafter

all she did. Perhapsin the beginning it was not this
heart by giving you Love for Love.,,

l*il
ifl[,l
way. In the beginning it was different. Perhapsshe
loved him inspite of. Inspite of the arrangementthat
she was to be come his wife. A stranger.Strangerto
her. The one that she should espouse.Decided for
her. Now she would be long to him. Perhaps she
learnedto love him. Perhapsit was never a question.
It was given. She took whatever he would give her
becausehe gave her so little. She takesshe took them
without previous knowledge of how it was supposed
to be how it is supposedto be. She deservedso little.
Being wife. How it was. How it had been. Being
110 .il1
 She asks if you want to sing a
song and you move
next to her on the bench and you
sing for her as she
plays for you.
"I am only a
. child, powerlessarrd weak, and yet it
rsmy weakness ar gi
_th ves * i*gl d;u;;,o;,"irll,r,
myselfasVICTIM "
victims,pure and' "iv.;r'i;i,''6 Jnru2lIn timespast,
;di;',ri..u the only ones
acceptedby theStronj
Divineluitirn, F;;;rfut Goi."iorrul,rr,
n""^f:.i""i
;;;J;ere
theLaw of Louehas necessary,but
succeeded to the law of fear,
Loue has chosen*: and
as a holo.uurt, me,
imperfectcreature.,l, a weak and
noi inf, .f."f.e worthy
Yes,in orderthat I ove-il;;il";atisfied, of Loue?
sarythat It roweritseif, it is neces_
nothingness ""r"ir,u,
and transform
It lower Itserfto
,f,f,
O Jesus,I know ir:
ir- ".rfringness intofire.
r"p"ia
]o-r" by Iove alon",
Perhaps she loved him. Her husband. perhaps
after
;:ffi:"i#l"l:",:l,n w,av
f,:*i?J toso,ace
my
all she did. Perhapsin the beginning
it was not
way' In the beginning it was-differlnt. p.rrrp, this
loved him inspiie of. inspite of ,rr.
,h" u.."ngement that
she was to be come his wife. A
,trung.r. Strangerto
her. The one that she should
Decided for
her. Now shewoull b: l.;; "rpo.rr..
;; hi..,. Furn"p, ,n.
learned to love him. perhup, il
*u, .".,o.r a question.
It was given. She took *hut..r",
h. *o.rld;;;';..
becausehe gave her so little. She
takes she took them
without previous knowledge of how
it was supposed
to be how it is supposedtJe. she
deservedso littre.
Being wife. How it was. How
it had been. B;i"g
110
. l1l

::,rilil
I
;t;ill
t;
rti

woman. Never to question. Never to expect but the

given. Only the given. She was his wife his posses-
Jion she b"iongeJ to him her husband the man who
claimed her and she could not refuse' Perhaps that
was how it was. That was how it was then' Perhaps
now.
It is the husband who touches. Not as husband' He
touches her as he touches all the others' But he
touches her with his rank. By his knowledge of his
own rank. By the claim of his rank' Gratuity is her
body her spirit. Her non-body her non-entity' His
privilege possessionhis claim. lnfallible is his owner-
rnip. Iiob.t"t with mockery at her refusal of him'
b.,f hel.very being that dares to name herself as if she
possessesa will. Her own.
Sheforgets.Shetries to forget. For the moment.
For
the duration of thesemoments.

One morning. The next morning. It does not matter'

So many mornings have passed this way' But this
one. Especially. The white mist rising everywhere,
constani gathering and dispersing. This is how it fills
the screen.
Sheopens the cloth again. White. Whitest
of beige.
In-thewhiteness,subtle hues outlining phoenix
frJm
below phoenix from above facing eaih other
in the
weave barely appearing. Disaipearing
into the
whiteness.
ii Already there are folds remnant from the previous
foldings now leaving a permanent mark. This cloth

1\2
I

once in certain mind to prepare a quilt now left un-

attended to some future time. Its purpose having
been expendedshe opens it, spreadsit again as if fol-
lowing a habitual gesture. She looks at it once more
with a vague uneasinessas though she was missing a
part to this very gesturethat she could not remember.
"The smallest
act of PURELOVE is
her than all other works of more value to
together.,,
It stingsher inside. All sudden.Summons.Move. To
simply move. Her body. Renounce no more the will
inhabiting her. Complete. She changes her dress,
shed to the ground, left as it fell.
She moves now. Quickly. You trace her stepsjust
after, as soon as, she leaves the frame. She leaves
them empty. You are following her. Inside the mist,
Close. She is buried there. You lose her. It occurs to
you, her name. Suddenly. Snow. The mist envelops
her she appears from it. Far. On top of the hill. You
have seen her there many times. The lake she has
visited often. The lake behind her on her steps. The
waiter comes out to greet her he says how early she is
this morning shesays shecame to seethe lake he says
he will bring her tea. Everything is seenfrom above.
Very far above. The two figures inside the mist mass
shifting in constant motion. You are made to follow
the waiter inside while he prepares tea made to wait
with him and when you return with him you find her
gone. The white table the two white chairsthe waiter
in his white jacket the mist thick and rising. Very far,
Above. Again from above the waiter inside the large
white corners running back and forth calling her
name. Hardly visible. The corners.
-r 1J
 "Martyrdom was the dream
- of my youth and this
dream has grown with me within carmel,s cloisters.
But here again, I feel-that my dream is a folly,
for I
cannot confine myself to desiring one kind of
mar_
tyrdom. To satisfy me I need all. Like you,--*y
Adorable Spouse,I would be scourgedand .rrr.ifi.d.
I would-die flayed like St. Bartholomew. I
*oulJ b"
plungedinto boiling oil like St. I would
John; undu._ i
go all the tortures_inflictedupon the martyrr. rl
Wirn .il
St. Agnes and St. Cecilia,I would presentmy
neck to
the sword, and like Joan of Arc, my deai
sister, I
would whisper at the stake your Name, O
JESUS.,,

117
il
It had been snowing. During the while.
l
Interval. Recess.Pause.
i
It snowed. The name. The term. The noun.
It had snowed. The verb. The predicate.The act of.
Fell.
Luminescentsubstancemore so in black night.
Inwardly luscent.More. So much so that its entry
closesthe eyes
I n t e r i m, B ri e fl y.
In the encloseddarknessmemory is fugitive.
Of white. Mist offers to snow self
In the weightlessslow all the time it takes long
agesprecedestime pronouncesit alone on its own
w h i l e . In th e w h i te n e ss
no distinction her body invariable no dissonance
synonymousher body all the time de composes
eclipsesto be come yours.

118
ELITERE LYRICPOETRY
ii
i.
i
i'
1l

,i
I
i
ili
,j
Dead time. Hollou: depression
interred inualid
to resurgence,resistant
to memory. Waits. A;;i:
Apellation. Excaultion.
Ln|i;;";",
diseuse.Diseusedn bonnn-rr'r"rirrr.utho is
Let her call
forth. Let her break ,/r:" rin"rl,)'it
ur10ntime again a-ndagain. ,or, upon time
w'iti-her uoice,
penetrateearth,s
fl9or, the ualls
circteand scratch the boul;;;';f;r, of Tartiurus to
sound enter f rom without, Let the
tnn'io*t,, hollou: its
sleep.ILntil.

l1a
ILJ
 ALLER/RETOUR
Qu'estce qu'on a vu
Cettevue qu'estce qu,on a vu
Day recedesto darkness enfin. Vu E. Cette vue. eu,est ce que c,est
Day seenthrough the veil of night enfin.
Enfin. Vu. Tout vu, finalement.Encore.
t,l Translucent grey film cast between daylight and dark
I 'r Immediat.Vu, tout. Tout ce temps.
( dissolving sky to lavender
. i. Over and over. Again and again.
ii to mauve to white until night overcomes.
Vu et vid6. Vid6 de vue.
Hardly a murmur
Dedansdehors.Comme si c,6taitjamais.
Betweendark and night
Comme si c'estvu pour la premidre fois.
Suspendreturn of those who part with rooms
C'6tait.C'titait le pass6.
While shadowsascent then equally fade
On estdegu.On dtait deEula vue
Suspensionof the secretin abandonedrooms
du dehors du dedansvitrail. Opaque. Ne reflite
Passingof secretunknown to thosewho part jamais.Cons6quemment
Day recedingto dark
en suivant Ia vue absente
Removelight Re move soundsto far. To farther.
which had ceasedto appear
Absencefull. Absenceglow. Bowls. Left as they are.
alreadyit has been
Fruit as they are. Water in glassasbeadsriseto the rim,
hasbeen
Radiant in its immobility of silence.
hasbeenwithout ever
As night re veils the day.
occuringto itself that it should remember.
Sustaina view. Upon
itself. Recurringupon itself without
theknowledgeof
its absentview.
The other side.Must have. Must be.
Must have been a side.Aside from
What has one seen
This view what has one viewed

r.t

t,
iil
'fi
,ili
Ir
124
725
 Finally. View. This view. What is it finally' that. All aside.From then.
Finally. Seen.All. Seen.Finally' Again' Point by pcint. Up to date. Updated.
Immediate.Seen.All. All the time' The view.
Absent all the same.Hidden. Forbidden.
Over and over. Again and again'
Eithersideof the view.
Seenand void. Void of view.
Inside outside.As if never. side upon side.That which indicatesthe interior
As if it was seenfor the first time' and exterior.
Inside.Outside.
I t w a s . I t w a s th e P a st.
,1, Glass.Drape. Lace.Curtain. Blinds. Gauze.
One is deceived.One was deceivedof the view
,l ,
outside inside stain glass.Opaque' Reflects Veil. Voile. Voile de mari6e. Voile de religieuse
,1
ti never. ConsequentlY Shadeshelter shield shadow mist covert
i l, following the absent view screenscreendoor screengate smoke screen
il r:.
concealmenteye shade eye shield opaque silk
ii i which had ceasedto aPPear
gauzefilter frost to void to drain to exhaust
rl already it has been
tii1., to evjscerateto gut glazing starn glassglassy
ll,,ilr.
has been.
vitrification.
,
;l,il Has been without ever
what has one seen,this view
,,fi]i',l'
$l r thiswhich is seenhousedthus
i'ilillir behindthe veil. Behind the veil of secrecy.Under
ifi
'i r l therose ala derobeebeyond the veil
i,il ,'l,, vocevelata veiled voice under breath murmuration
l l rl,
l ll rendermute strike dumb voicelesstongueless
,li llr
I

126 727
ALLER Start the next line.
Might have been.Wanted to seeit
Discard. Every memory. Of. Might have been. Wanted to have seenit
Even before they could. to have it happento have it happenbefore.All of
it.
Surgethemselves.Forgottenso, easily, Unexpectedand then there
not even as associations, all over. Eachpart. Every part. One at a time
signaturesin passage.Pull by the very root, the very oneby one and missingnone. Nothing.
possiblevaguenessthey may evoke. Forgettingnothing
Cc'rlorsfaintly dust againstyour vision. Leavingout nothing.
E r a s et he m. But pretend
Make them again white. You Re dust. go to the next line
You fade. Resurrectit all over again.
Even before they start to take hue Bit by bit. Reconstructingstepby step
U n t i l t r a n sp a re n t step
into the white they vanish within limits
white where they might impress enclosedabsolutely shut
a d i f f e re n th u e . A sh a d o w . tight, black, without leaks.
Touch into shadow slight then re turn a new Within thoselimits,
shape enter again into deeper shadow resurrect,as much as
becoming full in its mould. possible,possibly could hold
Releasethe excessair, releasethe spacebetween possiblyever hold
the shape and the mould. a segmentof it
Now formless, no more a mould. segmentby segment
Make numb somevision someword somepart segmented
resemblingpart somethingelse sequence/narrative, variation
pretend on make believe
not to seepretendnot having seenthe part. secretesaliva the words
That part the only part too clearwas all of it was the salivasecretethe words
f irst to be seenbut pretend secretionof words flow liquid form
i t w a s n't.N o th i n g a t a l l . salivatethe words
{|],
It seemedto resemblebut it wasn't. givelight. Fuel.Enflame. riil

129
 I ,11
:,,:
D i m l y , d i ml y a t fi rst
then increaseiust a little more
volume then a little more
take it take it no further, shut it
off . To the limit before too late before too soon
to be taken away.
i two handsby two enter it back and foith the layersof
rl
r,i Somethingall along a germ. All along anew,
sproutinghair of a root. Something
takesonly one to start.
Sa y , sa y so .
and it would be the word. Induce it to speakto take
t o t a k ei t
takes.
Secretesaliva the words
Saliva secretethe words
Secretionof words flow liquid form
Salivatethe words.
Dead gods. Forgotten.Obsolete.Past
Dust the exposedlayer and reuealthe
u n f a th o ma b l e
utell beneath,Dead time, Dead gods, Sediment'
Turned stone. Let the one who is diseusedust
breatheauray the distanceof the uell' Let the one
uho is diseuseagain situpon the stone nine days
and nine nights.Thus. Making standagain,Eleusis'
ii
RETOUR
what of the partition. Fine grain sandedvelvet wood
and between the frames the pale sheet of paper.
Dipped by hand over and over from the immobile
water seeminglystagnant.By the swaying motion of
film at the motion of a hundred strokes.
stands the partition absorbing the light illuminating
it then filtering it through. Caught in its light, you
would be cas t. Ins i de. D ependi ngon the ti m e.- Of
day. Darknessglows inside it. More as dusk comes.
A singleatmospherebreakswithin it. Takesfrom this
moment the details that call themselvesthe present.
Breakinglooseall associations,to the ,nury*.-ory,
that had remained.The memory stain attachesitself
and darkens on the pale formless sheet, a hole in_
creasingits sizelarger and larger until it assimilates
theboundariesand becomesitself formless.All mem-
ory. Occupiesthe entire.
Furtherand further inside, the certitude of absence.
Elsewhere. other than. successionof 6ccurrencesbe-
fore the partition. Away. A way for the brief unac-
countableminutesin its clouding in its erasingof the
presentto yield and yield wholly to abandon*ithort
realizingeven the depth of abandon.

You read you mouth the transformed object across

from you in its new state,other than what ii had been.
The screen absorbs and filters the light dimming ,ilil
t1
l"JU 131
iru
rl iil
 i
ii
ll

I dimming all the while without resistanceat the ob-

vious transformation before the very sight. The white
ili
r {l
turns. Transparent. Immaterial.
,:x:
.{] If words are to be uttered, they would be from be-
:i hind the partition. Unaccountableis distance,time to
transport from this present minute.
rl r i
I r'i If words are to be sounded, impress through the par-
tition in ever slight measure to the other side the
{
lii

'.ll
ti
ll
other signaturethe other hearing the other speechthe Dead uords. Dead tongue. From disuse.Buried in
Time'smemerv. Unemployed.Unspoken,History,
other grasp.
Past.Let the one ushois diseuse,one who is mother
'ili, Ever since the whiteness. who uaits nine days and nine nights be found.
'ilifi'''
*ii ,
It retainsitself, white, Restorememory. Let the one zohois diseuse,one
unsurpassing,absent of hue, absolute, utmost who is daughter restorespring uith her eachap-
$f' pure, unattainably pure. pearancefrom beneaththe earth.
If within its white shadow-shroud, all stain should
iflil
,, vanish, all past all memory of having been cast,
left, through the absolutionand power of
The ink spills thickest before it runs dry before it
stopstoriting at all.
i.i. thesewords.
i,il
i'il
Covering. Draping. Clothing. Sheathe.Shroud.
Superimpose.Overlay. Screen.
1i[ Conceal. Ambush.

'[.l
i ,,
Disguise.Cache.Mask. Veil.
Obscure.Cloud. Shade.Eclipse.Covert.
lri.
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THALIA COMEDY
 She decidesto take the call. Takes it
at once. Her
voice is as if she holds this receiverfor
the verf first
time. This foreign instrument that carries
the very
soundsto the words. The very words.
From when the call is announced
to her to the
momentshepicks up the receivershe
doesoo, it inr..
Shehearsthe ringing and the call is u.,roun..i.
Sf.,.
ryal\s to it, picks it up but shehas not had the time to
think. All had been prepared.All had
U".., ,uh.u.r.d
beforehand.To the pause,over and over
in her *ir,a
The brief pausein the beginningbefore
,h. *oulJ ,uy
yes.Each phraseaccordingto its physicai
in-,pu.t,'it,
notable effect once pronounced io in.
u..u^truiio.
of certainarticles.ft frightlghtthe .r.ry
o6;.c" ii",
followed them. The voice w"ould reach
a crescendo,
pause,begin again in barely audible
-a *hirp.r-*ith
either .co_ughing.or __choking at the thr oat. R ar el y
audible.Inaudible. Hardry iudible at ail.
Reducedto
a m oan, a hum, staccatoinhalation,
and fi nal i y , a
wail. She cannot contain any longer.
fuf -
through her door upstairs throuih unoihu.
d;. "*i.a
She is the first to annour,.u h!, arrival.
Voice of
anticipation.Shewishesthat it would
* .tu_or phor .
theother .The voicealone,by its for ce
by i ts pl eadi ng
by some inexplicablepo*e.. Of wishing.
Wishing
hard enough. She wishes that this person
would be
metamorphosedback into the p"rron
that was pre_
viously,.she prays, invents, if il is
necessary.
it took lesstime for her to rearizethat
there would
no m agicalshifting. It did not m atter
!: any m or e.
Shewanted to abollsh it quickly, the
formuia. the
L39
 1.;l

ritual. All too quickly the form and the skin that re- come,couldnot possibly. She knowing
too that there
semblesa past. Any past. With this, there would be was no rlisplacing death, there was
no overcoming
no more rehearsals.No more memorization. without the actual dying.
No end in sight. No ending and not a satisfactory
one. One that might appease.If to appeasewas too She says to herself if she were able to
usrite she
much to ask for, then, sooth. Painless,at least numb. could continue live. Says to herself li ;:i;
.t.o
would urite zoithout
To keep the pain from translating itself into memory. geqsiig. To hersitf if-;;
She begins each time by charting every moment, the toriting she could aborish riar time.
she'u:our"d
date, the time of day, the weather, a brief notation on lioe. If she could display it before
her and b,e-
:Li the events that have occurred or that are to come. come its uoyeur.
She begins each time with this ablution as if this act
would releaseher from the very antiphony to follow,
She begins the search the words of equivalence to
that of her feeling. Or the absenceof it. Synonym,
simile, metaphor, byword, byname, ghostword,
phantomnation. In documenting the map of her
iourney.
The extendedjourney, horizontal in form, in con-
cept. From which a portion has been severedwithout
the evidence of a mark even, except that now it was
necessary to comply to the preface, "extension" to
"journey."
There is no future, only the onslaught of time.
Unaccountable, vacuous, amorphous time, towards
which she is expectedto move. Forward. Ahead. And
somehow bypassingthe present. The presentredeem-
ing itself through the grace of oblivion. How could l
ir
she justify it. Without the visibility of the present. li
She says to herself she could displacereal time. She
says to herself shecould display it before and become
its voyeur. She say.sto herself that death would never
1.40
147
 H oLyoks, A pr. 22, 1915. memory
ltrs. Laura cla xto n ,
The line could be longer. Enough to observe the
5 3 Ash L a n d PIa c€ , Br o o klyn, I{.Y .
woman. One might say that shewas crazy that in her
Dear l ' h d a in : - -
eyes, either once doomed or more. Her pupils
Xo ticln g a p o sta l ca r d addressed to Lr,r. R eartl on w l tb your
floating upward in the vast white. Her eyes fixed
nene slgrred to a a r xe a n d h a vln g ' b e e n l l vl ng ln the E ane apartmont sl th
without a single blink on the profile next to hers,
souLd you
I thought I let knor that !{r. F,eanlon has not been llvlng younger than a child more helplessthan a child with-
slnce last Ju ly. out the pride of a child even, they speak the truth of
T h a la e t t1 !n 6 ! h o a r d fn on htm ho w as Ln chl cago, dotng folly. Folly's truth. Her hand. Barely. Her'forefinger.
and
Cabaret wo r k a i e h o r t!,y a fte r wa a ta ken gl ck. Barely climbs down from her hair to her lips. Her lips
Of late I hevo not beard anythlng fnon hlm and cannot chafed by the cold. Parted slight. The forefinger
you of hls p r e se n t a d d r "€ ss. I n lg ht aIB o state that l .tr. R eardonrg touchesthe lip skin, as her eyes now close she might
nother removed to nartford about three Eonths ago. have sighed she might have moaned she takes the
I sh a 1 l k6 e p yo u r ^ e d d r e ss ln oaso I h€ar fron hl m and rl forefingeron her hand and barely reachesover to the
pleaeed to a d vlse yo u 1 f yo u so d e sllre. shoulder the iacket where the pen is placed inside
T r u stln g th ls wtll b e a cceptabl e and hopi ng to hear from
the pocket. She rests her finger there, just barely her
f reriaLn,
mouth moves her eyes lift her smile her begging.If it
was beggingshe might not have known it. The folly
Very slncer€Iy,
of innocence. The height turned away from her,
/'
2Z:/ 4*ZZ againsther, pays her no mind, is distracted takes his
'/Y /f
/ 73 227*'* &,- arm away. From her touch she must let go her hand
clingsto her chest where it's bare, unprotected from
the layers of clothing, she moans inutterable lang-
guageshe cries the folly her pleading shame less in
publictake me open me take me now. The child. Less
than child.
Sheis standing at the doorway. Now she is left to
wait at the gate entry outside, the man has disap-
peared,she caressesthe door she leans against the
door as she would, her back against the day, the
folly.
r4z
,l' secondmemory unlimited r6pdtitionat eachpoint from the
:$ beginningto the middle to the end.
l$i Rehearses the desirerepeatedly,In preparation.
From under clothing. Cotton briefs stockings
rfil brassiereslip over Of the final performance.
progressivelyoutward to external garments Narrative shifts, discovers variation.
Each obser_
$i adioining days before appearancesand finale vanceprisoner of yet anotherobservance,
the illusion
{i the bride of white three consecutivewith each of variation hidden in yet another odor
.,t y"t u^oii.,..
shro'd1ng, disguised,slperimpor.a
'ii appearancebefore the more white whiter marking
virginity in waiting to leap in a singleday's tirne to nakedness.Nakednus u, ordiiary as "por,.-Up;;lh.
common with
bride hood to wife once woman in waiting bride to be all nakednessof all others before
and all others to
come. Like birth like death. Unlike
at once Uirth, unlit"
-p"r,
powder dusted skin scentupon scent the bathing the death, fhis redeemed thro"gh future
a
through own memory and pi.ru-., ""j " con_
dusting the layering of bottled perfumes gardenia a separate
clusion.
odorlessgladiolas white chrysanthemums white
scentsagainstwhite sheetsto bleed upon
entwined cloth white heat white mist haze drizzle
own thicknesswhite liquids to mingle foam retiring
againstpulls prolonging the climax too long
preparedagainst the descenttoo soon to follow.
Virginity that misses
virginity consecrated.Already. Elsewhere.
It would not be unforgettable.It would be most
memorable.Of all. From any thing that is past to il

any thing ever to follow. It would be reconciled l

in this. Compensationfor the absoluteunattainable:

she memory of own birth and own death.
At the fulcrum. At which point in one'sown time
flashbacksare possibleand
anticipation.
Of the event that occurs once and only once.
Imagination harbors the desireof the object to
\44 745
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Memor y

It is an empty theatre. The immediate familiarity

upon entering the theatre, of that which has passedin
shadowand darkness.It is between seances.The light
from the street reflectson the screenbriefly while the
door opensand closesat a deliberatespeed.The steps
are carefully measured when darkness resumes,
movingcloserto the screento the width of the screen,
the depth.
She\ the same.Sitting in the same seat four rows
from thb.front and secondseat from the left. It can-
not be ddciphered from her position and stillness
whethershe {s waiting through the intermissionfrom
the previous qeanceor if she had just arrived, Her
body is still. Her mouth slightly parted as before. Her
eyeslook ahead at no particular object or direction.
Shedoesnot notice the presenceof anotherpersonin
the samerow.
Secondday in the theatre.Secondtime. She is sit-
ting in the same place as the day before. As the first
day.Turning left to seeher, she is alone, immobile in
her body. Her hands are folded on her lap with her
otherbelongings.She hovers in a silent suspensionof
thesimulatednight as a flame that givesitself stillness
and equally to wind as it rises. Her eyes open to
distance as if to linger inside that which has passedin
shadowand darkness.
Shefollows no progressionin particular of the nar-
rativebut submitsonly to the timelessness createdin
her body. (Ancient. Refusing banishment. Refusing

749
 to die, the already faded image. Its decay and dis_
uithin itself. Heauen in its ultimate
memberment rendering more provocative the ab_ generosity
includes uithin Earth.
sence.)She remains for the effect induced in her, ful_ .itself, Huoonri _t,iri"i,
not Heauen uithout Earth (inside itselfl,
filled in the losing of herself repeatedly to memory
and simultaneouslyits opposition, the arrestationof Both times hollowing. Cavity.
And germination.
memory in oblivion. (regardless.Over and over. Both times. From deatt f;-;i;"p
the appel. Both
A g a i n . F o r th e ti me . F o r th e ti me being.) timesappellant. Toward the
morrement.The move_
Without a doubt she knows. She knows all along. ment itself. Shereturns to word.
Sh" retlirns to word,
How it is not easily believed. By her. By her even. its silence.If only once. O"."_insjd".
M;;;;."""
without a doubt she knows what she must sav. AII
along. Even though. Not easily believed. Without a
doubt the uncertainty of having said them bordering
on regret without a doubt the wish to retreive them il
she had regretted them afterwards all along. Now
they retain their obligation as their own massidentity
releasedto no individual being. Housed in their own.
Scratch. Marking. Uncontainable. She knows dur_
ing. while shesays to herself she does not account for
the sake of history. simulated pasts resurrected in
memoriam. She hears herself uttering again re_
uttering to re-vive. The forgotten. To survive the
forgotten supercede the forgotten. From stone.
Layers. Of stone upon stone her self stone between
the layers, dormant. No more. she says to herself she
would return time to itself. To time itself. To time
before time. To the very first death. From all deaths.
To the one death. One and only remaining. From
which takes place annunciation. A secondciming.
Before Heauen. Before birth and before that.
Heauen uhich in its ultimate unity includesearth

1JU
1q1
TERPSICHORECHORAL
DANCE
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ry- You rernain dismembered
5, -V. ry
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magnolia blooms uhite euen
utith the belief that
on s;eeminglydead
and you toait. you remain apart
?,:?"rrnt
the congregation. from
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Y o u w a i t w h en yo u th i n k i t i s co n ceivingyou wait it
to seedyou think you can seethrough the dark earth
the beginning of a root, the air entering with the
water being poured dark earth harbouring dark taken
for granted the silenceand the dark the conception
seedling.Chastethe silenceand the dark the concep-
tion seedling.Chaste you wait you are supposedto
you are to wait for the silenceto break you wait for
the implanting of some dark silencesameconstantas
a field distant and close at the same time all around
sound far and near at the same time you shiver some
placein betweenone of the dandelion seedlingvague
air shiveringjust before the entire flower to burst and
scatterwithout designatedtime, even before its own
realization of the act, no premonition not prepara-
tion. All of a sudden. All of a sudden without
warning. No holding back, no retreat, no second
thought forward. Backward. There and not there.
Remassand disperse.Convene and scatter.
Does not moue. Nof a sound. None. Ir,losound.
Do not moue.
Inside the atmosphere.No accessis given to sight. In-
v is i b l e a n d h ue l e ss.E ve n . S ti l l . T h e thicknessof the
air weighs. Weight upon weight. Still. Heavy, inert is
d u r a t i o n w i t h o u t th e kn o w l e d g eo f its endur ing.
D o e s n o t u a i t. N o u sa i t. l t h a s not the knoul-
edge of usit. Knous not hous.Hoto to.
Affords no penetration.Hence no depth, No disrup-
t io n . H e n c e , n o ti me . N o w a i t. H e nce, no distance.
156
Full. Utter most ful l . C an c ontai n no l onger ' F or e
shadowsthe fullness.Still. Silence.Within moments
of . The eclipse.Ins i dethe ec l i ps e.Both. F ul m i nati on
and concealmentof light. Imminent crossing,face to
face, moon before the sun pronounces. All. This.
Tim e. To pr onounc ew i thout pr es c r i bi ngpur pos e.It
prescribesnothing. The time thought to have fixed,
dead, revealsthe very rate of the very movement.
Velocity. Lentitud e.Of i ts ow n l ar ger ti m e.
Withholds brillianceas the evanescentlight of a dark
pearl. Shone internally. As the light of the eclipse,
both dispar ition. Both r adi anc e. M er c ur i al l i ght,
nacr ous.No mat ter , not the c l oi s ter of the s hel l .
Luminousall the s am e. W ai ts the hour . T o br eak .
Then br eak.
For now, nothing enters. Still. No addition to the
fullness.Grows, without accumulation. Augments,
without increase. Abundance, Plenitude, Without
gain.
Further. Further inside. Further than. To middle'
Deeper. Without measure. Deeper than. Without
meansof measure.To core. In another tongue. Same
word. Slight mutation of the same' Undefinable.
Shift. Shift slightly. Into a different sound. The dif-
ference.How it disclosesthe air. Slight. Another
word. Same.Parts of the same atmosphere.Deeper.
Center. Without distance. No particular distance
from centerto periphery. Points of measureeffaced.
To begin there. There. In Media Res.
157
 Do not molJe.
Not a sound. None. No sound.
Carrier, you hold in the palm of your hand the silver
white spirit the lustre mass quiver and fall away from
the center
one by one.
Sound.
Giue up the sound.
Replace the sound.
With voice.
At a time. Stops. Returns to rest, again, in the center
of your palm. You turn the seasonsby the directions
South
North
West
East
Your palm a silver pool of liquid then as the seasons
choose affix as stone in blue metal ice.
At times, starts again. Nofse. Semblance of
noise. Speechperhaps,Broken. One by one. At
a time. Broken tongue. Pidgeon tongue. Sem-
blance of speech.
You seek the night that you may render the air pure.
Distillation extending breath to its utmost pure. Its
first exhale at dawn to be collected. In the recessesof
the leavesis an inlet of dew, clearesttears. You stow
them before their fall by their own weight. You stand
a column of white lustre, atoned with tears, restored
in breath.
t_58
Maimed. Accident. Stutters. Almost a name'
HaIf a name. Almost a place. Starts.About to.
Then stops. Exhale su:alloued to a sudden
arrest. Pauses.How uast this page. Stillness,the
page. Without. Can do usithout rests, Pause.
Without them'.AlL StoP start.
Earth is dark. Darker. Earth is a blue-black stone
upon which moisture settlesevenly, flawlessly. Dust
the stone with a fine powder. Earth is dark, a blue-
black substance,moisture and dust rise in a mist. Veil
of dust smoke between sky and earth'sboundaries. In
black darkness,pale, luminant band of haze. You in'
duce the stone by offering exchangeof your own'
Own flesh. Cry supplication wail resoundsong to the
god to barter you, your sight. For the lenience.Make
ienient, the immobility of sediment. Entreat with
prayer to the god his eloquence.To conduct to stone'
ihiwing of the knotted flesh. Your speech as
ransom. You crumple and sift by each handful the
last enduring particle. Hands buried to earth dis-
solved to same dust. And you wait. Still. Having
bartered away your form, now you are formless'
Blind. Mute. Given to stillnessto whiteness only too
still. Waiting. Scribe. Diving. In whiteness beyond
matter. Sight. Speech.
Cting. Cting more. At the sight of .
At list in sight at last, Cleared for the sighting'
So clear cling so fast cling fast at the site'
Clear and clearer'
1s9
 Hours day sheet by sheet
one pile. Next pile. Then the next
from one pile to the next pile, One sheetbelout
the crack of closed door
slide piled up on the other side
no ouerlapping. One at a time. One sheet.
End in sight, With accumulation,Without prosper.
Earth is made porous. Earth heeds.Inward. Inception
in darkness.In the blue-black body commenceslu-
ment. Like firefly, a slow rhythmic relume to yet
another and another opening.
The name. Half a name.
Past. HaIf passed.
Forgotten tnord leauing out a uord
Letter. Letter by letter to the letter.
Open to the view. Come forth. Witnessbound to no
length no width no depth. Witness seesthat which
contains the witness in its view. Pale light cast inside
the thin smoke, blowing. Then all around. No matter
how sparse the emission, each subtle ascent is bared
beforethe surroundingblack screen.Then extinguish.
Emerge. Look forth. The successionof colors.
Filtered beforehand to utmost. Pure. True. Stark.
Foreboding. Red as never been. Bled to crimson.
Trembling with its entire, the knowledge, of the
given time. Given the mark of bloom, its duration.
Abiding. Not more. Not less.The color that already
was always was before its exhibition into sight.
160
Being broken. Speakingbroken' Saying brolcery'
Talibroken, Say broken' Broken speech'Pidg'
on tongue.Broken usord'Beforespeak.As being
said.is spoken. To be said. To say' Then speak
Immateiial now, and formless,having surrendered
to dissolutionlimb by limb, all parts that composea
body. Liquid and marrow once swelled the muscle
undtot blood made freely the passagesthrough in-
",
numerable entries, all give willingly to exile' From
the introit, preparationis made for communion when
the inhabitation should occur, of this body, by the
other body, the larger bodY.
Stands now, an empty column of artery, of vein'
fixed in stone. Void of wing. Void of hands, feet' It
continues.This way. It should, with nothing to alter
or break the fullness, nothing exterior to impose
upon the plenitude of this void. It remains thus. For a
time. Then without a visible mark of transition, it
takesthe identity of a duration. It stays.All chronol-
ogy lost, indecipherable,the passageof time, until it
iJorgotten. Foigotten how it stays, how it endures'
A new sign of moisture appears in the barren
column that had congealedto stone.Floods the stone
from within, collectswater as to a mere,layering first
the very bottom.
Fr om stone,A si ngl es tone.C ol um n' C ar uedon
one stone, the la-bor of figures' The labor of
tongues.lnscribed to stone. The labor of uoices'
r67
 Water inhabits the stone, conductsabsorption
of im_
plantation from the exterior. In tones, the
inscrip_
tions resonatethe atmosphereof fhe column, repeat_
ing over the same sounds, distinct words.
Other
melodies,whole, suspendedbetweensongand speech
in still the silence.
Water on the surfaceof the stone capturesthe light
in m_otionand appealsfor entry. All I entreat to
Jtir
inside the mass weight of the stone.
Renderuoices to meet the ueight of stone uith
ueight of uoices.
Muted colors appear from the transparency of
the
white and wash the stone,speriphery, staining
the
h u e -l e s s t o n e .
wall.
For the next phase.Next to last. Before the last.
Be_
fore completing. Draw from stains the pigmenf
as it
spills from within, with in each repetition, extract
even darker, the stain, until it falls in a single stroke
of color, crimson, red, as a flame caught in"air for its
sustenance.
Stone to pigment, Stone. Wall.
Page.
To stone, Toater,teinture, blood.
All rise. At once. one by one. voices absorbedinto
the bowl of sound. Risevoicesshifting upwards circ_
ling the bowl's hollow. In deep metallolce spiraling
up,
. w a r d s t o p o o l s n o vi si b l e l i g h t lighter no
audible higher quicken shiver the air in pool,s waves
to raise all elsewhere all memorv all
".ho
POLYMNIA SACREDPOETRY
 She rememberedthat shehad once drank from this
well. A young woman was dipping into the well all
alone and filling two large jars that stood besideher.
Sherememberedthat she had walked very far. It had
been a good distance to the village well. It was

I
,
.' summer. The sun becamebrighter at an earlier hour,
' the temperaturesoaring quickly, almost at once.
Her mother had given her a white kerchief to wear
on her head to avoid the strong rays and a lightly

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woven smock which was also white.
The heat risesfrom the earth, diminishing the clear
delineationsof the road. The dust haze lingers be-
tween earth and sky and forms an opaque screen.
The landscapeexistsinside the screen.On the other
side of it and beyond.
From a distancethe figure outlines the movement,
its economy, without extraneousmotion from the
well to the jar. The repetition of lowering the bucket
into the well, an adeptgesturethat comesto her with-
out a thought given to it, she performs it with preci-
sion and speed.
She too was wearing a white kerchief around her
thick black hair braided in a single knot down to her
back, which swung forward when she leaned against
the well. She wore an apron over the skirt which she
had gatheredand tied to keep it from the water.
Approaching the well, the sound becomesaudible.
The wooden bucket hitting the sidesechoesinsidethe
well before it falls into the water. Earth is hollow.
Beneath.

r67
 She did not look up at the young girl standing still
before her. She saw her walking towards the well in
slow paces, holding in her left hand, a small white
bundle. Upon reaching the well she stopped still, no
longer forced to pursue her pace. She opened her
mouth as if to speak, then without a word, searched
for a shaded area and sat down.
The proximity of the well seemedto cool her. She
exhaleda long sigh. She closed her eyesbriefly. The
dust and heat had swelled inside them and she could
not clearly focus her vision. When she opened her
eyes,she could seethe tiny pools of spilled water on
the rocks surrounding the well and the light reflecting
in t h e m .
The secondjar was almost full. She heard faintly
the young girl uttering a sequenceof words, and in-
terspersedbetween them, equal duration of pauses.
Her mouth is left open at the last word. She does not
seem to realizethat she had spoken.
Shelooked at the stonewell, as the woman drew in
the bucket. She followed each movement with her
eyes.The woman restedthe bucket on the rim of the
well and reached inside her apron bringing out a
small porcelain bowl. The chipped marks on it were
stained with age, and there ran a vein towards the
foot of the bowl where it was beginningto crack. She
dipped the bowl into the bucket and filled it to the
brim. She handed it to the child to drink.
She drinks quickly the liquid. Earth is cooler as it
descendsbeneath.She looked up at the woman. Her
r68
eyesbecameclearer. She saw that the woman was
smiling. Her brow fell softly into an arc on each side
of her temples.Her eyeswere dark and they seemed
to glow from inside the darkness.
The child smiledback to her timidly from her seat.
Her arms hugged her knees and her small palms
wrapped perfectly the roundnessof the bowl' The
young woman asked her what she was doing so far
away from home. The child answeredsimply that she
was one her way home from the neighboringvillage
to take back remediesfor her mother who was very
ill. She had been walking from daybreak and al-
though she did not want to stop, she was very tired
and thirsty, so she had come to the well.
The woman listenedand when the child finished
her story, she nodded and gently patted the child's
head. She then brought over a basket and sat down
besideher. The basket was filled with many pockets
and she began to bring out one by one each pocket
drawn with a black string. She said that thesewere
specialremediesfor her mother and that she was to
take them to her. Shegave her instructionson how to
prepare them.
-
St took off the kerchief that shewore and placed
it on"her lap. She took the bowl and said she must
serve the medicinesinside the bowl. After she had
completedher instructions,she was to keep the tenth
pocketand the bowl for herselfas a gift from her' She
pla."d the white bowl in the centerof the white cloth'
The light renders each,whitenessirridescent, encirc-
ling the bowl a purple hue. She laid all the pockets
169
inside the bowl, then, taking the two diagonal corners'
of the cloth, tied two knots at the center and made a
small bundle.
She gives the bundle to the child to hold in her
right hand and says for her to go home quickly, make
no stops and remember all shehad told her. The child
thanks her and stands. She gives her a deep bow.
She began walking very rapidly. Her steps seemed
to move lighter than before. After a while she turned
around to wave to the young woman at the well. She
had already left the well. She turned and looked in all
directionsbut she was not anywhere to be seen.She
rememberedher words about stopping on her way
and she started to run.
Already the sun was in the west and she saw her
village coming into view. As she came nearer to the
house she became aware of the weight of the bundles
and the warmth in her palms where she had held
them. Through the paper screen door, dusk had en-
tered and the shadow of a small candle was flickering.

170
Tai-Chi First, the universe.

LeungYee Second,Ying and Yang.

Sam Choy Third, Heaven, Earth and

Humans.

Say Cheung Fourth, the Cardinals,North,

South, East,West.

Ng Hang Fifth, the five elements,Metal,

Wood, Water, Fire, Earth.

Lok Hop Sixth. Four cardinalsand the

Zenith and Nadir.

Chut Sing Seventh,sevenstars,the Big

Dipper.

Bat Cwa Eight, the Eight Diagrams.

Cow Cee Lin Wan Ninth, Unendingseriesof nines,

or nine points linked together.

Chung Wai Tenth, a circlewithin a circle,a

a seriesof concentriccircles.

773
Tenth, a circlewithin a circle, a seriesof concentric
cir cles.

775
Words cast eachby each to weather
avowed indisputably, to time.
If it should impress,make fossil trace of word,
residueof word, stand as a ruin stands,
simply, as mark
having relinquisheditself to time to distance
Lift me up mom to the window the child looking
above too high above her view the glass between
some image a blur now darks and greys mere
shadows lingering above her vision her head tilted
back as far as it can go. Lift me up to the window the
white frame and the glass between, early dusk or
dawn when light is muted, lines yield to shades,
housescast shadow pools in the passinglight. Brief.
All briefly towards night. The ruelle is an endless
path turning the corner behind the last house. Walls
hives of sto,neby hand each by each harbor the gold
and reflect the white of the rays. There is no one
inside the pane and the glass between. Trees adhere
to silencein attendance to the view to come. If to
occur. In vigilenceof lifting the immobile silence.Lift
me to the window to the picture image unleash the
ropes tied to weights of stones first the ropes then its
scraping on wood to break stillness as the bells fall
peal follow the sound of ropes holding weight scrap-
ing on wood to break stillnessbells fall a peal to sky.

179
Notes

1. F.A. McKenzie,.TheTragedy of Korea, YonseiUniversity press,Seoul,

Korea pp. 46, 4?, 236, 311, 312.
2. The Autobiography of St. Thereseof Lisieux, Story of a Soul, A New
Translationfrom the Original Manuscriptsby fohn Clarke, O.C.D., ICS
PublicationsInstitute of CarmeliteStudies,Washington,D.C. pp. 1 0,
1,68-69,793, 795, 197.
Biographicalmaterialin GALLIoPE EPICpoETRy basedon the journals
of Hyung Soon Huo.
Calligraphyby Hyung SangCha.
-