No Other Body, No Other World

[Image: “Stringed Relief” (1937), by Henry Moore. Nothing in particular suggested a connection between this image and the theme(s) of today’s post. Yet I would say everything in general suggests such a connection.]

From whiskey river:

It does always seem as though making things — including books — ends up a grand compromise, or at least negotiation, between one’s ambition, visions, or inspiration for them, and the actual manifested result. This can seem disheartening or deflating until one has written enough to know that this isn’t an impediment to the process of creating — it is the process. Then one can begin to marvel at the sometimes perverse, often surprising, relation between the imagined and the manifest: it can be engaged, expected, enjoyed.

(Maggie Nelson [source: none canonical, but I trust whiskey river])

…and:

Wise men have regarded the earth as a tragedy, a farce, even an illusionist’s trick; but all, if they are truly wise, and not merely intellectual rapists, recognize that it is certainly some kind of stage in which we all play roles, most of us being very poorly coached and totally unrehearsed before the curtain rises. Is it too much if I ask, tentatively, that we agree to look upon it as a circus, a touring carnival wandering about the sun for a record season of four billion years and producing new monsters and miracles, hoaxes and bloody mishaps, wonders and blunders, but never quite entertaining the customers well enough to prevent them from leaving, one by one, and returning to their homes for a long and bored winter’s sleep under the dust?

(Robert Anton Wilson [source])

…and (from the commonplace book):

NOTE: An evening at the theatre. It occurred to me that there is something weird about someone wanting to be someone else. And even more so about someone sitting down for a couple of hours to look at someone they don’t know, pretending to be someone else, talking to someone who is also pretending to be someone else. A dialogue, furthermore, invented by somebody who imagined they were pretending to be each of these in turn.

(Alan Fletcher [source: none canonical, but a few references including this one])

…and:

Within This Tree

Within this tree
another tree
inhabits the same body;
within this stone
another stone rests,
its many shades of gray
the same, its identical
surface and weight.
And within my body,
another body,
whose history, waiting,
sings: there is no other body,
it sings,
there is no other world.

(Jane Hirshfield [source])

From neither whiskey river, nor its commonplace book:

“The Perfect World”
(excerpt)

It is a perfect world, a world of consummate excellence, a world of supreme wonders, the ripest fruit in God’s garden, the master-thought of the universe.

But why should I be here, O God, I a green seed of unfulfilled passion, a mad tempest that seeketh neither east nor west, a bewildered fragment from a burnt planet?

Why am I here, O God of lost souls, thou who art lost amongst the gods?

(Kahlil Gibran [source])

…and:

The Map of the World Confused with Its Territory

In a drawer I found a map of the world,
folded into eighths and then once again
and each country bore the wrong name because
the map of the world is an orphanage.

The edges of the earth had a margin
as frayed as the hem of the falling night
and a crease moved down toward the center of
the earth, halving the identical stars.

Every river ran with its thin blue
brother out from the heart of a country:
there cedars twisted toward the southern sky
and reeds plumed eastward like an augur’s pens.

No dates on the wrinkles of that broad face,
no slow grinding of mountains and sand, for—
all at once, like a knife on a whetstone—
the map of the world spoke in snakes and tongues.

The hard-topped roads of the western suburbs
and the distant lights of the capitol
each pull away from the yellowed beaches
and step into the lost sea of daybreak.

The map of the world is a canvas turning
away from the painter’s ink-stained hands
while the pigments cake in their little glass
jars and the brushes grow stiff with forgetting.

There is no model, shy and half-undressed,
no open window and flickering lamp,
yet someone has left this sealed blue letter,
this gypsy’s bandana on the darkening

Table, each corner held down by a conch
shell. What does the body remember at
dusk? That the palms of the hands are a map
of the world, erased and drawn again and

Again, then covered with rivers and earth.

(Susan Stewart [source])

…and:

Our senses define the edge of consciousness, and because we are born explorers and questors after the unknown, we spend a lot of our lives pacing that windswept perimeter: We take drugs; we go to circuses; we tramp through jungles; we listen to loud music; we purchase exotic fragrances; we pay hugely for culinary novelties, and are even willing to risk our lives to sample a new taste. In Japan, chefs offer the flesh of the puffer fish, or fugu, which is highly poisonous unless prepared with exquisite care. The most distinguished chefs leave just enough of the poison in the flesh to make the diners’ lips tingle, so that they know how close they are coming to their mortality. Sometimes, of course, a diner comes too close, and each year a certain number of fugu-lovers die in midmeal.

(Diane Ackerman [source])