Where in Your Time and Your Body

[Video: Janice Ian performs “At Seventeen” on The Old Gray Whistle Test, a British music show broadcast back in the 1970s-80s. I included this song in a “Midweek Music Break” post some years ago about “haunting” music, and still think it deserves that descriptor.]

From whiskey river (last stanza):

Mother Talking in the Porch Swing

Inside the river is there a river?—
it could follow slow water the way
the real current follows a stiller
shore. And in your life the life that
hurries could pass, and pass its
open neighbor the earth, and its shore
the sky. To be here, and always to find
places in the current, the dreams
the river has—surely we bubbles
ought to tell about it?

Listen: One of the rooms the river has
after its bridge and its bend in the mountains
is a place waiting for the sun every
afternoon, when the sun dwells
at a slant under a log and finds
that little yellow room and a waterbug
trying to learn circles but never making
one its shadow approves. Miles later
the river tries to recall that dream,
turning with all of its twisting self
that found gravel and found it good.

Just before the ocean that river
turns on its back and side and slowly
invites the world and the air and the sky,
trying to give away everything, everything.

(William Stafford [source])

…and:

You needn’t to search for any hole in the ground to look through into somewhere else. You can’t go neither forwards nor backwards into your daddy’s time nor your children’s if you have them. In yourself right now is all the place you’ve got. If there was any Fall, look there, if there was any Redemption, look there, and if you expect any Judgment, look there, because they all three will have to be in your time and your body and where in your time and your body can they be?

(Flannery O’Connor [source])

Not from whiskey river:

XIII

Be ahead of all parting, as though it already were
behind you, like the winter that has just gone by.
For among these winters there is one so endlessly winter
that only by wintering through it will your heart survive.

Be forever dead in Eurydice—more gladly arise
into the seamless life proclaimed in your song.
Here, in the realm of decline, among momentary days,
be the crystal cup that shattered even as it rang.

Be—and yet know the great void where all things begin,
the infinite source of your own most intense vibration,
so that, this once, you may give it your perfect assent.

To all that is used-up, and to all the muffled and dumb
creatures in the world’s full reserve, the unsayable sums,
joyfully add yourself, and cancel the count.

(Rainer Maria Rilke [source])

…and:

She had read an article on this café in a magazine. The article had the headline “Uncovering Truth Behind ‘Time-Traveling Café’ Made Famous by Urban Legend.” The gist of the article was as follows.

The café’s name was Funiculi Funicula. It had become famous, with long queues each day, on account of the time-traveling. But it wasn’t possible to find anyone who had actually gone back in time, because of the extremely annoying rules that had to be followed. The first rule was: The only people you can meet while in the past are those who have visited the café. This would usually defeat the purpose of going back. Another rule was: There is nothing you can do while in the past that will change the present. The café was asked why that rule existed, but their only comment was that they didn’t know.

As the author of the article was unable to find anyone who had actually visited the past, whether or not it was actually possible to go back in time remained a mystery. Even supposing it was possible, the sticky point of not being able to change the present certainly made the whole idea seem pointless.

The article concluded by stating that it certainly made an interesting urban legend, but it was difficult to see why the legend existed. As a postscript, the article also mentioned there were apparently other rules that had to be followed but it was unclear what these were.

(Toshikazu Kawaguchi [source])

…and:

The Best Slow Dancer

Under the sagging clotheslines of crepe paper
By the second string of teachers and wallflowers
In the school gym across the key through the glitter
Of mirrored light three-second rule forever
Suspended you danced with her the best slow dancer
Who stood on tiptoe who almost wasn’t there
In your arms like music she knew just how to answer
The question mark of your spine your hand in hers
The other touching that place between her shoulders
Trembling your countless feet lightfooted sure
To move as they wished wherever you might stagger
Without her she turned in time she knew where you were
In time she turned her body into yours
As you moved from thigh to secrets to breast yet never
Where you would be for all time never closer
Than your cheek against her temple her ear just under
Your lips that tried all evening long to tell her
You weren’t the worst one not the boy whose mother
Had taught him to count to murmur over and over
One slide two slide three slide now no longer
The one in the hallway after class the scuffler
The double clubfoot gawker the mouth breather
With the wrong haircut who would never kiss her
But see her dancing off with someone or other
Older more clever smoother dreamier
Not waving a sister somebody else’s partner
Lover while you went floating home through the air
To lie down lighter than air in a moonlit shimmer
Alone to whisper yourself to sleep remember.

(David Wagoner [source])

…and:

How old would you be if you didn’t know how old you was?

(Satchel Paige [source])