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no tracks...” (Erdrich 159) are but a few of the many accounts of how she transplays into presence.
Most refreshing is that Fleur dwells in the freedom and the eternal “now” of brimming silence, of wholeness, of pure being. Sadly, yet understandably so, her essence is not fully understood by western culture since tongue-less-ness, for most individuals, implies a violation of an individual’s right to “freedom of speech.” However, in many Eastern cultures silence is viewed as a precious heaven: a vessel to attain that which is.
Ironically so, at that very moment we seek to pen or speak of that “which is” we are removed from eternity’s “eternness” and thus we are left with notions and vague inspirations of its “ness.”4 Thus the magic poetic moment drowns, when by rational means, we try to decipher its magnitude, its essence: unlike Fleur.
And thus Fleur, the very essence of the unspoken, sings with a singing all-seeing: she, like poetry, dwells between the lines, within the lines, without the lines, she is as track-less as
Stillness...
4 Heidegger, Martin. Poetry Language and Thought. Trans. A. Hofstader. New York:Harper & Row Publishers, 1971. 164-184.
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