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Lara Manzanares What I’ve read of this book so far has helped me vastly in my explanation of what exactly I’m trying to achieve with my work. It explains the experience-performance cycle, and talks about how performance is necessary to “finish” an experience. It has helped me figure out what exactly I was trying to do when I began my “percipere” blog, and what I continue to try to do in my current work. Turner, Victor. The Ritual Process: Structure and Anti-Structure. (place unknown): Aldine, 1995. (most of it available on google books) Mostly specific to Turner’s time in Africa, this book does however offer a good explanation of liminal space from an anthropological and ritual view. Patchen, Kenneth. We Meet. New York: New Directions, 2008 (Original publication dates of content: 1946, 1957, 1958, 1970) He usually managed to be there when He arrived. A horse, his name was Hunry Fencewaver Walkins—he’d sometimes Be almost too tired to make it; Because, since he also hated being alone, He was always on the alert to pop forth At a full run whenever the door opened. Then one day it happened— He didn’t get there in time! Of course he couldn’t risk opening the door— So, panting, he just stood there in the hall— And listened to the terrible sound of himself weeping In that room he could never, never enter again. Kenneth Patchen’s poems don’t “go” anywhere. They hover between the beginning and the end. They make no sense, and they make all the sense in the world. Brilliant. Carroll, Lewis. Alice’s Adventures in Wonderland & Through the Looking-Glass. London: Penguin, 1998, (Original publication dates 1865 and 1872, respectively) This publication serves multiple purposes. It is an example of how an author successfully interprets the in, the out, and the in-between in a time of cultural upheaval (It was first published soon after Charles Darwin’s Theory of Evolution) using wild storytelling. I generally think of myself as the character Alice, making my way through spaces and making sense (or nonsense) of everything around me. Hayes, Joe: Retold by. La Llorona / The Weeping Woman. El Paso: Cinco Puntos, 2004. This story, a traditional Mexican / New Mexican / Latin American ghost story, tells of a woman caught in between life and death. She wanders, like Alice, but not aimlessly. She is looking for her children, whom she murdered. She is, in effect, trapped in a drawn-out liminal space, unable to let go of the time that came before 2
Lara Manzanares the transition away from life. The storytelling style in this and other ghost stories warn us away from this frightening in-between space. This story may have historical ties to the story of La Malinche – the indigenous companion of Hernán Cortés. She is seen as both a traitor and the mother of the mestizo race, both revered and despised. La Llorona is also a song, a haunting musical piece that is tender, vengeful, wistful and exuberant, all at the same time. Derrida, Jacques. The Truth in Painting. Chicago: University of Chicago Press, 1987. “It is finality-without-end which is said to be beautiful (…). So it is the without that counts for beauty; neither the finality nor the end, neither the lacking goal nor the lack of a goal but the edging in sans of the pure cut, the sans of the finality-sansend” (89). “From this point of view beauty is never seen, neither in the totality nor outside it: the sans is not visible, sensible, perceptible, it does not exist. And yet there is some of it and it is beautiful. It gives the beautiful” (90). “A piece of waste land has no fixed limit. Without edge, without any border marking property, without any nondecomposable frame that would not bear partition. Vague is a movement without its goal, not a movement without goal but without its goal. Vague beauty, the only kind that gives rise to an attribution of pure beauty, is an indefinite errance, without limit, stretching toward its orient but cutting itself off from it rather than depriving itself of it, absolutely. It does not arrive itself at its destination” (92-93). “Parerga have a thickness, a surface which separates them not only (as Kant would have it) from the integral inside, from the body proper of the ergon, but also from the outside, from the wall on which the painting is hung…” (61). *Doe, John & Jane. The Doorway. San Francisco: Lara’s U.S. Census Employment, 2010. Throughout the past summer, I worked as an enumerator for the 2010 Census. I spent 20-30 hours a week seeking out and standing in doorways. Occasionally I was invited inside, other times I was threatened and verbally abused. As Census Employees, we were not allowed to set foot through a doorway unless invited in. At times, however, even my proximity to the doorway was enough to cause a resident to come unhinged. I thought it very interesting that such a seemingly forgotten or dismissed space, a space without history, a space that people are in every day but never spend time in - could trigger such strong emotions. Hayes, Joe (retold by). “El Terrible Tragadabas,” from Tell Me A Cuento / Cuéntame Un Story. El Paso: Cinco Puntos, 1998. “El Terrible Tragadabas” is a children’s story with roots in Spain. It tells of a monster (the Tragadabas, or glutton) who hides behind the door of a small town’s general store. The three main characters take individual trips to the general store, knock on the door and have a brief verbal exchange with the monster, who warns them not to open the door. They do anyway, and the monster jumps out and tries to swallow them. 3
Page 1: Lara Manzanares THRESHOLD : Working
Page 5 and 6: Lara Manzanares *Manzanares, Lara.
Page 7 and 8: Lara Manzanares Virilio, Paul. Spee
Page 9 and 10: Lara Manzanares York: Oxford, 1977.
Page 11 and 12: Lara Manzanares Kim, Ely. BOOMBOX.

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