.\

sday, April 1; 1982, page 7

/

’ You might ask how a “prey” becomes a “predator” ‘

and eats the “prey” then becomes “prey” and then by a catastrophe it comes to the consciousness of being a “predator.” Well, this model is the simplest pOSSible one and only illustrates a single actor. If you wish to diStinguish between two, you have to make ‘a model with two actors, perhaps moving in ‘a phase relation.~

Or you might imagine a middle size‘fish who eats a

small one and is eaten by a big one. It is a picture of a

fOOd Chain or food cycle.’

' V In the context ..of talking about love affairs, the cogito is the-catastrophe of the'awakening of sexuali— ty. The predator, male or female, becomes conscious of its sexuality and goes on to the phase of looking for “prey;” t‘he"‘mate.” The terms “prey” and “predator” may sound unromantic, ‘ but remember this is a topological description. We are free to substitute our own choices. » '

Only the pattern of motion matters. And

' “predator” is the one who accepts, therefore it is

closer to “female” characteristic, not the “macho”

who is preoccupied with himself and therefore behav-

r the macho, the “prey,

‘

8

ing like “prey.” Or rather according to this model, the “macho” is not sexually awakened yet.

. Of course, the catastrophes are not only sudden and unpredictable, but also confusing, though this simple model does not show that. Therefore, the roles of “prey” and “predator” may well be confused in the catastrophe. If we build a two-actor model of a love affair, then we may have a crossing of the limit circles, so 'to speak. There, the roles can be switched. Thus

99

mature, not knowing what sex is. From the Freudian point of’view, that love has to be controlled, this mechanism would be a good one 'to exploit.

But, the model, ‘simple and crude as it is, does sug- gest a revolutionary alternative. That is,‘ if the dynamics of the actor (predator) have to go through the phases of the motion (changes of state) and have rather slow processes between the two catastrophes, then there is no need for the fear that love is too much.

'The dynamics of the actor itself have an inherently

cyclical structure which accommodates the awakens

ing, the climax the satisfied calm and a bit of an, ' altruistic state between.

A-TALK ON LOVE

could possibly remain im-\

One might say the “predator” state is the state of ’ “anxiety.” But it is a natural requirement for the

"climax, the catastrophic release. Without that stage, '-resembling “suppression” or “control” the

catastrophe cannot come. If this is indeed the case, then Freud’s fear of the free love is groundless, and there is no need for the “surplus repression" (Marcuse’s term, as distinguished from natural “repression”). One might interpret the suppressed stage as “foreplay.” _

Now, this story of mine is too simple to discuss the social implications. For that I need to consider “manybody interaction” and the structures thereof. That would be “social engineering of love” in a similar senselthat a Pareto (an engineer turned economist) might have envisioned. ‘

For the moment, I shall be satisfied with suggesting the possibility of sublimated Eros, which Marcuse ap-

pears to dream of, by the simple model of catastrophe

theory. That is I shall resign to the “prey” phase.‘ I V

n as

wait for other “predators - lovers" fully awakened in

sexuality to pursue the dynamics of love affairs.

I

oil! we use OFA ~ mu mksmrr» HON mssemncam!

* Editorial Board- members for the Island

I Women's Arts Festival.

have selected over.90

pieces of prose and * poetryfrom over 240 works submitted by women across the Island. ‘ rIfhe selection of works will be published,” , in a book of Island

, ISLAND WOMEN'S ARTSQFESTIVAL

of the Editorial Board members during the selection process. . ' Members of the Board are Libby Oughton, Publisher of Ragweed ‘Press and .- Literary. Representative for the Island Women's _ Arts Festival ;” Geneva

By Gabble Ratchet "Sonebddy have the time?".. . 'Are you Close enough to hear my breath and can you hear the faint hsshsshss in behind my words? a sad, sort of. sweet smelling hanmny to my voice becoming a little slow and sweeter with each passing syllable. \1' " "What time is it

GABLE BITES l-T

Dreams of clocks. Turning and swinging and never wrong; Just being the time I wonder it is.’ So I ask, wondering: ../ "What time is it

now?" I'm waiting for something but forgetting

-‘ just what and that hsshss- hsshss flows into itself and me. It's waiting too. It's waiting with me and the clocks to run

It's

writing. ‘ A limited ' edition of the beck Will ; be available for sale to

Week, April 12' to 16%.

K . The selections repre- sent a broad. dross-section of Island women writers of all ges and occupations, from all parts of the province. All women who have submitted works to the Festival's Literary Committee will receive evaluations of their Writing based on the

the public during Festiva “and. Kings County;

written and spoken cements a

King, Craftsmen__ and Prince (bunty Representative for the Festival; Lyle ‘ \ Brehaut, professional

representative; Dr. Elizabeth‘fiSpérlyLUPEI English professor and Literary Advisorfor the festivalpand Jonni Turner, artist and‘writer,

~ the Festival's coordinator.

Evaluations “and works“ not “included in the book will be returned to writers during the next

four to six weeks.

now?" Did I’ wonder out loud? Each'_"intake of breaéh washes my mouth — -,

__ The Clock mya ,. " heart . tick—tocking aWElY- It seems so simple. Tick— tock‘ing away with ’never a thought or a sigh or a rest or a wonderinc if it was something wrong. There's no way to go wrong just living pendulem.

There's hope for- this perpetual motion

machine in my dreams.

~ itself down. But it's

' waiting.

with tart—tasting "shadows; that and. start to feel ‘ "

long after I'm over‘. Now, _ what a useless thing knowing seems. But there's

, whispering:

only me ~knc3wing I'm {I about

superior 'for knoWing. "

Then I start to laugh 'for feeling like I did. The ‘ clocks will probably tick- tockin‘g and the hss-hsshssingl ‘

a something inside, hanging in there afraid to let go, asking, almost

"Somebody have the time?" But no one does. '

.12. .. sewn-fittin'en “tam: - .. A w .

'r- w