Ana, I found these fragments well written and honest, I enjoyed the opportunity to get to know you
The body as a narrative
She finds, on her own body the making of a novel (a tragic comedy of sorts). The scrapes, cuts, bruises, freckles and scars tell the story. At birth, she acquires her first of many- the dip in flesh near her left shoulder. At nine, she falls off a fence, falling on glass; on her right hand you can see the patch of brown skin (three shades darker than the rest, staring at her), a testament to her youth. Around seven, falling off a tree, she gains the pale yellow discoloration on her right knee. At twelve, after spinning around in her backyard she falls, scrapes her left elbow. At age twenty, she still falls off her bike; she still gets bruises and cuts. Her scars tell of her accident-prone existence, giving her body more meaning (depth) than others can perceive. These remnants of the past can be seen as notches (cuts/scrapes) on the post (body) of her proairetic sequence (dismembered in her memory; pieced on herself). She can tell a fraction of her history by pointing to parts of herself (reinforcing false sense of wholeness).
Non-sequiturs
She finds absurdity and non-sequiturs to be the ultimate source of humor (seme). She finds that the absurdity (every part) of life, transposed onto language creates an intense disruption in discourse and she teems with joy whenever they are heard (said, felt, expereinced, noticed etc). These fissures in language, the gap in cohesive (logical train of thought) speech, produce an intense uncertainty in the narrative. She therefore finds more anxiety in language- waiting for the next fissure (eruption), the next bout of joy (borderline bliss).
She finds, on her own body the making of a novel (a tragic comedy of sorts). The scrapes, cuts, bruises, freckles and scars tell the story. At birth, she acquires her first of many- the dip in flesh near her left shoulder. At nine, she falls off a fence, falling on glass; on her right hand you can see the patch of brown skin (three shades darker than the rest, staring at her), a testament to her youth. Around seven, falling off a tree, she gains the pale yellow discoloration on her right knee. At twelve, after spinning around in her backyard she falls, scrapes her left elbow. At age twenty, she still falls off her bike; she still gets bruises and cuts. Her scars tell of her accident-prone existence, giving her body more meaning (depth) than others can perceive. These remnants of the past can be seen as notches (cuts/scrapes) on the post (body) of her proairetic sequence (dismembered in her memory; pieced on herself). She can tell a fraction of her history by pointing to parts of herself (reinforcing false sense of wholeness).
Non-sequiturs
She finds absurdity and non-sequiturs to be the ultimate source of humor (seme). She finds that the absurdity (every part) of life, transposed onto language creates an intense disruption in discourse and she teems with joy whenever they are heard (said, felt, expereinced, noticed etc). These fissures in language, the gap in cohesive (logical train of thought) speech, produce an intense uncertainty in the narrative. She therefore finds more anxiety in language- waiting for the next fissure (eruption), the next bout of joy (borderline bliss).