The breaking of things can look like an origination
But then reveal itself, through lights shimmering in fragments
Of smashed glass, as having occurred too late to have given
Birth to anything but a lighting up of just how late
It was—So with a crystal night of crashings that might be
Taken to have started out all our present darkening.
Like a plumber’s tools dropped into a box full of glass eyes,
Unretractable, the panes of fractured window, jagged,
Clear, looking down into black water and scarred cobblestones.
Looking out into where we are now, a confirmation.
Not an arrival. And yet our dry mouths thirst for the splash
Of some outset, some source, some once. We’ll have, then, for a scene
To start with something from the end of the story, a room
In hospital, with walls the color of late afternoon.
Aisha Sabatini Sloan
Episode 22: “Form and Formlessness”
In an essay specially commissioned for the podcast, Aisha Sabatini Sloan describes rambling around Paris with her father, Lester Sloan, a longtime staff photographer for Newsweek, and a glamorous woman who befriends them. In an excerpt from The Art of Fiction no. 246, Rachel Cusk and Sheila Heti discuss how writing her first novel helped Cusk discover her “shape or identity or essence.” Next, Allan Gurganus’s reading of his story “It Had Wings,” about an arthritic woman who finds a fallen angel in her backyard, is interspersed with a version of the story rendered as a one-woman opera by the composer Bruce Saylor. The episode closes with “Dear Someone,” a poem by Deborah Landau.
Rachel Cusk photo courtesy the author.
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