Wednesday, February 25, 2026

from Startles

     

My dead entered the dream single file and formed a circle around me. Not sure if that was the dream or is the dream of the dream as I write. Do they remember me? I wondered, as one does about the demented. How close are dementia and death, or death and my dream? The dead are relatives, til we become them, dissolved.


Dissolved into solution, where solution is liquid, not a fix. To solve for X means Y is but a pedestrian on the equation’s sidewalk. A pedestrian sees not what is there, but what has heretofore not been seen. The backwards puddle reflection works, but only once each time. Impermanence is cloud, is cloud dissolved.


There are stories, but I don’t want to tell them. Gestures will have to do, the sweep of an arm we make over piano keys when sound isn’t enough. Wings of the egret above a scene of mowing. What a therapist of egrets couldn’t find there, the switch from cow to machine, from meadow to lawn. Does an egret dream of worms, of roaches, of men on mowers?


The dream went nowhere. There was the circle, and I was in it. There were the dead and I, asleep. The scene, such as it was, felt neutral, unadorned. Do my dead recognize each other through me, or must I introduce them, as I would at a meeting?


In another dream, my father disappeared. He hadn’t died, he had simply moved, leaving no address, no phone number. He stayed as the idea of my father rather than as a man in a dapper sport coat, preparing to leave for dinner. I don’t remember seeing him among my dead; all the dead have lost focus, been redacted. Like victims, they’re protected from their names and faces.


Or like the predators, whose names are too big to fail. Structures, also, dissolve, and in their place, an empty plaque. No memorial where none intended. Death starts as memory, ends as erasure. Red smudge where Y took the place of X and was corrected.


Tuesday, February 24, 2026

Italy in March

 In late March, I'll be in Italy to launch the Italian translation of my book, I and Eucalyptus by Pina Piccolo and Maria Luisa Vezzali. Here are announcements of one of the events. 

 

https://www.casadonnemilano.it/evento/presentazione-del-racconto-filosofico-io-ed-eucalipto-di-susan-m-schultz-tradotto-da-pina-piccolo-e-maria-luisa-vezzali/?instance_id=152820 

 

https://lacasadelleartiste.it/?p=6390 

 Itinerary:

20 March, Online interview with La parola da Casa

21 March, Casa delle Donne, Milan, 6,00 PM

23 March, Modo Infoshop bookshop, Bologna, 6,00 PM

25 March, Università di Bologna class, Forlì

26 March, UniversitĂ  di Milano class, Milan

28 March, Biblioteca delle Donne, Firenze, 6,00 PM

 

 

 

 

Friday, February 20, 2026

My new book from Spuyten Duyvil: WAR DIARY

 

When the Russia/Ukraine war started, I began to follow @strategywoman on twitter; she’s now on Threads. Her life alternated between war and conscious day to day normality, cat and son and “war coffee.” I began a diary that ran parallel to hers, folding together my daily life and her war, our own failing state and my cats and dog, Lilith, as well as photography and coffee. I tried hard to think and my feel my way through all this personal and political history, and maintained my diary for a year. Her war and her diary go on.
Review copies are also available; let me know, and I’ll ask them to send you a pdf. The book is blurb-free. You can find some selections from the book here, before you write your own blurb (lol)

The photograph is mine. I called it 4' 33", after John Cage. The woman who checked it into a show in Hilo called it 4 feet and 33 inches.

Monday, February 16, 2026

from Startles

Startles


The photo is pornography’s abstraction, black square with a little girl’s tutu peeking out. Stuffed animal held by a woman’s hand beside her. Another photo can’t be seen, but the files contain its thick description. Words, sentences, images as we know them in poetry, a document as we locate it in the archives. Why redact photos, but not the words?


Look, don’t look, witness and/or be traumatized. Testimonies on social media, first person behind a handle. If you click on the gray lines, words exfoliate. “That’s not the word I would have chosen,” my daughter says. They blossom, horribly.


Like a mouth full of blood, every orifice a wound. Hide pain behind black squares. When words emerge like translucent dots on a camera lens, they correspond with you, your wish to void yourself of poisons. Our old cat coughs up fur in small puddles you hope not to step in before the lights come on. The prophecies are coming true, a man in scrubs says.


Down to the detail, he adds, meaning that “peace and security” in various contexts makes a prophecy, or is it a conspiracy, true. Once you turn the conspiracy theory upside down, and shake it out a bit, it makes more sense. The monk tells us to wash our mirrors after we brush our teeth. Odd in a philosophy that downplays identity, but we can at least see our form, if not the smudge of soapy stars. The monk wept at his teacher’s feet, his face vividly damp when he stood.


Wisdom is internal, but only if you fail to react to what wants to enter, lie down on your couch, watch your television, plaster you with obscene videos. To redact is not to take away, but to cover over. To unredact reduces us to our basest impulses in the sentence-mirror. Typos are rife. They pulled teeth, so the children couldn’t bite.


I don’t see images in my mind, even the worst of them. But words hang in my mind’s cave, sharp, savage, promising the onset of migraine. I cannot push words away, as I sometimes do the images they describe. The cave fills first with music (drop after drop) and then the redacted sound of forced silences. Your phone is your lover, the monk says, turn away.

 

"All the way down to the details"

Lilith was interested in the mortician's blue scrubs (even though they'd just been washed, he said), and in his off-white athletic slippers, the heavy socks that slipped into them. The mortician asked how I am; we haven't talked in a long time, except sometimes through the window of his red Mercedes. OK, I say, so long as I don't turn on the news. "Oh, the news is good!" he says, his voice brighter than usual. "The prophecies are coming true.They say that when people start talking about 'peace and security,' things are falling apart. And that's exactly what they're saying, in just those words, peace and security. The United Nations is saying they want peace and security." I suggest that whatever the Trump administration says, the opposite is true. "Oh no, it's not Trump, even though he thinks he's the only one. It's the entire world." Beside us, The Detailer, as the mortician says he's called, was washing a white van until it shown, revelatory, in the morning sun.
 

Thursday, February 12, 2026

from Startles

 

Startles


He loved the large and colorful moth, before he knew he had to drown it. Moths would destroy his palm trees. Pigs destroy lawns as persons bulldoze the rain forest to make them. So persons kill pigs. “I enjoyed the torture video,” Epstein writes to the Sultan.


Files are made from dead trees and tortured girls. Girls in basement stalls—today we’re pointed to a five year old—girls in massage rooms, girls on beaches, girls in airplanes. “Where are we going?” one asks. The mic-ed up tree might ask the same question, where someone left a chainsaw on the sidewalk unattended.


Moth and pig are “invasives.” ICE is leaving Minnesota to go wherever they’ll go, the governor says, his arm flailing outward. The governor does not look well. Photograph of a woman in a bathrobe on a cold city street, her phone up to record ICE. She lives in St. Paul, in the photograph, in our minds. The monks walked through DC barefoot, bearing flowers.


Being put in a stall makes the child a beast. Bestiality among billionaires comes to seem normal, or at least expected. Epstein marked girls as “virgins.” Was he moth or man, hunting his prey? A southern sheriff leans over, his hands in prayer, as the monks approach.


Bull Connor was a beast. They are hosing down protesters in Argentina today. Photograph out of the context of meaning is surreal history, cruelty’s lineage. Is that nature or nurture? Or lack thereof?


You have offered us their suffering, even ramped it up by doxxing them. You take back the men’s names, for they are victims. Bad Bunny’s grasses came out as themselves on social media, with their numbers attached. Joyful concentration of souls. Benito behind a bulletproof football, clutched to his chest. 


“No one is illegal on stolen ground.” What approximates ground is Vegas, pretending. After mass murder proved their point, the gamblers went back. Chance pilgrims, hoping for heaven from the slots. My daughter’s teammate’s grandmother played the penny slots for hours, in rapt concentration.


So many posts begin: “do not look,” but they lead to small rooms with black squares in them. I am not I but the black square that covers me. Blanket over my pain, this double excision of self. The shame lies with the man beside the square, the man who lies. You are now behind the square, in this perverse community of protected blanks.


Firing squads shoot mostly blanks so that none will know who killed. A redacted conscience, there but not there, bruised and yet not bruised. Are we the shooters or the fired upon? Clear the mirror after you brush your teeth, the monk tells us. Then you can see yourself.


We see us both. That is our own particular torture, this knowing what we cannot see, or seeing it, unable to take it in. Mirrors take in nothing. Sponges are full, the ground is flooded, a washer floats down the street like a rubber ducky. Aloka the peace dog plays.



Tuesday, February 3, 2026