Walking piece details
In my experimental novel Terminalian Drift, the narrating voice has recently started living in André Cadere’s used skin. It’s not going well. A foreign resident of Osaka, Japan, the voice decides to wanders through a particular district in Osaka, searching for ways to facilitate a collaborative acceptance between the residential skin and the occupying skeletal/innards that the voice associates with. In its city drift, the narrator reveals shifting self-associations with locations and events that occur. The voice becomes embodied by the locations embodying its borrowed body as it interacts with what co-exist in those places, each entangling the other in ways which alter the relationship between skin and guts, internal workings and external surfaces, here and there, past and present, etc. Bodies drift in spacial/self fluidity. Layering summaries and quotes, this paper analyzes of how this pseudo-fictional/pseudo-documentary story works to facilitate similar fluidities for me, the author. By using a fictional character to tell a story of factual and fantasized happenings in actual locations, I can wear the city like a personal skin. I can take it personally. I can claim it as a pseudo-self, weaving/entangling fictional layers with historical portrayals that layer and co-inhabit the locations. Documented snippets of past happenings are used as an armature onto which imaginary events attract, co-occupy, conflict and mitigate belief. The novel replaces the trend of generalization that rolls through history with specific occurrences, even if false—putting focus on the undeniable fact that nothing general has ever actually taken place. The novel is used as a way to perform a ritual of actualization, to nurture speculative seeds of specificity and let them germinate as half-truths, rumors, lies or whatever. The novel is used to auguristically increase the city by enfolding my poetics into its layers, letting it function as a Geopoetic machine.