We speak into the silence and write likewise.
Camille Roy, âUnder Gridâ
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@culturestinks22
We speak into the silence and write likewise.
Camille Roy, âUnder Gridâ

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Recognition can ripple through the text as sequences of tiny transformations, one question into another, so that a poem riddles itself. Alternatively, the poem may unfold as a sort of suspense novel.
Camille Roy, âUnder Gridâ
While a text may be difficult, relation does not fall away due to difficulty.
Camille Roy, âUnder Gridâ
The billions of nerve signals that are filtered and processed every second before reaching the level of consciousness constitute a stream of raw data that is antithetical to being, meaning, personhood. But moment to moment, without awareness, we are created from itâfrom an obscurity which is by condition unknowable.
Camille Roy, âUnder Gridâ
Consciousness is like a canoe on an ocean of raw unfiltered perception. We learn the skills of navigation, but moment to moment âknowâ almost nothing of what constitutes our âexperience.'
Camille Roy, âUnder Gridâ

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Recognition is extractive. It removes what is recognized from its constitutive relations. Thus, an instant of recognition creates an alien deformity which is experienced as clarity.
Camille Roy, âUnder Gridâ
Privacy and insanity have this in common: shared meaning drops away.
Camille Roy, âUnder Grid: An Obscure Manifestoâ
A taboo is a place where language deteriorates, becoming both supple and truncated.
Camille Roy, âUnder Grid: An Obscure Manifestoâ
Iâm not construing death as an abstract barrier. Itâs more of a thin curtain drawn over the churning mass of former timesâalways present, always invisible.
Camille Roy, âUnder Grid: An Obscure Manifestoâ
I think that the presence of death in life characterizes language.
Camille Roy, âUnder Grid: An Obscure Manifestoâ

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You discover, to your surprise, that belief can be aimed at you without being personal.
Camille Roy, âArtificialâ
Iâve assembled a sexual identity thatâs like another bodyâmy personal Frankenstein. Bony and full of nerves & suffering. It includes me but is detached, like the mirrorâs alienating resemblance to myself.
Camille Roy, âArtificialâ
Itâs odd to think of my sexual imagination as starting out empty, a blank that drew a body along behind it. Then bits of other people fell in.
Camille Roy, âArtificialâ
I was only doing what anyone does, waiting for my mistakes. I knew theyâd slither up to me like my own personal language. I just hoped Iâd recognize them.
Camille Roy, âPerilsâ
I think we are impossible beings. We ruthlessly evade scrutiny, yet recognition is the beginning of transformative emotion.
Camille Roy, âExperimentalismâ

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Narrative provides context so that the rupturing of identity is recognizable.
Camille Roy, âExperimentalismâ
For me, writing grinds itself into whatâs familiar yet unbearable.
Camille Roy, âExperimentalismâ