Mei-mei Berssenbrugge (Chinese: 白萱华) is a contemporary poet. Winner of two American Book Awards, her work is often associated with the Language School, the poetry of the New York School, phenomenology, and visual art. She is married to the painter Richard Tuttle, with whom she has frequently collaborated.
I did not know beforehand what would count for me as a new colour. Its beauty is an analysis of things I believe in or experience, but seems to alter events very little. The significance of a bird flying from grapes in a store relates to the beauty of the colour of the translucency of grapes. There is a space among some objects on a table that reminded her of a person, the way the bird reminded her, a sense of the ideal of the space she would be able to see. Beauty can look like this around objects. A plastic bag on a bush, moving slightly, makes an alcove, a glove or mist, holding the hill. Time can look like this. The plane of yourself separates from the plane of space between objects, an ordered succession a person apprehends, in order to be reminded.
- Ideal, 1, pg. 9
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Given the depth of the colours of the mineral, whose source is an oscillation of spaces of volumes of energy, as a pink ray of light and rose coils it, the way a body, even a pongd, lets light in and reflects an image, an instability like a dream or thought that decays - the seam, my experience of your experience, a horizon at dawn, is the instant of apprehension.
- Combustion, 1, pg. 19
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The idea of illusion suggests that existences in different worlds, herself at different stages, or moving from one metaphor to another, can compare. She is trying to tell you the moon's colour in eclipse, because she cannot reproduce a light in her memory with a pigment that is made, like a word, though seeing the moon enables a person to make inaccurate colour. Think, if experience in her is time, because she gets to a state of being by experience, first. Experience is an interval in the body, but it also accompanies remembering.