Sam Truitt

Below are scattered a few strips that seem to echo craft. Mostly these relate to an attitude, though some more actively so (or in a compositional state), while others are more spoken notes (many of which were later transcribed and included as text elsewhere).

This list is in no way conclusive, because it occurs to me that my work is a poetics, though occasionally I intrude (for example, "glance" seems so intrusive).

I say "self" and "ties in" at the close, which seems to be pointing at self as the cut(off), circling back on self as the line - what is on it and so makes the divide. It is our unique human difference, I think, and it lies in decision, to decide, which is an act of cutting: That in our full sense we are (one) both the line and the cut and in being aware of that simultaneity (two) we are not autonomic. There abides in the possibility of sensing a presiding over our making, and in that sensation we are becoming whole, or hal (see a phoetics 5). It is this art makes happen.

I state that the composition of tears is "the same" as the ocean, which is not true: seawater has a higher salt content. Indeed, the shedding of tears as an emotional correspondent appears relatively unique to human (setting aside Darwin's observations of elephants weeping, etc.), and, further, the ground of supposing tearing as a vestigial, ontogenic-phylogenic recapitulation of our oceanic evolution is unstable.

This note introduces the trope of the spacesuit in relation to the poem, in which we step into the poetic continuum. This relates to Kerf Theory, which I will write out sometime.