Destiny Has No Beeper

[See Note at bottom of this post for information about this image.]

From whiskey river:

Almost nothing important that ever happens to you happens because you engineer it. Destiny has no beeper; destiny always leans trenchcoated out of an alley with some sort of Pssst that you usually can’t even hear because you’re in such a rush to or from something important you’ve tried to engineer.

(David Foster Wallace, Infinite Jest)

…and:

Have you watched your thinking? I watched that car go by, it was a blue car. Can I watch my thought in the same way, as it moves from one thing to another? And if it does, find out if it can end; instead of it being a long thread, break it, see what happens. Can you break a thought and say, “Well, that’s enough, enough is enough” and just end that thought and see what happens before the next thought is waiting. Before it springs on you, watch it. In that space, in that interval, what happens?

(Jiddu Krishnamurti, As the River Joins The Ocean)

Not from whiskey river:

The Whitsun Weddings

That Whitsun, I was late getting away:
Not till about
One-twenty on the sunlit Saturday
Did my three-quarters-empty train pull out,
All windows down, all cushions hot, all sense
Of being in a hurry gone. We ran
Behind the backs of houses, crossed a street
Of blinding windscreens, smelt the fish-dock; thence
The river’s level drifting breadth began,
Where sky and Lincolnshire and water meet.

All afternoon, through the tall heat that slept
For miles inland,
A slow and stopping curve southwards we kept.
Wide farms went by, short-shadowed cattle, and
Canals with floatings of industrial froth;
A hothouse flashed uniquely: hedges dipped
And rose: and now and then a smell of grass
Displaced the reek of buttoned carriage-cloth
Until the next town, new and nondescript,
Approached with acres of dismantled cars.

At first, I didn’t notice what a noise
The weddings made
Each station that we stopped at: sun destroys
The interest of what’s happening in the shade,
And down the long cool platforms whoops and skirls
I took for porters larking with the mails,
And went on reading. Once we started, though,
We passed them, grinning and pomaded, girls
In parodies of fashion, heels and veils,
All posed irresolutely, watching us go,

As if out on the end of an event
Waving goodbye
To something that survived it. Struck, I leant
More promptly out next time, more curiously,
And saw it all again in different terms:
The fathers with broad belts under their suits
And seamy foreheads; mothers loud and fat;
An uncle shouting smut; and then the perms,
The nylon gloves and jewellery-substitutes,
The lemons, mauves, and olive-ochres that

Marked off the girls unreally from the rest.
Yes, from cafés
And banquet-halls up yards, and bunting-dressed
Coach-party annexes, the wedding-days
Were coming to an end. All down the line
Fresh couples climbed aboard: the rest stood round;
The last confetti and advice were thrown,
And, as we moved, each face seemed to define
Just what it saw departing: children frowned
At something dull; fathers had never known

Success so huge and wholly farcical;
The women shared
The secret like a happy funeral;
While girls, gripping their handbags tighter, stared
At a religious wounding. Free at last,
And loaded with the sum of all they saw,
We hurried towards London, shuffling gouts of steam.
Now fields were building-plots, and poplars cast
Long shadows over major roads, and for
Some fifty minutes, that in time would seem

Just long enough to settle hats and say
I nearly died,
A dozen marriages got under way.
They watched the landscape, sitting side by side
— An Odeon went past, a cooling tower,
And someone running up to bowl — and none
Thought of the others they would never meet
Or how their lives would all contain this hour.
I thought of London spread out in the sun,
Its postal districts packed like squares of wheat:

There we were aimed. And as we raced across
Bright knots of rail
Past standing Pullmans, walls of blackened moss
Came close, and it was nearly done, this frail
Travelling coincidence; and what it held
Stood ready to be loosed with all the power
That being changed can give. We slowed again,
And as the tightened brakes took hold, there swelled
A sense of falling, like an arrow-shower
Sent out of sight, somewhere becoming rain.

(Philip Larkin [source])

…and:

Directions

First you’ll come to the end of the freeway.
Then it’s not so much north on Woodland Avenue
as it is a feeling that the pines are taller and weigh more,
and the road, you’ll notice,
is older with faded lines and unmown shoulders.
You’ll see a cemetery on your right
and another later on your left.
Sobered, drive on.
Drive on for miles
if the fields are full of hawkweed and daises.
Sometimes a spotted horse
will gallop along the fence. Sometimes you’ll see
a hawk circling, sometimes a vulture.
You’ll cross the river many times
over smaller and smaller bridges.
You’ll know when you’re close;
people always say they have a sudden sensation
that the horizon, which was always far ahead,
is now directly behind them.
At this point you may want to park
and proceed on foot, or even
on your knees.

(Connie Wanek [source])

In Jim Jarmusch’s third film, Mystery Train (1989), the stories of three couples with international connections intertwine and overlap. The center of their collective Venn diagram hovers over the Arcade Hotel, a cheap, threadbare lodging in Memphis; during the course of the single night depicted in the film, the couples don’t exactly interact with so much as impinge on one another’s trajectories. (A gunshot in one room affects what goes on in another, for example.) The Arcade’s jaded night clerk is played by — of all people — the late and normally flamboyant Screamin’ Jay Hawkins, and the late Joe Strummer (The Clash) plays a dissipated drifter with a short fuse.

Here’s a two-minute Mystery Train trailer:

You can also, if so inclined, watch the first nine minutes in a single YouTube clip. The whole film is available at dailymotion.com, with Part 1 of 6 here. (The soundtrack on the dailymotion.com version, as with the trailer above, is the original English, but the yellow French subtitles distracted me like crazy.)

_____________________

Note: from the NASA Astronomy Picture of the Day (APOD) site:

If you went outside at exactly the same time every day and took a picture that included the Sun, how would the Sun appear to move? With great planning and effort, such a series of images can be taken. The figure-8 path the Sun follows over the course of a year is called an analemma.

The photo at the top of this post takes the idea of an analemma one step further: it includes a shot of a total solar eclipse (that’s the bright spot just to left of center of the figure-8) among the various images. The photographers call it a Tutulemma (“a term […] based on the Turkish word for eclipse”).