Stationary

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(Stationary )

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<h1> Stationary 2             </h1><br>

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<span class="paragraph">Haitham Wardany<br>As I leave My Post of Observation</span>
<span class="paragraph">Kevin Killian<br>The Future of the Body</span>
<span class="paragraph">Amir Zuabi<br>Stench</span>
<span class="paragraph">Andrew Hugill and James Langdon<br>The Consolation of Pataphysics</span>

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<h1> Stationary 1             </h1><br>

<span class="paragraph">Ivan Argote<br>Cold Afternoons</span>
<span class="paragraph">Yiu Fai Chow<br><span class="asian">How 宀 I 舄 wrote what 亻 I 乍 wrote</span></span>
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(     How 宀 I 舄 wrote what 亻 I 乍 wrote
      Yiu Fai Chow

My story as a lyricist began in 1989. Since then, I have published some 1,000 lyrical works,
almost all in Chinese. During more than two decades of writing, I have often been asked how
I wrote what I wrote. One possible answer would be to make some record of my writing process—like
a film of myself working on a piece of work. I guess I am afraid such a visual, verbatim project
would be utterly boring and narcissistic. And, so far, I haven’t got the resources, the nerves …
the whatever to do it.
Consider this, then, an attempt occasioned by Stationary—a substantially trimmed down,
logocentric, and totally unverified version of an attempt.

(1) 彷彿點起香煙 (1) Like lighting a cigarette
彷彿古巴煙絲 Like burning some Cuban tobacco
彷彿一支香煙 Like a cigarette
(5) 燒起一室空氣 (5) Burning the entire room of air
燒起山谷濕氣 Burning the humid air in the valley
燒起春天濕氣 Burning the humid air in the spring
(2) 看你滲進五內 (2) Look, you are spreading to the insides of me
剎那滲透五內 Instantaneously, spreading through the insides of me
(8) 叫我載滿意味 (8) Making me pregnant with possibilities
永遠散發意味 Forever spreading possibilities
(3) 只想輕輕的吸 (3) Just want to breathe in, softly
(4) 即使點點的退 (4) Even though it’s receding, gradually
此刻飄飄的你 The floating you
多麼飄拂的你 You are so unpredictable
把握不到的你 You are so impossible to hold
(6) 永遠也會化霧 (6) Forever evaporating
(7) 剎那也要撲鼻 (7) Right now through my nostrils

So, that was it. But then, of course, that wasn’t it. As with many other forms of writing, this
particular set of lyrics had to go through layers of, say, “quality control.” When I encounter
requests to revise, mostly I take that as a question of taste. Occasionally, it is a matter of
musicality: I get the melody line or phrasing wrong. In this case, the request came through in a
very gentle manner, asking if I could change some words that might be too sensitive, especially in
consideration of getting past the Chinese censors. These parts are indicated in italics.

彷彿金邊罂粟 opium poppies 吹開山谷沼氣
就像萬群蜜蜂即將一雙交尾 intercourse
愛的分泌 secretion

I told them, my colleagues at the record company, I wanted to use this text for an art project, would
they please, please, please indulge me?
They did.
I didn’t ask whether this was due to my rather unusual act of pleading, or for the sake of art.

      Yiu Fai Chow is a writer and academic currently
      based in Hong Kong where he was born and bred,
      after almost twenty years in the Netherlands.     )

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<span class="paragraph">Fayen d'Evie<br>And Now You See the Light, Man</span>

<span class="paragraph">Chris Fitzpatrick <br>MERIWETHER/ <br>UTROPRULLIONS OF POPULATIONS/ <br>ABC: PRETROGRELLITOL ROBOTICS/ <br>GESTATIONAL PREVALENCE/ <br>OTROWRELLIGUL</span>


<span class="paragraph">Nav Haq and James Langdon<br>On<em>Xerox Book</em></span>


<span class="paragraph">Sharon Hayes<br>An Entrance or an Exit</span>

<span class="paragraph">Rosemary Heather<br>The Story of — —</span>

<span class="paragraph">Malak Helmy<br>O.S Filing System</span>

<span class="paragraph">Ho Rui An<br>Outside the World Interior or the Light on the Writing Desk</span>
<span class="paragraph">Clifford Irving<br>A Toast</span>
<span class="paragraph">Travis Jeppesen<br>A Symmetrical Tattoo</span>
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(     A Symmetrical Tattoo
      Travis Jeppesen

If you want a small taste of my mind, open up your If you want a small taste of my mind, open up your
eyes just a bit wider, until your eyeballs fall eyes just a bit wider, until your eyeballs fall
out of your head and perhaps land in the bowl out of your head and perhaps land in the bowl
containing your morning yogurt: that’s what I want containing your morning yogurt: that’s what I want
my new tattoo to look like. Not a representation, my new tattoo to look like. Not a representation,
nor a design, but an experience. The path we nor a design, but an experience. The path we
strive to discover, we ache until we find it, when strive to discover, we ache until we find it, when
we do find it we see it is the wrong one, we have we do find it we see it is the wrong one, we have
been mistaken all this time … been mistaken all this time …
Can you make it a sort of splat? I ask my tattoo Can you make it a sort of splat? I ask my tattoo
artist. He has no idea what I’m talking about, I artist. He has no idea what I’m talking about, I
can tell from his expression. Splat is a word for can tell from his expression. Splat is a word for
which you must have a very high comprehension of which you must have a very high comprehension of
the English language in order to understand. My the English language in order to understand. My
tattoo artist is from Switzerland. tattoo artist is from Switzerland.
My cat stares. He is looking at that empty blot of My cat stares. He is looking at that empty blot of
skin where the tattoo was supposed to go. What is skin where the tattoo was supposed to go. What is
he thinking? Cats understand absence. Blot, splat. he thinking? Cats understand absence. Blot, splat.
My life as an extended series of special effects My life as an extended series of special effects
engineered by some Hollywood master. engineered by some Hollywood master.
We like to think of collectivity as something We like to think of collectivity as something
mattering, I hear someone say in the next room. mattering, I hear someone say in the next room.
I think the radio’s been left on. There is an I think the radio’s been left on. There is an
empty space on my body, so I write on it. Write empty space on my body, so I write on it. Write
words, detached meaningless words, just to fill words, detached meaningless words, just to fill
the space. You write for one reason and one reason the space. You write for one reason and one reason
only: out of dissatisfaction with all the other only: out of dissatisfaction with all the other
writing out there. A ridiculous claim, and writing out there. A ridiculous claim, and
yet not: how else to explain that yet not: how else to explain that
inner restlessness that leaves inner restlessness that leaves
you reading all the time, you reading all the time,
throughout the day, always throughout the day, always
six or seven books at six or seven books at
once, just one like a once, just one like a
normal person would normal person would
do but it is never do but it is never
enough, the ache enough, the ache
is a hunger, is a hunger,
horniness is a horniness is a
disease, there disease, there
are too many are too many
cops on this cops on this
island and not island and not
enough killers enough killers
to make it to make it
interesting interesting
or worthwhile— or worthwhile—
there I go there I go
digging up digging up
meaninglessness meaninglessness
again. again.
I go over to the I go over to the
desk, I touch the desk, I touch the
device, I open up device, I open up
the music folder. the music folder.
Some mystical dings Some mystical dings
dong out. Ding, blot, dong out. Ding, blot,
splat. Some avant-garde splat. Some avant-garde
composer I’d never heard composer I’d never heard
of before, an article in an of before, an article in an
art magazine told me to download art magazine told me to download
him. Now he is in my living room him. Now he is in my living room
and attempting to take possession of my and attempting to take possession of my
body, my body is resisting. Sometimes I forget to body, my body is resisting. Sometimes I forget to
have a soul. That’s because I exist in a sort of have a soul. That’s because I exist in a sort of
permanent nighttime in order to avoid the hostile permanent nighttime in order to avoid the hostile
forces that would squelch my existence were I to forces that would squelch my existence were I to
flaunt it during the day. My tattoo artist works flaunt it during the day. My tattoo artist works
at night also. There’s something about people who at night also. There’s something about people who
avoid sunlight at all costs. As though allergic. avoid sunlight at all costs. As though allergic.
It’s like going into a thoughtdream and staying It’s like going into a thoughtdream and staying
there for a very, very long time. Shadows on there for a very, very long time. Shadows on
the wall form a vision: pig lungs, I say out the wall form a vision: pig lungs, I say out
loud. Cat’s head perks up. The tattoo must be loud. Cat’s head perks up. The tattoo must be
symmetrical, tattoo artist tells me. I only do symmetrical, tattoo artist tells me. I only do
symmetrical tattoos. symmetrical tattoos.
He was very proud of his symmetry, and that’s He was very proud of his symmetry, and that’s
because he came from Switzerland. He wanted to go because he came from Switzerland. He wanted to go
into a mountain and die there, like some Chinese into a mountain and die there, like some Chinese
literati painter in a century far away from ours. literati painter in a century far away from ours.
He wanted to tattoo an entire landscape across a He wanted to tattoo an entire landscape across a
pig’s behind, but whenever he tried, both sides pig’s behind, but whenever he tried, both sides
were never equal. Razorsharp images often x’d out were never equal. Razorsharp images often x’d out
his vision, so that all he could see was the ink his vision, so that all he could see was the ink
and no skin beneath, the person he was cutting and no skin beneath, the person he was cutting
into said ouch. He wanted the sky to have razors into said ouch. He wanted the sky to have razors
for clouds. Time as a liquid in a bottle that for clouds. Time as a liquid in a bottle that
gets broken and spills out onto the floor of the gets broken and spills out onto the floor of the
kitchen, that other room where the detached voices kitchen, that other room where the detached voices
come from, whispering unknowns. If I could burn a come from, whispering unknowns. If I could burn a
hole in the wall separating here from there, the hole in the wall separating here from there, the
hole would be in the shape of pig lungs. My cat hole would be in the shape of pig lungs. My cat
is an animal that taught me how to breathe. Here is an animal that taught me how to breathe. Here
I sit with my ding dong splat in the space of no I sit with my ding dong splat in the space of no
writing. writing.

      Travis Jeppesen’s most recent books include
      All Fall (forthcoming), 16 Sculptures (2014), and
      The Suiciders (2013).     )

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<span class="paragraph">Quinn Latimer<br>My Mother, My Other: Or, Some Sort of Influence</span> 
<span class="paragraph">Sarah Lehrer-Graiwer<br>The Chalet</span>

<span class="paragraph">Sean O'Toole<br>Transcribing Sound</span>

<span class="paragraph">George Szirtes<br>On Isolation and Interstices</span>

<span class="paragraph">Taocheng Wang<br>Li Dawei</span>

<span class="paragraph">Adrian Wong<br>The Glorious Phoenix</span>
<span class="paragraph">Yeo Wei Wei<br>Innocence</span>

class="p1"><div class="content hidden" id="about_content"><p>Stationary is a collection of stories published annually and disseminated by word of mouth. Loosely forged as a recess from one's productive practice, we invite artists, curators, and writers to take stock of and elaborate on their obsessions, fascinations, and influences in the suspended moment offered by this publication.<br><br></p>
<p class="indent3">Co-editors:</p>   <p>Heman Chong and Christina Li</p>
<p class="indent3">Associate editor:</p>   <p>Janine Armin</p>
<p class="indent3">Design:</p>   <p>Julie Peeters</p>
<p class="indent3">Web design:</p>   <p>Vytautas Volbekas and Carla Peer<br><br></p>
<h1 class="indent">Contact<br><br></h1><p>For any questions and concerns please send us an email:<br><a href="mailTo:us@stationarystories.com">us@stationarystories.com</a><br><br></p>
<p class="indent3">Published by:</p><p>Mimi Brown<br>Spring Workshop<br>3/F Remex Centre<br>42 Wong Chuk Hang Road<br>Aberdeen, Hong Kong <br><a href="http://www.springworkshop.org">www.springworkshop.org</a></p><br><br></div>   class="p1"> <div id="thankyou" class="hidden"><p>Thank you.</p></div> <div class="content hidden" id="order_content"><p>Stationary is a free publication passed from person to person. Please fill in your address below so we can get a copy to you. <br><br><div class="bold" style="text-align:center;">Enter your address</div></p><br><form id="myform" name="contactform" method="post" <table><input name="action" value="submit" type="hidden"> <input name="field1" placeholder="First Name, Last Name" size="30" type="text"><br><input name="field2" placeholder="Street" size="30" type="text"><br><input name="field3" placeholder="Town" size="30" type="text"><br><input name="field4" placeholder="Country" size="30" type="text"><br> <input name="field5" placeholder="Email" size="30" type="text"> <input type="checkbox" name="nomail" value="No emails!"> <span style="float:left;margin-top: -37px;margin-left: 25px;">Please tick if you'd prefer not to receive mail about Stationary</span><br><br><input value="send" style="display:none;" type="submit"><a id="send" href="javascript:void(0);" </table> </form><br><br><br></div>