Such are the figures of the body
whose texture forms
(hence, no more grammar,
no more musical semiology:
issuing from professional analysis—
identification and arrangement of
“themes”, “cells”, “phrases”—
it risks bypassing the body (…)
These figures of the body,
which are musical figures,
I do not always manage to name.
For this operation requires a metaphorical power
(how would I utter my body except in images?),
and this power can occasionally fail me:
“it” stirs me, but I do not find the right metaphor.