Jazmine Linklater



17h00 à 17h05 (Prologue)

Is she or is she not in love.

Has she been in love, or will she be in love.

Even if she is alone, she has been in love

or she should be or she would like to be in love.


17h05 à 17h08

On the stairs of her apartment building she trains herself to walk

with slow slow-motion precision

down the steps towards a final pose and lazily delivered line.

Pose allows time to denaturalise the body.


17h08 à 17h13

In a formal, classical style

in E major and in regular 4/4 time

imagined perfection attained, eyes


entre 5 et 7 de la soir.

A line in itself says nothing.

But if you use it to say something

it says what you wish.


17h13 à 17h18

She orchestrates gestures around moments of pose.

Pulls up her shoulder strap in a performance

of disorder of dress, completely

at odds with the mechanical

precision of this and each gesture.

17h18 à 17h25

I halt, grab, keep the precarious moment

between the young woman's

appearance and the cut in

/ between, in the line. Cut, like a poem.


17h25 à 17h31

She pulls up her shoulder strap.

A mechanical gesture of disorder

asserting continuous ‘now’, stillness

resonating ‘then’ to the surface. Shakes off

indexical light.         


17h31 à 17h38

Can we find a situation in which you do not fool the audience

and still entertain them?  


17h38 à 17h45

The developed gesture unfolds

until it finds a point of pose (that death

has passed, just not yet), re-baptism

new name, symbol.


17h45 à 17h52

La marge, c’est ca qui tient le livre

in the games of art and chance. She’s

anomalous. Hasard, hasard,



17h52 à 18h00

A preserved fingerprint

/ a sundial's shadow.

So what is the function of woman.

Replaced so easily – so what is.



18h00 à 18h04

I’m making it

like an apple you want to eat.

It's the workers who have a bourgeois outlook.

They dream what the bourgeois have.


18h04 à 18h12

The male figure extracted

from dominating the action

merges into the image.

He remembers his shirt, his shoes.

And he doesn't remember who he was.


18h12 à 18h15

I’m trying to make it

in which people are not stolen.

I don't steal you.

I still participate in a bourgeois culture

in which art is made by an artist.


(Not modest enough. Nor militant enough. And too egotistical.)


18h15 à 18h30

What is a song? How long does it last.

Tryst follows the structure of Agnès Varda’s 1962 film, Cléo de 5 à 7, and borrows text variously from commentary around the film, interviews with Varda and Laura Mulvey’s Death 24x a Second (2006).


Jazmine Linklater is based in Manchester, UK. Poetry can be found in places like a glimpse of; Hotel; Stride; Zarf; Datableed; Paratext. A recent critical essay is up at The Text Art Archive & her first pamphlet is forthcoming with Dock Road Press.