There were comments on what we encountered, though, the content of the patter overlapping with an image that flashed across a TV screen, a person driving the car beside us, a squirrel on a branch, a fresh berm at a building site. I’d see Lena’s eyes alight on something and seconds later the voice would rush out a series of connected phrases, usually too swift and polysyllabic to be memorable to me, even when they were in English. I got used to watching Lena’s attention fasten onto a scene as only a baby’s attention will, without seeming to focus—that round-eyed, often unblinking gaze of passive-seeming intake. But unlike with other babies this would be followed by commentary as the voice bounced over the object or landscape like a sound wave, a light wave, a stream of particles. I didn’t get the feeling it was moving her, only that it was following her eyes, her fingers, her tongue. The model was accompaniment, not possession. And what words came did appear, sometimes, to pass a kind of judgment.
What do You think about Sweet Lamb Of Heaven (2016)?
