A few things caught my eye in reading this through: 1) The mention of the child who threw a brick through a window in Summit -- that would be Raymond Andrews, the deaf-mute boy who originally inspired Deafman. 2) Wilson quoting dancer Isadora Duncan. According to Andringa, Wilson's support of Duncan's methods caused a bit of trouble with the UI Dance Department in 1970. Duncan's rejection of ballet's formal rigidity in favor of improvisation, bare feet, and loose costumery angered the dance establishment in the early 1900s but secured her place as one of the inventors of Modern dance. She was a key influence for Wilson's work. 3) The repetition of certain words, particularly -ing verbs, in the second to last paragraph. Wilson wasn't so much interested in language as linear communication, but instead as a rhythmic or compositional element -- he used words much like he used lighting or set design to create a mood or experience rather than a coherent narrative.
Here are the notes:
-- Ezra Pound
It was two yrs. ago September. The child threw a brick thru a window as I was going to an ART class in Summit on my way I saw the judge with his eyes closed about to hit him as the mother pressed her hand against his head I wrawl on his back to relieve the pain he was 10 years old September. The line out my window leads to the Sun, the ox, the child, and to all of us becoming worms. At Pratt I wrote my thesis on designing an imaginary cathedral or a fewture city perhaps. Then there was a murder, a murder in the eyes at the top of the cathedral two yrs. ago September as the red dog howled into the moon light son notta wink! Only the bones can tell.
Running together. We caught each other. Falling. Standing still still we fell into each other falling into a wall walling again and again and again again I talked of Isadora Duncan. . .
“WHERE A HUNDRED LITTLE GIRLS SHALL BE TRAINED IN MY ART, WHICH THEY IN TURN WILL BETTER. IN THIS SCHOOL I SHALL NOT TEACH THE CHILDREN TO IMITATE MY MOVEMENTS, BUT SHALL TEACH THEM TO MAKE THEIR OWN . . .
I SHALL HELP THEM TO DEVELOP THOSE MOVEMENTS WHICH ARE NATURAL TO THEM. AND SO I SAY IT IS THE DUTY OF THE DANCE OF THE FUTURE TO GIVE FIRST TO THE YOUNG ARTISTS WHO COME TO ITS DOOR FOR INSTRUCTION FREER AND (MORE) BEAUTIFUL BODIES—AND TO INSTRUCT THEM IN MOVEMENTS THAT ARE IN FULL HARMONY WITH NATURE. . . THE DANCER OF THE FUTURE WILL BE ONE WHOSE BODY AND SOUL HAVE GROWN SO HARMONIOUSLY TOGETHER THAT THE NATURAL LANGUAGE OF THAT SOUL WILL HAVE BECOME THE MOVEMENT OF THE BODY... HER DANCE WILL BELONG TO NO NATIONALITY BUT TO ALL HUMANITY.”
Then I read Stein to class then gave a reading list:
And how it hurt seeing the dance program wishing the fishing the kids kidding could for a minute read the list knowing that we all cannot being kidded liking like Sheryl take taking five minutes meaning only to put on the glove only her fingers moved waiting motionless for ten minutes waiting meaning to begin the film. Geeze, she’s a star!
And Andy just brought the Requiem by chance he said, knowing all along he would add the final peace Art then said he would follow following few fewer futures. HOPE has a vision. There’s a boy in the East seven tonight midnight that will lead the world for a few times. It’s in the stars an old woman wrote on the wall at the bus station not by chance, oh no, fewture following few fews fuses. S. K. moved six hours continuously while we sold Art Cindy wrote of her peace in the Orange state they were walking hands, turned upheld, held In Circles for seven hours thru the night Terry writes he’s getting a piece of his too and may make a presentation in the spring, he’s not only 14. No doubt about it, he’s a star! There are 14 cows out my window. Only their heads move. Jerry wrote me of a beautiful dream. The lion’s leader leads to the Sun, the East, the son, the child. The broken arched windowed woman’s house sinks as the death child sings an onion sliced in two (his) particulars. a don’t a men.
(ten years ago wooooooooooooo)