The writing of Helaena C moon

I am filled with a greed and lust for something that’s stretched just perfectly out of my reach. An idea that’s quite aloof, and seems to steadily evade and play me. I have sewn it up in dreams and love, and a thousand things I can’t quite hold.. and ached for it on every rising moon.

Helaena C Moon @ http://hapless-hollow.tumblr.com/

GHosts

Have you noticed? how the rain
falls soft as the fall
of moccasins. Have you noticed?
how the immense circles still,
stubbornly, after a hundred years,
mark the grass where the rich droppings
from the roaring bulls
fell to the earth as the herd stood
day after day, moon after moon
in their tribal circle, outwaiting
the packs of yellow-eyed wolves that are also
have you noticed? gone now.
7
Once only, and then in a dream,
I watched while, secretly
and with the tenderness of any caring woman,
a cow gave birth
to a red calf, tongued him dry and nursed him
in a warm corner
of the clear night
in the fragrant grass
in the wild domains
of the prairie spring, and I asked them,
in my dream I knelt down and asked them
to make room for me

The Wood beyond the World (10)
©buron ‘14

A Barthes reader – TEXT AND IMAGE

Such are the main connotation procedures of the photographic image (once again, it is a question of techniques, not of units). To these may invariably be added the text which accompanies the press photograph. Three remarks should be made in this context.
Firstly, the text constitutes a parasitic message designed to connote the image, to “quicken” it with one or more secondorder signifieds. In other words, and this is an important historical reversal, the image no longer illustrates the words; it is now the words which, structurally, are parasitic on the image. The reversal is at a cost: in the traditional modes of illustration the image functioned as an episodic return to denotation from a principal message (the text) which was experienced as connoted since, precisely, it needed an illustration; in the relationship that now holds, it is not the image which comes to elucidate or “realize” the text, but the latter which comes to sublimate, patheticize, or rationalize the image. As however. this operation is carried out accessorily, the new informational totality appears to be chiefly founded on an objective (denoted) message in relation to which the text is only a kind of secondary vibration, almost without consequence. Formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination. Formerly, there was reduction from text to image; today, there is amplification from the one to the other. The connotation is now experienced only as the natural resonance of the fundamental denotation constituted by the photographic analogy and we are thus confronted with a typical process of naturalization of the cultural.
Secondly, the effect of connotation probably differs according to the way in which the text is presented. The closer the text to the image, the less it seems to connote it; caught as it were in the iconographic message, the verbal message seems to share in its objectivity, the connotation of language is “innocented” through the photograph’s denotation. It is true that there is never a real incorporation since the substances of the two structures (graphic and iconic) are irreducible, but there are most likely degrees of amalgamation. The caption probably has a less obvious effect of connotation than the headline or accompanying article: headline and article are palpably separate from the image, the former by its emphasis, the latter by its distance; the first because it breaks, the other because it distances the content of the image. The caption, on the contrary, by its very disposition, by its average measure of reading, appears to duplicate the image, that is, to be included in its denotation.
It is impossible however (and this will be the final remark here concerning the text) that the words “duplicate” the image; in the movement from one structure to the other second signifieds are inevitably developed. What is the relationship of these signifieds of connotation to the image? To all

A Barthes reader