Evening Will Come: A Monthly Journal of Poetics (Expanded Poetics Feature—Issue 62, March 2016)

a rawlings & Marjana Krajač
si tu

a written improvisation composed by angela rawlings to the structure of Marjana Krajač’s choreography for “variations on sensitive,”
an endurance work performed by five women
performance and response occurred in Dom HDLU / Džamija, Zagreb, Croatia on 14 June 2015

Cherries. A little late. Lectures, questions. Answers. Square. Cylinder. Black cherries, green lawn, grey floor. Concrete. White. Dome. Sprung floor, taped. Concrete. Delineated space. Sunlit. Articulate.

In a square, a circle, a square. In a circle, a square. On a square, collective flesh-form ideogramme. Articulate through joints. Elbow, shoulder. Hip.

How to without conjuring narrative. How to ensemble. How to endure the never-quite form.

Had come.

The words, first, like cherries. Not bent to, not leaning into to form association. Not to assert not-quite. Cherries have not-quite to do with girls.


Beyond a square in a circle, beyond a circle in its outer circle: echo. Voices. Five girls not-quite a circle, not-quite pillar or prostrate—their ideobodies angled towards, not-quite directed. Not-quite directive.

Sweeps right arm, long, across chest, pulls hair of other. Massages neck with hand, then shoulder with knee. Mouth to arm. Embrace.

To understand joint, one must. To understand, one must bring cherries a little late.


So, after contact: piano. Body explores articulation. A body explores another body’s capacity for articulation. Which part, exactly, moves? Knee. Mouth. Foot under chin. Perfunctory rite. Wrestle. Several in the uncomfortable position of an ungentle encounter. How like the quire.

One understands bruises. Not the first time. Girls want cherries like they want words.

After a time, the violence so steady that bruises. Written as plain as that. Worn through any exploration of or need for. No afterthought cherry. Contact of violence.

Which is to say the way a lecture throws around wordbodies in tactical elision towards a something with cherries suspended and eventually bruises.

But hi. Didn’t we all wear what is identifiable to each

other. Relationality. Didn’t we all try to meet here.

Body thrown at/against body. Where are the girls are.




Ti su

e onoga


Ti su

Long enough to witness bruises form and bloom red-blue beneath the surface of the offer.

To put the mouth on.

To put the mouth on it.

To put the mouth on iz.

But as professionals, one is not always so worried about the safety of professionelles.

Then she tried to do to herself what others would do to her. When others would come again to do this to her—bruises. Irritation. Yes, she had learned how to do it well enough to herself. Human nature social construct.

Beyond a square,

a circle: a wall. Lean into.