Daisy and Kuno

(Scenes from a not so reminiscent love story XVI)

“I treasure those immediate gestures of yours,” he said.
She heaved a sigh of relief.

“And I’d feared that those very immediate gestures
were the reason you’ve been silent all week.”

“Why, I love the immediacy of them! I wouldn’t
treasure anything else nearly that much.

Not nearly that immediately or moderately
or even vaguely.”

By that time she had forgotten who he was
and could not for the world remember

what gestures these might have been, and why
anyone would have called them immediate.

Happily, she began to look forward to another
day of grazing. In fact, to many other days of grazing,

to many months, or even years of grazing
on luscious alpine meadows like this one.

Or like another one.
The alfalfa of the future was shining brightly.

– Leonard “Silliness Alive & Well” Blumfeld (© 2010)

Written around gesture, immediate, treasure from 3WW.

Semi-Borgesian notes on this one
Borges was always good for a library-steeped, erudite explanation to make something purely imaginary entirely real. To confound my readers, I volunteer the following background information: Daisy was a black-and-white stuffed cow I brought back from a trip to the U.S. for my daughter when she was about 5 years old and going through a stuffed cow phase. Kuno was another black-and-white stuffed cow that my mother-in-law brought from the U.S. for my daughter, who was still going through the same phase, even though by then it was waning. I would tell my daughter bedtime stories about two cows called Daisy and Kuno. Kuno was madly in love with Daisy but occasionally unbearably overbearing. Daisy was capricious and could not make up her mind about whether she loved Kuno, detested him or was merely oblivious to him.

Weird dream

Had a weird dream last night...
It all started out with me having to wait (for whom or what I do not remember) in a busy pedestrian zone. But lo and behold I had all the facilities with me to set up my laptop and watch a Bollywood movie. So I watched it for a while, moving my pedestrian zone cinema substitute one time when I realized I was in the way. Other than that nobody paid much attention. Until a woman I recognized as a neighbor walked by, started talking to me and proposed moving the installation to her place. Which I did. Sooner rather than later we found ourselves kissing, then moving to her bedroom for more. Oh, I forgot that she also had a baby, possibly three months old, and an older companion, around 60. I originally thought they were sisters. Just as we were in bed, without many stitches on as I seem to recall, her whole family walked in. I felt embarrassed, but she didn't seem to mind all these people milling around us. She and they went to another room. Only one of the relatives remained with me, an older guy, a freckly redhead. He asked me how I felt? I mumbled something about odd, awkward, embarrassed, etc. He said he understood. In the closing scene, I, once again fully dressed, entered the other room, where my lady was in bed with her companion and the baby, surrounded by everyone else. Everybody was at ease and chatting away. The last thought I remember is that I felt uneasy because I still did not understand the relationships among all these people. But they seemed to accept my presence all right – as whatever. Or did they simply not notice me?

– Len "Sexy Dream" Blumfeld

Kafka's Gallery

First it was a short paragraph of black on white called a short story in a Kafka story reader, then it became a steep old cinema with thickly padded plush folding seats, and my senses were up, close to the projector, darkness and the dust moth-flecked conical beam pointing. It was an empty theater, not even I was there, really. And no movie was playing.

– Leonard Blumfeld (copyright 2007)