LUCKY STAR
Songs for the Witch Woman Marjorie Cameron and John W. Parsons, Fulgur Esoterica UK
Dirty Looks Volume Two, Dirty Looks NYC
https://fulgur.co.uk/books/marjorie-cameron-and-john-w-parsons/songs-for-the-witch-woman/
https://dirtylooksnyc.bigcartel.com/product/dirty-looks-volume-2-reprint
2014
[...]
If trauma keeps the subject in a state of circling, it also denies the event into linear “narrative memory”. You cannot tell it, and you cannot not tell it. It would be obscene to quell its impact with the magic of language, therapy, telling. To funnel its intensity into cliché, a bored room with bright lights. How does the cure match the impact of the trauma? What are the appropriate rites?
Antigone says to her sister, Ismene: I’m going now: to make a burial mound for my dear brother. To Creon, who punishes her with death for doing so, she says: If you think what I’m doing now is stupid, perhaps I’m being charged with foolishness by someone who’s a fool. Burial rites force themselves as “unwritten and unchanging laws”—above the state. However stubborn and illegal Antigone’s tributes to her outlawed brother’s corpse, they fit.
“Denied a proper funeral, his body left bare, dishonored and ravaged,” Cameron is forced to find a way to mourn Jack’s death, to tell while not telling, to bury he that is denied a proper burial. And, like Antigone, she mourns someone outside of societal cues of acceptability—her husband’s death a hallmark of his radical beliefs—an occultist rocket scientist for free love, he is the antichrist to McCarthy’s nuclear family. And, Cameron, like Antigone, is such a freak that she is basically an emblem of taboos by just being. She refuses to enter a mourning space where the impact (her mourning, her love, the whole situation) becomes squandered. It is no small story.
[...]
LUCKY STAR
Songs for the Witch Woman Marjorie Cameron and John W. Parsons, Fulgur Esoterica UK
Dirty Looks Volume Two, Dirty Looks NYC
https://fulgur.co.uk/books/marjorie-cameron-and-john-w-parsons/songs-for-the-witch-woman/
https://dirtylooksnyc.bigcartel.com/product/dirty-looks-volume-2-reprint
2014
[...]
If trauma keeps the subject in a state of circling, it also denies the event into linear “narrative memory”. You cannot tell it, and you cannot not tell it. It would be obscene to quell its impact with the magic of language, therapy, telling. To funnel its intensity into cliché, a bored room with bright lights. How does the cure match the impact of the trauma? What are the appropriate rites?
Antigone says to her sister, Ismene: I’m going now: to make a burial mound for my dear brother. To Creon, who punishes her with death for doing so, she says: If you think what I’m doing now is stupid, perhaps I’m being charged with foolishness by someone who’s a fool. Burial rites force themselves as “unwritten and unchanging laws”—above the state. However stubborn and illegal Antigone’s tributes to her outlawed brother’s corpse, they fit.
“Denied a proper funeral, his body left bare, dishonored and ravaged,” Cameron is forced to find a way to mourn Jack’s death, to tell while not telling, to bury he that is denied a proper burial. And, like Antigone, she mourns someone outside of societal cues of acceptability—her husband’s death a hallmark of his radical beliefs—an occultist rocket scientist for free love, he is the antichrist to McCarthy’s nuclear family. And, Cameron, like Antigone, is such a freak that she is basically an emblem of taboos by just being. She refuses to enter a mourning space where the impact (her mourning, her love, the whole situation) becomes squandered. It is no small story.
[...]