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Original Poetry from A Biography of Lilith

Original Poetry from

A Biography of Lilith

by

Lynne Sachs

© 2004

Lilith Speaks to Adam

Just when I am on my way to becoming,

My eyes open and you are there.

Is Eden large enough for the two of us?

Wherever I turn,

there are branches pulling at my hair,

Earth between my toes and under my tongue.

I slither and sometimes I use my wings.

Let’s slither together.

(ADAM: “I’m working on my posture…”)

Earth becomes dirt becomes dirty.

Bent knees turn into corners.

Am I not right for this world?

Before you, I did not know I was I.

Now this I is part of my unbecoming.

Man Alone in House

Does this empty house invite the outside in?

No one told him to be fearful.

Asleep almost, he listens to the bones of the house.

His breath just constant.

Between two thoughts —

sleep.

Wetness creeps across skin like glue.

Seed is stolen.

Lilith plays thief tonight.

By the window, by the door,

Wings bristle lightly against branches.

Wedding Poem

Morning sunlight taps groom on shoulder,

A day of ring exchanges.

Paper signing, blood marks.

Bride will dance seven circles round him.

Each revolution strengthens the wall,

Closes the window,

Shuts the door to the thief he knew the night before.

Breathless before so many eyes.

She careens to a stop,

Foot hits glass,

Tiny shards spray across ground.

An owl perched on a tree above

Blinks, shivers and flies into a cloud.

Birth Poem

At last, nine full moons leave bare

The dust against the sky.

Air fills up with brightness.

A clumsy baby drops.

Dice on a betting table

Or rich, ripe fruit atop worn grass?

Mother Speaks to Baby

I’m learning to read all over again,

a face, this time, connected to a body.

At first, I feel your story from within–

Nose rubs against belly, elbow prods groin.

Your silent cough becomes

a confusing dip and bulge.

You speak and I struggle to translate.

I lie on my side, talk to myself,

rub my fingers across my skin, from left to right.

I read out loud,

and I hope you can hear me.

I’m learning to read all over again

but this time I have a teacher.

A smile comes over your face.

Lips flutter, flutter, quiver, turn up to touch cheek.

I know, am told, have heard — that

in the dark, under your cradle,

there in the empty space of dust between

lies Lilith.

I catch the reflection of my face in her eyes.

I am a snake, a spider, the flame of a burning sword,

a feather that tickles at the nape of your neck,

broken glass and nakedness.

I touch your nose and her spell is broken,

something lost and nothing gained.

For a moment your head swishes between ears,

to say no, to resist and then to sink into

nothing more than a pillow.

No Kingdom There

(Inspired by Isaiah 34)

Streams turn to pitch.

Soil into sulfur.

Land burns.

Night or day, a pure dry thirst.

Vines twisting upward,

gnarled and gray,

soon become tomorrow’s smoke.

And still, the hawk and the hog possess the dying tree.

The owl and the raven drop down to lower branches.

In the distance, nailed to a post, the words:

This Begins the Line of Confusion

Call it–

“No Kingdom Here.”

No bosses, no princes, no popes.

Only splinters tearing skin,

and thorns inside doorways.

Only wildcats gnawing at hyena necks,

and jackals lurking in the wood.

While all the goats called Evil cry out

“Bah, bah.”

Here too Lilith will lie down

and find a place to rest.

Investigation of a Flame

NEWLY RESTORED 2023 PRESERVATION!

Investigation of a Flame:  A Portrait of the Catonsville Nine by Lynne Sachs

45 min. color and B&W, 2001

plus 5 min. Sundance Channel documentary on Daniel Berrigan and the making of the film

On May 17, 1968 nine Vietnam War protesters led by Daniel and Philip Berrigan, walked into a Catonsville, Maryland draft board office, grabbed hundreds of selective service records and burned them with homemade napalm.

“Investigation of a Flame” is an intimate, experimental documentary portrait of the Catonsville Nine, this disparate band of resisters who chose to break the law in a defiant, poetic act of civil disobedience.

How did the photos, trial publicity and news of the two year prison sentences help to galvanize a disillusioned American public? “Investigation of a Flame” explores this politically and religiously motivated performance of the 1960’s in the context of extremely different times — times in which critics of Middle East peace agreements, abortion and technology resort to violence of the most random and sanguine kind in order to access the public imagination.

“BEST DOCUMENTARY in  2001”, Phillip Lopate, Village Voice Critic

“One of the ten best films released in 2002” Phillip Lopate, Film Comment

“A complex rumination on the power of protest…..the trauma of the past, the continued mistakes of the present and the necessity to reflect actively on our government’s wartime antics.” The LA Weekly

“A film to rave about, as well as reckon with.” The Independent Film and Video Monthly

“Sachs’ elegant, elliptical documentary visits with surviving members of what became known as the Catonsville Nine, humble architects of this purposeful yet scathingly metaphoric act of civil disobedience.” The Village Voice

“Investigation of a Flame captures the heartfelt belief behind the Nine’s symbolic action of civil disobedience that sparked other (actions)  like it across the nation. (The film) provides a potent reminder that some Americans are willing to pay a heavy price to promote peace.”  Baltimore City Paper

“This is a documentary about the protest events that made Catonsville, Maryland, an unpretentious suburb on the cusp of Baltimore, a flash point for citizens’ resistance at the height of the war. Sachs found assorted characters still firm to fiery on the topic.  She came to admire the consistency of the mutual antagonists in an argument that still rages (today).” The New York Times

“This poetic essay offers the perfect antidote to PBS:  there is no omniscient narrator talking down to the viewer, reciting facts and explaining what to think, yet the story is perfectly clear.  Brothers Phil and Dan Berrigan, who led the protest, appear both in the present and in archival footage, a mix that makes their commitment palpable.”  Chicago Reader

“To those who think that everything in a society and its culture must move in lock step at times of crisis, (this film)  might seem to be ‘off-message.’ But it’s in essence  patriotic… saluting U.S. democracy as it pays homage to the U.S. tradition of dissent.” The Baltimore Sun

Screenings: National Broadcast on the Sundance Channel; Maryland Film Festival “Opening Night”; Museum of Modern Art, Documentary Fortnight “Opening Night”; Rhode Island Film Festival; Art Institute of Chicago; Mill Valley Film Festival;  San Francisco Cinematheque;  Pacific Film Archive; Corcoran Gallery, Washington, D.C.; Olympia Film Festival., Providence Women’s Film Festival, Denver Film Festival; Harvard University Film Archive; Cornell University Cinema; Museum of Fine Arts Boston; NY Underground Film Festival; Vassar College; Ithaca College; Massachusetts College of Art; Catholic University; Maine Film Festival; Florida Film Festival; Georgetown University;  Brooklyn Academy of Music, Portland Doc. Festival,  Wisconsin Film Festival,  Georgetown University’s Jesuit Week, American University Center for Social Media

Awards:  Black Maria Film Festival; San Francisco International Film Festival: New Jersey Film Festival; Ann Arbor Film Festival; First Prize Documentary Athens Film Festival

Supported with funding from the Maryland Humanities Council, the Maryland State Council on the Arts, the Puffin Foundation and a Media Arts fellowship from the  Rockefeller Foundation.

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For inquiries about rentals or purchases please contact Canyon Cinema, the Film-makers’ Cooperative, or Icarus Films. And for international bookings, please contact Kino Rebelde

Window Work

Window Work
by Lynne Sachs
9 minute, color, sound  video 2000

Music by Tom Goldstein
Sound Recording by Mark Street

A woman drinks tea, washes a window, reads the paper– simple tasks that somehow suggest a kind of quiet mystery within and beyond the image. Sometimes one hears the rhythmic, pulsing symphony of crickets in a Baltimore summer night..  Other times jangling toys dissolve into the roar of a jet overhead, or children tremble at the sound of thunder.   These disparate sounds dislocate the space temporally and physically from the restrictions of reality.   The small home-movie boxes within the larger screen are gestural forms of memory, clues to childhood, mnemonic devices that expand on the sense of immediacy in her “drama.”  These miniature image-objects represent snippets of an even earlier media technology  — film.   In contrast to the real time video image, they feel fleeting, ephemeral, imprecise.

“A picture window that looks over a magically realistic garden ablaze in sunlight fills the entire frame.  In front, a woman reclines while secret boxes filled with desires and memories, move around her as if coming directly out of the screen.”  Helen DeWitt, “Thresholds of the Frame”, Tate Modern Museum of Contemporary Art, London

“On screen images of ordinary objects seem weirdly evocative.  A duster complete with a bushy top of feathers begins to resemble a palm tree.  You will discover that a great deal is happening, some of it inside your own mind. The magic of the piece occurs in the moments between sounds.”  “Art Portfolio”, The Baltimore Sun, Holly Selby

Dallas Video Festival; Delaware Art Museum Biennial; Athens Film Fest; European Media Arts Festival, Osnabruck, Germany; New York Film Expo; Black Maria Director’s Citation; Moscow Film Festival; Tate Modern, London

Created at the Experimental Television Center

For inquiries about rentals or purchases please contact Canyon Cinema or the Film-makers’ Cooperative. And for international bookings, please contact Kino Rebelde

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