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INDIO GRIS
FUSIONED - DIRECTED - WRITTEN AND CORRESPONDED BY: MENASSA 2001 WE
DON'T KNOW HOW TO SPEAK BUT WE DO IT IN SEVERAL LANGUAGES
INDIO
GRIS, IS A PRODUCT INDIO GRIS Nº 58 YEAR II EDITORIAL Today
I've reached the limits of my strength, Wednesday, 10 in the morning, and I've
just begun writing Indio Gris 58. I'm so ill that today I should be able to
write the black Indian. There was a time when the pain of the world perked on my
gaze. I said nothing at that moment but later I have been singing to the pain
for many decades, and if you can't believe me, listen to this: I
was, I admit it, the king of madness, I
was the time of the voice, I
was I
know that the realizations are not enough. I know that I did all my They
will kill us, I know that they will and, however, Tango,
darling, tango Unique
and uneven movement, We
were wind and cloud and everything happened Dusk,
where my heel tapping Oat
and light for this mare between my arms, It
dawns. I feel my being against yours. She
says it to me with her mouth open: Darling, Having
found, after an intense search, no time to be able to tell you some
fundamental words with the purpose of your reaching an enjoyable creative
state in more occasions, I have decided, as you see, that that time must
be the time of writing. The
frame, these blank pages, where I will be telling you from the Other your
message, from others, for others, sinking in the acoustic mist that words
and their esoteric combinations produce. In
Freud's words, to start with we will make love six times a week because
later the lengthy seminars where we will be together the whole day will
come and the great international congresses where we will be reunited with
the sea. Do you realise ? You , I and the sea, as if the world were that
beauty. And we would return to our city, to our homes, and each time we
would be younger and more beautiful still and we would end up buried alive
and there, what is sinister, because of a million words in several
languages and their perfect combinations stringed together by chance. I
know, you have told me, that your intentions are to reach of the heart,
the core. To plot in the very heart of man a manoeuvre scheme that
although it may be heartbreaking, would testify of your presence in the
world. To
speak has the charm of not doing and there is your curse. Because not
doing is not achieved with the body, but with words. Lying,
without looking at each other, because eyes are what paint colours on
death. Without eyes, there is no possibility of deceiving: death is always
black. Your
dead body, lain and empty, only shape and beauty, trying to reach, without
achieving it, that other body, also dead, my body by your side, full,
condemned by your deficiency, to possess what you lack. Unreachable
dead body, because your singing is your own voice. Voice
of your voice, word of your word, Vine tangled mercilessly over you.
Days lie on me, they crush me. That radiant future, that radiant future is in my hands, is
October 26th, 1976
CANCER IS FROM PSYQUIC ORIGEN. EL Mundo, Wednesday, July 4th, 2001
deep-down
in his first childhood.
El Mundo, Wednesday, July 4th, 2001
And
you, what do you think? El
Mundo, Wednesday, July 4th, 2001
how
about that? El Mundo, Wednesday, July 4th, 2001 but
they ask for pardon for having abandoned Marxism.
El Mundo, Wednesday, July 4th, 2001
only for wealthy people El Mundo, Wednesday, July 4th, 2001
but Spain is doing well. El Mundo, Wednesday, July 4th, 2001
but Spain is doing well. El Mundo, Wednesday, July 4th, 2001
but Spain is doing well. El Mundo, Wednesday, July 4th, 2001
Madrid, July 3th, 2001 Dear
Maestro, I
detained myself because of a doubt which I solve by putting it in writing,
so that once I'm held to the significant I'll slide towards what I think
about the devastation
caused among women by the fact of wanting to be the object instead of
fulfilling their destiny as object. I don't know, perhaps it's like Freud
says that the one who chooses mortality wins, the third one introduces
choice and this is the one which must be chosen, the popular narrations
say, they also tell about the inconveniences of not choosing the third
one, read King Lear, a moribund who doesn't choose to be mortal, but
chooses The Woman before being mortal, when he must choose among three
women: the mother, a woman and death, King Lear chooses a woman, a
companion, when the poet asks him to give up love and choose death,
reconciling himself with the necessity of dying. He who chose love is
already a moribund. Man looks in vain for a woman's love, like the one he
obtained from his mother, and only the dumb godess of Death, will hold him
in her arms. Perhaps
your productions, your giving up your being, your sayings, in order that
your name might be writing, saying, existing among letters. It's clear
that you are a being of the writing. Love,
demand, speaking makes the pleasure codescend to desire, because you love,
you speak and you write, in the end two ways of loving, what happens is
that your desire depends on that, one cannot love without desire. To
love is to give what you don't have to he who does not exist. You
love with the absence. Love
is a sign of a change in reason, a change in discourse, to submit oneself
to being a subject that speaks and there the significant passion is a sign
of love. To
know what the other is going to do, isn't a proof of love. And
as one shouln't attribute oneself the supporting of our countenance, it
might be said that as long as man attributes to woman, the fact of
mistaking him with God, this is, that thing with which he enjoys, he hates
less, and by the same cause, he is less, that is to say, in this matter,
he loves less. All
this is to tell you that I want you a writer, wether you may write in a
blank page, on the canvas, in the editions, in the way you concive a world
of cybernetic reality, in thinking of the formation of a psychoanalyst who
is capable of loving, of producing his/her demand, speech, writing, in the
end to tell you that "I love
you", writer. I
congratulate you for your knowledge in doing. A
hug, Amelia Madrid,
July 4th, 2001 Dear
Amelia, It's
very important that after 20 years you continue calling me maestro. And
this qualification shows a conversation that exceeds the limits of the
purely didactic to go into the term of transmission, authentic backcurtain
where the positioning of the psychoanalyst is at play. Thank
you for existing,
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