Silence of Sasquatch
part-human who can hypnotize, ventriloquise, make himself invisible.
Named Dzuteh, Meh-teh, O-mah, Alma,
Yeti, Ban Jhakri, Skunk
Upslope Person...Sasquatch speaks but we do not hear, a silence is
not the absence of sound but a failure to communicate.
a clearing, he emerges as
a trace of the enormous
being we are when we are the missing link. Is
Sasquatch our longing to retrieve an innocence lost
when we learned how to
slaughter or domesticate animals for food, magic, and anthropocentric love? Digging through the middens
of human culture for discarded scraps of disquieting questions,
Sasquatch emerges as an uncanny totem for what is most difficult
to see but conceivably there.
the Dark Divide retains it's geography "in
the middle of a diamond formed by Mounts Rainier, Adams,
St. Helens, and Hood," in Washington and Oregon states,
it is also the artificial divide between species that's addressed
sense their death, thus transmit a culture.
Yet it is not what it is to
be one that motivates this project, but where they "cease to be subjects to become
events." The ties that bind a species to another
dwell in the liminal space in which Sasquatch may be found.
and ears tell us nothing
of such things, how could anyone
follow the path with mere footsteps?
This writer is "an experimental man (who thereby ceases
to be a man in order to become an ape or a beetle, or a dog,
or mouse, a becoming-animal...)" However, man or woman,
before we can know what experimental means, we must already no
recognize ourselves "as human in any finished or even vertical
There is one famed and blurry movie, a plethora of footprints,
some obvious hoaxes, volumes of tall tales tracked mainly in
laymen circles. My plan is to draw on the habitat in
which Sasquatch displaces those "dark,
compelling presences that pose an ultimate choice between everything
and nothing," balancing on the limen of the Dark/Divide.
the search will determine the nature of what is found,
and the instrument is the human mind," with
texts, paratexts, images, invaginations,
eco- and psychogeography,
in wilderness, park, and city living twelve stories and countless mythologies high.
begins with Robert Michael Pyle, whose book, Where
Bigfoot Walks: Crossing the Dark Divide, opened the territory
for this project. As Bigfoot's range is worldwide, my gratitude
extends to John Kielty Bell, England; Fatima Lasay, The Philippines;
Regina CÚlia Pinto, Brazil; and Reiner Strasser, Germany. In
Canada, literary critics Alan Bourassa and Pamela Gravestock
me to quote from their respective work. Back in the USA: Professor
Tracy Dillon of Portland State University,
and scholars Michael Rothenberg, Anthony Chiavello, and Ralph
H. Lutts. To psychologist James Hillman, Bigfoot investigator
Williams, and digital artist Millie Niss. To Pamela Causgrove,
for her opening invaluable resources to
me. And to Kevin Campbell, for decades of friendship and