[Image: “Split,” by a user known simply as “Colin.” (Found it on Flickr, of course, and use it here under a Creative Commons license — thank you!) It takes a moment to realize what this actually depicts.]
From whiskey river:
It has been said repeatedly that one can never, try as he will, get around to the front of the universe. Man is destined to see only its far side, to realize nature only in retreat.
(Loren Eiseley [source])
…and (italicized lines):
Catastrophe Theory II
The foot goes forward, yes.
Yet there are roots. And a giant orb
which focuses its cyclopic eye
on a moiré morning.
When the microcosm is dry—it’s earth;
wet—it’s water.Water, reeds, electric eel: one possibility.
Sun, reeds, dust mote and mite: another.
Whatever the elements
(it’s urban/it’s pastoral,
it’s empty/it’s open), the theory says
it could always be worse.Until it is. Then theory fails,
leaving a tracer mark.
From blood you come to blood
you go. Sudden things happen
inside a frame. A flame is
lit. Lookat those pathetic wiggly squiggles.
Inferno or garden?
An immeasurable distance
sizzles between them.
Watching it all. But taking so little in.
Just what will fit on the flatof a glass lens. The ticker is hopeful.
Pathetic fallacy.
Look at the numbers move.
The mystery of ticks.
One per second, sixty per Mickey.
Four becomes ten, one in sixbombs falls in a bushel, a basket,
a two o’clock casket. Do you wish to stay
connected? The seen blurs
into the just heard. A bird outside the wide
open window. The warm day
of March. It changes. It hasall changed. The world
as a distracting disaster.
MY, what little SENSE you make, said the wolf
to Mary Jo. The theory rests
on a tipping point.
The clock steps in a direction.
(Mary Jo Bang [source])
…and:
The Art of Drinking Tea
A man has been lonely for so long, he fears he is becoming but an apparition, a ghost of who he once was. He takes up wearing a black suit and hat and studying Zen Buddhism with a black-haired woman who has mastered the art of drinking tea. She is one of the few on earth who only drinks tea when she drinks tea. She performs the drinking of tea when she is drinking tea before large audiences. When one is drinking tea, the woman explains, there is no woman, no tea, there is only the drinking of tea. Often while sipping tea and listening to the instructions on the drinking of tea, the man closes his eyes and tries to fully experience the drinking of tea. But he always fails. Instead he dreams of the black-haired woman as an unrobed woman who only makes love when she makes love. He pictures her first removing his hat, then slowly unbuttoning him from the dark coat of his life. She lifts him to her lips like a china cup and sips so slowly, a one night stand lasts 49 days and nights. In the end there is no woman, no tea, no man. Just thinking of it, he barely remembers his own name. In this way he attains enlightenment.
(Nin Andrews [source])
Not from whiskey river:
I had the Tibetan Book of the Dead in the trunk of my car. It occurred to me to use it as a topic of conversation, since it dealt with death. I said I was going to read it to him and began to get up. He made me sit down and went out and got the book himself…
I stayed put nearly all morning reading and explaining some parts of the book to him. He listened attentively and did not interrupt me at all. Twice I had to stop for short periods of time while he brought some water and food, but as soon as he was free again he urged me to continue reading. He seemed to be very interested.
When I finished he looked at me.
“I don’t understand why those people talk about death as if death were like life,” he said softly.
“Maybe that’s the way they understand it. Do you think the Tibetans see?”
“Hardly. When a man learns to see, not a single thing he knows prevails. Not a single one. If the Tibetans could see they could tell right away that not a single thing is any longer the same. Once we see, nothing is known; nothing remains as we used to know it when we didn’t see…
“Perhaps the Tibetans really see,” don Juan went on, “in which case they must have realized that what they see makes no sense at all and they wrote that bunch of crap because it doesn’t make any difference to them; in which case what they wrote is not crap at all.”
(Carlos Castaneda [source])
…and:
How to Look at Pictures
title after Robert Clermont Witt, 1906
Refuse to make eye contact with the subject.
He has been following you around the gallery.
You are certain that he can see down your shirt.
Look at other subjects, but know that they, too,
are not of primary interest. Even when they watch
you. Try not to consider what happened
to the small girl staring furiously, the thin-faced
woman wanly looking away. Do not think about
what they had for breakfast, if the bread was hard.
Certainly do not consider the odors underneath
their arms and skirts. Do not allow a breeze into
the room they sit in. Do not assume I am talking
about any painting: step away from the subject.
All subject. Was the painter in love? Do not ask
the question. Imagine you are the painter,
blocking out everything you don’t want to see.
Everything is out of the picture. Stop looking.
Stop seeking what isn’t there. Tuck your narratives
back in your pocket. Look for perspective, light,
shade. Let your eyes wander back to the girl.
She is trying to say something but her mouth
has been painted deliberately shut. Her lips, thin.
(Rebecca Morgan Frank [source])
Leave a Reply