I would like to say that Florenz was the person at CKP with whom I had the most contact while my book was being made and I associate her presence with this book: her warmth, discernment, and enthusiasm were and still are very meaningful to me. My book was a vulnerable enterprise and Florenz’s place in it was and is part of its making.
from door of thin skins
He splayed his fingers apart, their movement a Japanese pure, make-a-vacuum style, allowing them to twitch in all directions, implying cherry blossom petals dangling from boughs. He was a tall and fat man, his fingers incongruously refined, long and sculptural. Of course the fingertips flipped up. I say of course because even at rest he gave the impression that he covered everything; above and below.
How the very signal of that gesture enveloped to the point of obfuscating my senses. This is why it is nearly impossible to communicate, to hand over the experience.
He did it when he tried to make a point, but I tell you whenever he did it all I was aware of was the portrait he made with his hands. At their widest opening on their way down they were bird wings flapping—and the hole between the wings, where there should have been a body, was me.