IN AND WITH language: so you play and pray, virally, vitally, counter-. Say, a word within a world and a world within a word, such an otherwordily day in and with lan-guages: so you play and pray, virally, vitally, counter-. Say, a word within a world and a world within a word, such an otherwordily worldly, tiny-mighty interplay would indeed be interesting inter-essentially (inter esse) if y’all I mean this impossibly necessary “we” could sort of hear the rustles of that silent operative, inter/enter (entre, between), yes rustles, singplural.

Resounding. Re-sounding. Resonance is the name of the game Caroline Bergvall presents. In all those language games she plays seriously, and serially, more than totally. This multi-faceted and talented writer, artist and performer working across multiple genres, languages, media and platforms, an acrossinger extraordinaire, has recently completed her trilogy by showing, summarily, how Alisoun Sings (2019), while retrofu-turally rebirthing her own molecular Alyson Singes (Belladonna*, 2008, limited edition of seventyfive). This O so “Dame”’d (1–5) force of nature Alisoun 2019, preseeded by said Alyson 2008, is naturally allready a dam “End of the Begin” (119–20). Already all ready, Dame Alisoun/Alyson is, has been and will have been at work while allowing all receptive listeners to work out their own MO in response. Such are the instantly sprawl-ing networks of semio-synaptic interplays our Notre Dame Alisoun generates performa tively, retrofuturally. U jist read and hear her. Her cross-dialect-ic, alter-native speech act, not some phd-dialecticized spiel, unleashes in full force the voices allready perme-ating the last two of the series, Drift (2014) and Meddle English (2011), both also from Nightboat Books. In the narrator’s own words: