Nisha Ramayya asks me questions

I asked Nisha Ramayya if she had any questions about the 21 claims put forward in my work-in-progress O - towards a self-portrait. Here are her questions and my answers.

I am renewing my intentions in this place in sympathy with theirs.
Did they ask you to perform this renewal? Did you willingly accept?
They do not ask and neither do I. We are continuing a performance.

I am writing my self-portrait.
How do you remember what you look like? What is the syntax of your face?
The syntax of my outward appearance is represented in the letter O. I remember this letter for various reasons, for example, it is my initial, it is a poetic word used to address an object, and it resembles an iris, a nostril or an open mouth.

In the same place at the same time we present our alignment. It’s political.
Is the convergence political in itself, or is it the constitution of the ‘we’?
Our convergence, that is to say our alignment, is political in itself.

Unaffordable space is free to be used as a scene for communion.
What’s on the menu?
Anything you fancy.

This enters a social space but there is a limit. This helps to define the limit and helps to set the tone.
How do you measure and describe tone?
You measure tone by being here. You have a tone when you describe.

I hope to see you somewhere plausible.
Why do you think the sense of the word ‘plausible’ shifted from ‘deserving of applause’ to ‘deceptive’?
Is somewhere plausible deceptively so? It's plausible. 👏

Our interactions are respectful. Our interactions are not respectable.
For whom are we performing?
For ourselves.

O is my outward projection, the visible spirit. 
Does your ‘O’ incorporate other (literary) Os?
Is a bowl of SpaghettiOs  a bowl of single-letter Alphabetti?

It will or it might happen here, a kind of fiction.
Is fiction a kind of prophecy?
Prophecy is a kind of fiction.

I don’t want to feel that I’m really there. 
Why don’t you stay here, where you might feel comfortable?
There are too many edges in comfort.

I set myself up for the scene. Or I set up the scene for company.
How did you set the company up for yourself?
By setting up the scene and by setting myself up.

Poetry elevates to romance. At the centre is O.
Does poetry always precede romance? Does romance always proceed poetry?
There is the romance of never knowing either way.

It is pointing towards a freedom.

Can we go with you?
I hope to see you somewhere plausible.

We are presently engaged in the work of embodying the act of looking forward.
How does this statement relate to the political alignment?
For example you and I are presently engaged in the work of embodying the act of looking forward, or we were. Then we were in alignment. And now we are in alignment too, or we will be, or we were. It's political.

Do I presently dream in anticipation or in mourning?

Do you dream in the daytime or at night? Do you dream alone or in company? Do you dream to change the world or to remember yourself?
I dream in the daytime or at night if that is presently. I dream alone,  or alone in company and yet here you are. I dream because we are dreaming.

Whenever, wherever we are, we are spilling out or we are in retreat.
How did you know that I would understand ‘spilling out’ as an aggressive movement?
I did not know. Is it because you have been out there and seen them spilling? Is it because you yourself have been spilling out? Is it because you have been in retreat from those who are out there, and you have seen them retreating?

Stop tracking with thought.
What if I want to, but I don’t know how? Will you help me?
I was talking to myself.

The place is irrelevant yet necessary.

Can we do something to make it feel more inviting?
We can set ourselves up and we can set up the scene for company. It will be no less irrelevant or more necessary.

Home, home away from home is open, a place of freedom.

Is this the direction in which it is pointing?

We are following their dreams.
Where do dreams go, in relation to poetry and romance? In what order did it all unfold?
To write poetry is to dream. Poetry elevates to romance. 

Here we are together. Don’t mention it.
I am glad to be here, with us; I am grateful; what now?
No, now!

Karen Sandhu asks me questions.