"In a way, her memory is a theory about how the hanged woman looked to her in the orchard, which she has to respect, in the sense that the landscape’s immanence is an organically developing failure of its language to speak its content. The connection between word and idea corresponding to the landscape is retained, but the connection between the word and the landscape is lost, so the shadow of a hill stays dark during lightning. How she sees the lightning is a time lapse into the planar dimension, a hierarchy of grammar or deference by way of the word belonging to her such as lady suicide or woman suicide, because the woman doesn’t die in her own absence or in effigy, so that no existing philosophy and no philosopher will know soon, enough points with enough speed to handle the richness of her reconstruction of her or him for long. He starts to see patterns in the words and the patterns are pretty to him and distract him. It is well known that lightning is attracted to body heat, a person on horseback or a large saguaro, the way a racket of birds in the morning is a kind of empathy for two people. If we retain the belief that her image of him or her, let’s say him, is a pre-requisite for gaining consciousness of the unknown person, we suppose there is no direct channel of communication to the unknown person, with the result that facts about him or her must exit into the world, before a life can be perceived between the light and dark of function or the object, and desire or the image..."
- Mei-Mei Bersenbrugge