Thursday, April 27, 2006

Wings; Mary Patricia Willcocks

Wings1902: novel; London; concert. A pianist,
Sarah Bellow, interprets Appassionata; inspiritrice,
this recital’s reinstating her career - the old
went back to memories, young forward
to their future, for her playing dealt with the song
the voice sings to the soul – she’d been away
at the site of her writer’s dream – for four years lost:
that magic-space of hypertext, hyperlinked long note
of silence absent in a sound within another world
in multiverse transported – mercurial shift
through a futured time-warp. Sister, a pianist wraps
her beneath her angel-wing: in the web-cam
they exchange sound-tips, extemporize manuscript
inscriptions on a runic stone; in this 3D soundscape
their solid ground is the violaceous, amethyst
heather throw cast over this late summer moor.

Note: This is from a hyper-text poem I'm working on; one of its influences was a Joanna McGregor concert. (See my link). Among all the infinitude of multiple universes it is just possible that one can perceive in synchronicity a dual phenomena linked by the silence of two sounds and from two different worlds in space-time. Sarah (a pianist/character in a novel by Mary Patricia Willcocks), is in her dream next door; in another parallel universe she can go back to the moor and so on to another sonnet, say with Charlotte Yonge! Or, she can come to the present, her future and hence to Joanna McGregor’s concert. If we stare or listen, in the "Japanese" manner explained by Somei Satoh, we can see her - though MPW created her as a figment of imagination she isn’t far away, even if her author has fallen into literary abandonment: if we posit multiverses then those imaginary worlds and characters of fiction may each be from another real world as figures in a dream or a little bubble in space-time. Incidentally, MPW herself several times mentioned her experiences of “hauntings”.