Meshes of the Afternoon (1943) Maya Deren broke through the glass ceiling to create this significant surreal statement of women’s consciousness during the conformist forties and fifties. As the Museum of Modern Art has indicated, “A non-narrative work, it has been identified as a key example of the ‘trance film,’ in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus.” Alexander Hammid, her husband, provided the distinctive camerawork, and Teiji Ito composed the Asian musical score.
The swan is a sign that ruffles the reeds,
Searching for the lost key to the garden,
A real Mother Goose fat with seeds,
Grotesque only when plot twists harden.
Innumerable algorithms cosign reality,
As if the child were a mirror to the soul
Or the State reinstate dance to democracy
And set artists free from some mercantile troll.
Multiple selves peel the oaken bark
Sheltering the living, two by two,
To abide aboard the women’s Ark
Where myth transforms the global zoo.