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Spiritual Instrument, by M Kitchell
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"Kitchell's collection of fever dreams and fugue states map a hallucinatory rite of passage. Beautiful and strange, this is a book that dredges the sludge of one person's experience, from the mundane atrocity of religion to the cosmic horror of sex." -award-winning filmmaker Sophia Al-Maria, author of The Girl Who Fell To Earth
- Sales Rank: #2432639 in Books
- Published on: 2015-05-01
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .57" w x 5.24" l, .58 pounds
- Binding: Paperback
- 250 pages
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Words Emptied from the Fissures of Self and Space
By J.G.
Like its major influence, Georges Bataille, the work of M. Kitchell equally concerns the elusive complexities of subjectivity and the raw transparency of objective reality. For Kitchell, the "I" is always an anguished anonymity constantly wavering between limit-experiences and long periods of emotional and mental stasis which fill the spaces between ecstasy and horror. As for objective reality, the immensity of its space is what continually reminds these nameless characters, during the intervals of aforementioned stasis, of their discontinuous state as isolated cells of consciousness. Only at the instant of limit-experiences, ranging from excursions into the desert, violent sexual episodes and encounters with distortions of familiar media (TV, videos, etc.), the vast dimension of the external reopens as a void; one in which consciousness drains way all the perversely useless excesses of the I--desire, meaning, need, significance--until all that remains is just a lucid awareness of the body: Kitchell often refers to this liminal state, teetering between an irrevocable conclusion of being or nonbeing, as "floating." Much of the intensity of Spiritual Instrument derives from this blurring of the internal and the external, self and space.
The book consists of three sections--The Event, The Ritual, The Beyond--which contain four pieces each. The most impressive piece from the first section is "Cable TV." It begins with a lonely insomniac who, on a long cold night, comforts himself with a jazz radio show while watching television on mute. Both the radio and TV content receive their own narrative in vertical columns, so that the reader can choose a variety of ways to read: alternately, separately or simultaneously. As the narratives proceed, the gentle banalities of the radio host--what is heard--begin to clash with what is seen: vague images of violence and eroticism, a young boy staring directly into the camera, a daytime talk show gone ridiculously wrong, etc. The viewer becomes emotionally confused between his need for vicarious communication and his sympathy felt for those who silently suffer behind the screen. These contrasting visual and auditory narratives create an effect of cognitive dissonance which is equally amusing and unsettling. In short, Kitchell has created, in a very emotive way, the kind of absurd entertainments that occasionally appear on commercial access channels.
The next most exemplary piece of experimental narrative, "Secret Instructions," comes from the Ritual section. It involves another anonymous man who, while converting his nondescript apartment to a primal, ceremonial space, comes across a box containing a tape and fairly detailed though apparently arbitrary instructions. The tape and its instructions point to the thematic clusters spread throughout the book: death sex, violence, primal materials such as wood and stone, the creation of new spaces, etc. Through watching the tape--certain scenes indicating that others have encounter and added their own content--the nameless narrator becomes as actively involved in the building of narrative as the reader is in comprehending or, at least, experiencing it. Strongly evocative of Dennis Cooper, this piece uses layered narratives in such a subtle, peripheral way that the reader is taunted into believing what he or she does not or cannot believe.
Another brilliantly experimental piece--and my favorite of the entire collection--"Black Metal" concerns a young boy who, believing a certain sand dune is the burial site of the sun, falls into a sand pit where he remains interred. The first most striking aspect is that Kitchell's decision to make the pages of this story white-on-black does not reduce to mere gimmickry. This color-inversion of the page transfers the boy's claustrophobia to the reader; further, the words themselves become the former whiteness of the page, scribbled absences on the the surface of impossibility.
Beyond this typographical trick, the arrangement of the narrative is highly effective. Passages that speak of the boy's life prior to his interment occur along the margins of the page, while those involving his dreams and thoughts within the black metal box have been written at the center; this further increases the claustrophobic sense already established by the aforementioned color-inversion. Effectively contorting the temporality of the narrative to an even greater extent, the boy, while still trapped within the black box, frequently sees images of a nearly identical child in a glass case. Though one could easily explain these episodes as hallucinations, each part of the narrative merges to suggest that perhaps the boy has at last reached the synthesis of every dissociated strand of self.
While I can't say every experiment--in narrative, typography, etc.--is a complete success, Spiritual Instrument's break with conventional modes of communication often results in lucid glimpses into the heights and depths of limit-experiences where the self becomes so rarefied that only the body remains as a wound in space. Less given to cheaply transgressive exploitations than most of his fellow underground experimentalists, Kitchell seeks to abide within the space that does not echo the individual's cry for the fulfillment of desire, meaning and significance, but rather opens up to consume the perverse excesses of self-conscious being. Only then can consciousness expel the "I"--the superfluity of being human--and float its way back into the silent world of things.
To close, here's a powerful passage from the first piece, "Postparoxysmal Event Space":
Waking up, tangled in sweat and sheets, the man discovers he is coming, and not only coming, but spasming, splitting the air in contortion, enacting the violence of depths, the spurting not patterned in burst but instead continual, as if man himself could become volcano and spill ruin onto civilization, a ruin powered by the solar complexities of telluric drama: a satisfaction. The body stills, the room is silent. And with this, the cavernous buzzing regains its presence.
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