SAL RANDOLPH

 

 

 

 

dear dear

 

(sappho & judith butler in correspondence)

 

dear j,

from
painted
difference
a
slanted
writing
the
part
tricky
not
unique
her
point
of
departure
while
she
went
on
no
matter
which
double
it
will
reminding
and
answered
with
speech
the
goddess
you
look
and
decorated

dear s,

by
accident
she
also
loved
and
I
wasn’t
found
the
most
born
but
rather
of
becoming
is
to
be
becoming
that
one
is
neither
becoming
could
become
the
central
not
just
images
for
instance
it
seems

 

 

 

dear j,

cosmos
in
the
language
according
to
relatively
she
regrets
from
the
body
it
all
says
as
the
sweet
unable
who
languish
if
unfinished
and
does
not
reach
her
further
no
not
to
involve
the
reaching

dear s,

hold
within
the
same
sexed
body
the
sexed
possible
then
what
sexual
life
in
which
are
now
matter
now
in
interaction
or
another
discursive
and
where
we
tend
in
history
the
body
living
to
exist

 

 

 

dear j,

appears
noticing
this
could
be
standing
dislocation
ecstasy
is
who
beginning
no
one
textual
than
any
at
least
what
we
see
so
hears
trembling
and
here’s
one
breath
subtle
forgot
and
here’s
by
me
calls

dear s,

when
those
audible
bodies
what
bodies
should
how
gathering
to
see
too
many
precarious
to
temporary
the
violence
simply
to
stand
together
more
illuminated
as
if
to
say
criminal
or
whether
gender
and
who
desire

 

 

 

dear j,

did
young
seduce
span
was
she
and
so
and
how
gesture
bypassing
from
the
omit
or
seem
to
mention
of
hand
upon
sitting
empty
of
those
love
of
girls
wondering
partly
pleasure
of
her
might
have
been

dear s,

how
do
we
understand
it’s
true
the
body
perhaps
any
particular
elusive
bound
up
what
a
sexed
body
perhaps
the
limit
failing
oh
why
sunny
cavern
how
women
nonconforming
a
phantasm
living
visible
love
in
this
world

 

 

 

dear j,

lost
sleep
from
the
same
horizontal
in
her
for
you
thoughts
the
proper
city
a
territory
on
which
was
exiled
for
memory
when
female
implies
although
frustrates
style
in
index
no
woman
covering
bare
words

dear s,

do
I
everything
before
only
where
travel
and
my
was
never
and
not
yet
apparently
understood
and
unless
loved
and
listen
so
when
asked
into
virtue
by
what
because
this
is
what
happens
and
every

 

 

 

dear j,

to
think
more
about
pronouns
undoubtedly
overall
her
examples
within
with
singular
and
plural
us
and
me
of
performance
and
I
personal
it
contains
to
apply
heat
erotic
the
devoted
and
to
possible
addressed

dear s,

the
time
of
idealization
before
what
is
seems
artistically
to
be
understood
as
modes
are
the
story
who
lived
feminine
more
dramatically
throwing
why
would
to
feel
the
the
trace
the
possibility
if
now

 

 

 

dear j,

on
a
roll
or
most
don’t
exile
but
no
reason
of
composing
of
which
is
lost
woman
and
way
of
women
perhaps
what
center
from
scraps
for
example
longing
sweat
torn
in
present
thrilling

dear s,

finally
it
made
sense
if
we
only
regard
for
you
came
how
to
think
with
pleasure
you
can
imagine
the
body
have
dreams
where
first
a
body
in
what
sense
shaped
of
sex
female

 

 

 

 

Sal Randolph is an artist who lives in Brooklyn and works between language and action. Her projects have been seen recently at Cooper Union, Denny Gallery, Wave Pool, the Museum of Jurassic Technology, the Asian Arts Theater, Le Centre Culturel de Cerisy, and at the Akademie der Kunst in Berlin. She is the co-founder of dispersed holdings, an artist-run listening and publication space. New language work is in Otoliths, Queen Mob's Teahouse, the anthology Dream Closet, and forthcoming in Sound American. She is also writing a novel on Twitter: @driftictation.