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     sday, April 1; 1982, page 7 
     
    
   
   
    
       
     
    
   
   
    
         
     
    
   
   
    
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     ’ 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