Stephen Nelson’s Dance of Past Lives is an array of alphabetic pas de deux. Duets de Y. The letter as body. As body text. An abstract dance, wise metaphorms meta(phor)morpho-singing into stars, trees, other symbols. Y is another. An A. A tittle or jot as ball, sun, rayless star. I-less is another.
Antibodies are y-shaped. Texts are (wh)y-shaped. Y? Not because (Y)YOLO.
An array of past whys. Whysdom. What were our letters in a past life? How did we read?
– just published in Sybyl – responds to "Talk to Me" a 1999 work of mine in Recalculating, which is a transcription of an improvised poem I did at the Whitney (see below) that talks about a trip James Sherry and I took to Belgrade twenty years ago and my subsequent emails with Dubravka during the NATO bombings.
[Part One was posted on May 31 and is available here.]
The existence of the content of Cornplanter’s visions is serendipitous. A copy of the manuscript (or the original) was in the collection of the Cornplanter family aand was found and recopied by a young man, Charles Aldrich, in 1849, and sent to Lyman C. Draper who had expressed an interest in collecting memorabilia relevant to a project on the Revolutionary War. Aldrich offered himself as a reliable local scholar who had access to a series of documents in the possession of William O’Beale, one of Cornplanter’s sons. Aldrich apologized to Draper for the legibility of the manuscript he sent because, he explained, he was rushed in producing it, but “it is about as legible from the ms from which it is taken.”