At this point, we are reminded, faintly, of Kristeva’s Revolution in Poetic Language. The very “revolution” of which Kristeva writes is that of the restless “I,” the subject-in-process/on trial. That generative restlessness, we believe, draws its energy from searching without final resolution, desiring without beginning or ending points. Writing from that space involves playing with possible pasts and imagined futures. As Samuel R. Delany comments in his memoir, The Motion of Light in Water:

While all the incidents listed are, in my own mind, associated with vivid moments, rich details, complexes of sensation, deep feelings, and the texture of the real (so indistinguishable from that of dream), their places on the list [of events recounted in this book] are wholly a product of research. (xvi)

Delany recognizes the deep interrelationships between what we know and what we imagine, what is real and really felt, what is historical and what is fantastical. Our moments of self derive from these interplays.