[MUSIC PLAYING]
"This is about water.
This is about someone who is floating in space,
and all she sees are two spots of light.
This is about a stair where you could lay your head or stumble,
or a bead of light, a bleach of starlight."
I'm going to skip ahead.
"This is about certain words and other words,
the echo of a step.
This is about a woman drinks water, red mouth, red hole,
a litany.
This is about being on the floor.
This is about time, mouth, speed, gravity, a blank face,
a countenance.
This is about information.
She thought she'd take a walk.
Then there's the look of tendons,
the look of an attitude, the look of drifting,
a cough in the, night the heat so unsorry, the heat--"
I mean-- "so unsexy, one into one,
wings overhead, head into arms.
This is the part I understand.
This is about water, somber as an infant, one into one,
wing overhead, head into arm.
This is the part I like.
This is about drain the cup and wake the kid, a meat yard.
This is about a meat yard.
This is about you and your child and about you and your child,
the wet parts and the dry parts, what's
in her heel, what is in her face, flashes of light.
One lies down.
Two smoke.
One changes her clothes--
ribbons her clothes.
One takes a picture.
Many lift off, off the tarmac, the rooftop, the wire.
One is late.
One is calling.
Draws a line.
Another crosses it.
Some will be ready.
One lies down.
Two smoke.
One changes her clothes--
ribbons her clothes.
One takes a picture.
Many lift off.
One is late.
One is calling.
Draws a line.
The other crosses it.
Some will be running against a tight, blue sky, some crawling.
One falls down.
One presses down.
One will leave.
Most are on feet.
If one takes her hair out, another backwards running.
If one blows a match out, helicopters and sparrows.
Some off, some on.
One's under a bridge.
Some carry bricks, some bikes, some sick, stay home.
Two look up.
If one takes her hair out, another backwards running.
If one blows a match out, helicopters and sparrows.
If one throws a brick, flashes of light.
If one blinds an eye, another underwater, another underwater,
and another turns her head, turns her head
to listen before she speaks again.
Some off.
Some on.
If a woman in a forest recalls a woman in bed, if a woman in bed
recalls a woman at the wheel, if the woman at the wheel
recalls a woman at the window, if a woman at the window
recalls a woman at work, if a woman at work
recalls a woman at the movies, if a woman at the movies
recalls a woman in the kitchen, if a woman in the kitchen
recalls a woman in bed.
Arms reaching up.
Or this is a woman in bed, at the wheel, or on a wheel,
or in a truck, or at a truck.
This is the carpeted room we rubbed ourselves in or on.
Under the light is a white Jeep, a jolt, a face of a man.
This is a retake.
This is a retake, a beginning, a document between people,
a substitute for-- are you in your car?
Are you on the highway?
Are you in your car?
Are you at work?
Are you on the highway?
Are you busy?
Are you at work?
Are you on the phone?
Are you busy?
Are you buying something?
Are you on the phone?
Are you cooking something?
Are you buying something?
Are you carrying something?
Are you cooking something?
What's in that bag?
Can I look in that bag?
Can I have some of what's in that bag?
Are you giving something?
To me?
Are you tired?
Are you OK?
She's doing this with a sense of a deadline.
It's colder today than yesterday.
Maybe I've been an interruption from afar, a mortal breath,
a white Jeep, soon blown over, felled as the trees.
Someone has to drag the dead branches off.
I'm doing this with a sense of a deadline.
It's almost time to get up.
But she can't get up.
Your voice detains her.
Speaking the nation.
It's warmer today than yesterday.
One gets on.
One gets off.
Did her eyes just darken?
The lines around her mouth, did they just get deeper?
Take the left eye.
Wasn't it blue just a minute ago?
Let's do that again.
Let's listen to that again, that helicopter, that machine,
a car, on and off.
Let's listen to that before we say anything again.
If in a forest, she recalls being in bed.
If being in bed, she recalls at the wheel.
If at the wheel, recalls at the window.
If at the window, at work.
If at work, recalls at the movies.
And if at the movies, recalls in the kitchen.
If at the kitchen, in bed, on a chair, arms spreading.
One into one.
Wings overhead, head to arms.
One into one.
Wings into head, head into arms.
One into one.
Head into arms, head into arms."
OK, we'll call it [INAUDIBLE].
All right.
[MUSIC PLAYING]
One and [INAUDIBLE].
Take two.
[MUSIC PLAYING]
I think there was a [INAUDIBLE].
Take three.
[MUSIC PLAYING]
Take four.
[MUSIC PLAYING]
Play that again [INAUDIBLE].
Take five.
[MUSIC PLAYING]
Oh.
Take six.
[MUSIC PLAYING]
[? Go again. ?] [INAUDIBLE].
[MUSIC PLAYING]
But we get lots of ending.
[APPLAUSE]