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Oh, Grow Up — or, Well… Don’t
[Image: “Dionisio (You’re Almost There),” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) For the full-size version and the #jesstorypix-tagged story behind the photo, see the caption here at SmugMug.]
From whiskey river:
Self-Portrait
Between the computer, a pencil, and a typewriter
half my day passes. One day it will be half a century.
I live in strange cities and sometimes talk
with strangers about matters strange to me.
I listen to music a lot: Bach, Mahler, Chopin, Shostakovich.
I see three elements in music: weakness, power, and pain.
The fourth has no name.
I read poets, living and dead, who teach me
tenacity, faith, and pride. I try to understand
the great philosophers—but usually catch just
scraps of their precious thoughts.
I like to take long walks on Paris streets
and watch my fellow creatures, quickened by envy,
anger, desire; to trace a silver coin
passing from hand to hand as it slowly
loses its round shape (the emperor’s profile is erased).
Beside me trees expressing nothing
but a green, indifferent perfection.
Black birds pace the fields,
waiting patiently like Spanish widows.
I’m no longer young, but someone else is always older.
I like deep sleep, when I cease to exist,
and fast bike rides on country roads when poplars and houses
dissolve like cumuli on sunny days.
Sometimes in museums the paintings speak to me
and irony suddenly vanishes.
I love gazing at my wife’s face.
Every Sunday I call my father.
Every other week I meet with friends,
thus proving my fidelity.
My country freed itself from one evil. I wish
another liberation would follow.
Could I help in this? I don’t know.
I’m truly not a child of the ocean,
as Antonio Machado wrote about himself,
but a child of air, mint and cello
and not all the ways of the high world
cross paths with the life that—so far—
belongs to me.
(Adam Zagajewski (translated by Clare Cavanagh) [source])
…and (italicized sentences):
I have a limited stock of furniture which constitutes the materiel of my pictures. My pictorial vocabulary is limited to one tree, one house, one flower, one sky, one face; with these I render the infinite variety of trees, houses, flowers, skies and faces which exist in nature. You see, I know nothing about drawing. I couldn’t even copy a drawing until the year 1926 or ’27. Then, by accident one day, I discovered that I was able to make a likeness of George Grosz, whose self-portrait I had found on the cover of one of his albums. From that day I took pleasure in using pencil and brush. On good days I can draw with a cleaver. I don’t go in for likenesses any more; I am satisfied with reality. Everyone has their own reality in which, if one is not too cautious, timid, or frightened, one swims. This is the only reality there is. If you can get it down on paper, in words, notes, or color, so much the better. The great artists don’t even bother to put it down on paper: they live with it silently, they become it.
(Henry Miller [source])
Mortal Satisfactions
[Image: “Itinerantes #4: Satisfaction,” by Jon Díez Supat; found on Flickr, and used here under a Creative Commons license (thank you!). I wanted to know what product/service/event the poster advertised, and in what language, but Google Translate wasn’t much help: it said the caption in the center translates from Basque as “Bring your payroll now and bring this exclusive Lotus watch.” (Actually, eraman seems to translate more accurately — especially in context — as “take away” or “get,” rather than a second “bring.”)]
From whiskey river:
beasts bounding through time —
Van Gogh writing his brother for paints
Hemingway testing his shotgun
Celine going broke as a doctor of medicine
the impossibility of being human
Villon expelled from Paris for being a thief
Faulkner drunk in the gutters of his town
the impossibility of being human
Burroughs killing his wife with a gun
Mailer stabbing his
the impossibility of being human
Maupassant going mad in a rowboat
Dostoevsky lined up against a wall to be shot
Crane off the back of a boat into the propeller
the impossibility
Sylvia with her head in the oven like a baked potato
Harry Crosby leaping into that Black Sun
Lorca murdered in the road by the Spanish troops
the impossibility
Artaud sitting on a madhouse bench
Chatterton drinking rat poison
Shakespeare a plagiarist
Beethoven with a horn stuck into his head against deafness
the impossibility the impossibility
Nietzsche gone totally mad
the impossibility of being human
all too human
this breathing
in and out
out and in
these punks
these cowards
these champions
these mad dogs of glorymoving this little bit of light toward
us
impossibly
(Charles Bukowski [source])
…and:
The universe is a great unknown wonderful place, and we know nothing, really, to speak of about it. I think that either depresses and frightens one or is exhilarating. We are very important, and we’re not important in quite the way we think we are. Each one of us is unique, and we can find out a whole lot just by examining ourselves. I think that’s the essential thing. Not paying attention to how you’re going to make money, just paying attention to whatever is around you. Each one of those seconds is your only chance. It’s your life. And it’s wonderful. The more attention that we pay to our ordinary lives leads to a real elation that we’re here at all.
(W. S. Merwin [source])
…and:
Cherries
Fireweed loves the yard
and the fire that conjured it
into the light.And the scarlet elderberry
loves the old junkpile
it leans against.The morning glory smothers everything
in an embrace: the fence,
the wood workbench,
the rusted steel.Here’s a summer day that’s so slow
even the light
moves like honey;Daisies jump fences
and then just mill around.Here’s a cherry tree that’s so rich
when it offers its heart to the birds,every cherry
is a year of cherries.
(Barbara LaMorticella [source: nothing canonical, but found it here and elsewhere])
Working With What You Didn’t Expect
[Image: Dempsey and Firpo, by George Bellows. The reason for its inclusion here will be obvious once you’ve read through this post. The fight in question is covered by Wikipedia here.]
From whiskey river:
When you’ve lived as long as I have, you tend to think you’ve heard everything, that there’s nothing left that can shock you anymore. You grow a little complacent about your so-called knowledge of the world, and then, every once in a while, something comes along that jolts you out of your smug cocoon of superiority, that reminds you all over again that you don’t understand the first thing about life.
(Paul Auster [source])
…and not from whiskey river:
Sunday
(excerpt)iii at the museum (bellows)
For Alexander NemerovThe man in the left-hand corner
of Bellows’s picture of the Dempsey-Firpo
fight, the picture a dream, so not a real
fight — a picture of a fight — his flayed hide
just visible under his blue pinstripes,
the watcher and the fighter
indistinguishable, one insidethe other, lion and lion tamer,
the paint daubs faces or fingerprints
and the lights staring and staring across
the fretwork of the ring, and Bellows
himself, next to him, looking surprised,
as if to be there was to give himself up
without our noticing it, as we all doin a gesture, or word, leaving something
behind we should have taken with us
or even guarded, a way of not letting
something be over and done with.
The fight was over in four minutes flat.
A curious thing about the painting
is that Bellows chose to show usthe moment when Firpo sent Dempsey
careening, with a blow to the jaw,
one of the two times he laid him out,
and we, with the spectators crammed
into the foreground of the picture
have to help push Dempsey back
into the ring where two-and-a-halfminutes later he will defeat Firpo,
who went down four times to his two.
In Assisi, at the Basilica di San Francesco,
in the panel in which Giotto depicts
the moment Francis gives away
his worldly goods, the palm that Francis
raises up to the hand that is reachingdown to him from heaven, a hand out
of the blue, open, ready to give or
receive wonders, is the same hand
in Bellows’s picture raised behind Dempsey
one wing of a dove, the impulse is
to press our own palms to it, and despite
our better judgment to hurl him back.
(Cynthia Zarin [source])
Wild Semaphores of Gladness
[Image: “Of Permeable Borders,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) When I posted this on Instagram some months ago — as #475 in my “everydaybandw” series there — the full caption read: even when a border’s sharply defined, stuff (and the shadows of stuff) will still pass through. Nowadays, politics seems to infuse everything… and yet stuff still slips through, and if we’re attentive we can see it.]
From whiskey river:
Bargain Hunt
for Tessie
Suppose you found a bargain so incredible
you stood there stunned for a moment
unable to believe that this thing could be
for sale at such a low price: that is what happens
when you are born, and as the years go by
the price goes up and up until, near the end
of your life, it is so high that you lie there
stunned forever.
(Ron Padgett [source])
…and:
The Obligation to Be Happy
It is more onerous
than the rites of beauty
or housework, harder than love.
But you expect it of me casually,
the way you expect the sun
to come up, not in spite of rain
or clouds but because of them.And so I smile, as if my own fidelity
to sadness were a hidden vice—
that downward tug on my mouth,
my old suspicion that health
and love are brief irrelevancies,
no more than laughter in the warm dark
strangled at dawn.Happiness. I try to hoist it
on my narrow shoulders again—
a knapsack heavy with gold coins.
I stumble around the house,
bump into things.
Only Midas himself
would understand.
(Linda Pastan [source])
…and (italicized portion):
The reality of our day-to-day waking consciousness and these moments of liberation are so different it is almost as if a mental fence divides the two. On one side of the fence I am caught in my mind; in my thoughts, my anxieties, my judgments, and my fears. I may on occasion recognize that this is all unnecessary, and that it removes me from the present moment; but such passing insights are seldom sufficient to release my mind from the grip of my conditioning. So deeply ingrained is my attachment to what I believe I should be thinking and doing there seems no way over that fence. Indeed, for much of the time I have totally forgotten there is another way of being…
Detachment is not apathy or indifference. It is the prerequisite for effective involvement. Often what we think is best for others is distorted by our attachment to our opinions: we want others to be happy in the way we think they should be happy. It is only when we want nothing for ourselves that we are able to see clearly into others’ needs and understand how to serve them.
(Peter Russell [source])
Cutting-Loose Magic
[Image: “North Florida Skyline, with Crow + Shadow,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.)]
From whiskey river:
Is there no context for our lives? No song, no literature, no poem full of vitamins, no history connected to experience that you can pass along to help us start strong? You are an adult. The old one, the wise one. Stop thinking about saving your face. Think of our lives and tell us your particularized world. Make up a story. Narrative is radical, creating us at the very moment it is being created. We will not blame you if your reach exceeds your grasp; if love so ignites your words they go down in flames and nothing is left but their scald. Or if, with the reticence of a surgeon’s hands, your words suture only the places where blood might flow. We know you can never do it properly – once and for all. Passion is never enough; neither is skill. But try. For our sake and yours forget your name in the street; tell us what the world has been to you in the dark places and in the light. Don’t tell us what to believe, what to fear. Show us belief’s wide skirt and the stitch that unravels fear’s caul. You, old woman, blessed with blindness, can speak the language that tells us what only language can: how to see without pictures. Language alone protects us from the scariness of things with no names. Language alone is meditation.
(Toni Morrison [source])
…and:
Cutting Loose
Sometimes from sorrow, for no reason,
you sing. For no reason, you accept
the way of being lost, cutting loose
from all else and electing a world
where you go where you want to.Arbitrary, a sound comes, a reminder
that a steady center is holding
all else. If you listen, that sound
will tell where it is, and you
can slide your way past trouble.Certain twisted monsters
always bar the path — but that’s when
you get going best, glad to be lost,
learning how real it is
here on the earth, again and again.
(William Stafford [source])
…and:
You must learn to stop being yourself. That’s where it begins, and everything else follows from that. You must let yourself evaporate. Let your muscles go limp, breathe until you feel your soul pouring out of you, and then shut your eyes. That’s how it’s done. The emptiness inside your body grows lighter than the air around you. Little by little, you begin to weigh less than nothing. You shut your eyes; you spread your arms; you let yourself evaporate. And then, little by little, you lift yourself off the ground.
Like so.
(Paul Auster [source])
Seeing Through
[Image: “Cookieee…!,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) This is one in a series I post occasionally at Instagram, hashtagged “#jesstorypix.” The idea is to start with an odd-looking photo and see a micro-story dwelling therein; for the story associated with this one, see the caption on the Instagram post.]
From whiskey river:
Most of us find it difficult to know what we are feeling about anything. In any situation it is almost impossible to know what is really happening to us. This is one of the penalties of being human and having a brain so swarming with interesting suggestions and ideas and self-distrust.
(Ted Hughes [source (not yet confirmed)])
…and:
Imaginary Conversation
You tell me to live each day
as if it were my last. This is in the kitchen
where before coffee I complain
of the day ahead—that obstacle race
of minutes and hours,
grocery stores and doctors.But why the last? I ask. Why not
live each day as if it were the first—
all raw astonishment, Eve rubbing
her eyes awake that first morning,
the sun coming up
like an ingénue in the east?You grind the coffee
with the small roar of a mind
trying to clear itself. I set
the table, glance out the window
where dew has baptized every
living surface.
(Linda Pastan [source])
…and:
There’s nothing wrong with enjoying looking at the surface of the ocean itself, except that when you finally see what goes on underwater, you realize that you’ve been missing the whole point of the ocean. Staying on the surface all the time is like going to the circus and staring at the outside of the tent.
(Dave Barry [source])
…and (italicized portion):
One human life is deeper than the ocean. Strange fishes and sea-monsters and mighty plants live in the rock-bed of our spirits. The whole of human history is an undiscovered continent deep in our souls. There are dolphins, plants that dream, magic birds inside us. The sky is inside us. The earth is in us. The trees of the forest, the animals of the bushes, tortoises, birds, and flowers know our future. The world that we see and the world that is there are two different things. Wars are not fought on battlegrounds but in a space smaller than the head of a needle. We need a new language to talk to one another. Inside a cat there are many histories, many books. When you look into the eyes of dogs strange fishes swim in your mind. All roads lead to death, but some roads lead to things which can never be finished. Wonderful things.
(Ben Okri [source])
But Eventually…
[Image: “Prison for a Day”; found it on Flickr (used here under a Creative Commons license; thank you!), posted by user “amberandclint.” This is a portion of the interior of an airport (Bangkok International? not sure; the caption’s wording is ambiguous), where the photographer once spent eleven hours while waiting for his wife’s flight to board.]
From whiskey river:
Promise of Blue Horses
A blue horse turns into a streak of lightning,
then the sun—
relating the difference between sadness
and the need to praise
that which makes us joyful, I can’t calculate
how the earth tips hungrily
toward the sun—then soaks up rain—or the density
of this unbearable need
to be next to you. It’s a palpable thing—this earth philosophy
and familiar in the dark
like your skin under my hand. We are a small earth. It’s no
simple thing. Eventually
we will be dust together; can be used to make a house, to stop
a flood or grow food
for those who will never remember who we were, or know
that we loved fiercely.
Laughter and sadness eventually become the same song turning us
toward the nearest star—
a star constructed of eternity and elements of dust barely visible
in the twilight as you travel
east. I run with the blue horses of electricity who surround
the heart
and imagine a promise made when no promise was possible.
(Joy Harjo [source])
…and:
Once there were brook trout in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery.
(Cormac McCarthy [source])
Stories All Around Us, Stories Inside
[The StoryCorps project takes as its mission simply to record people’s personal stories, via interviews, and make them available to anyone who wants to listen to them. The organization has won numerous awards for its work — one of those “simple” ideas (like the similar one behind the Humans of New York photo project) which it’s great to see rewarded with praise.]
From whiskey river:
In summer, waiting for night, we’d pose against the afterglow on corners, watching traffic cruise through the neighborhood. Sometimes, a car would go by without its headlights on and we’d all yell, “Lights!”
“Lights!” we’d keep on yelling until the beams flashed on. It was usually immediate—the driver honking back thanks, or flinching embarrassed behind the steering wheel, or gunning past, and we’d see his red taillights blink on.
But there were times—who knows why?—when drunk or high, stubborn, or simply lost in that glide to somewhere else, the driver just kept driving in the dark, and all down the block we’d hear yelling from doorways and storefronts, front steps, and other corners, voices winking on like fireflies: “Lights! Your lights! Hey, lights!”
(Stuart Dybek [source])
…and:
The End of Science Fiction
This is not fantasy, this is our life.
We are the characters
who have invaded the moon,
who cannot stop their computers.
We are the gods who can unmake
the world in seven days.Both hands are stopped at noon.
We are beginning to live forever,
in lightweight, aluminum bodies
with numbers stamped on our backs.
We dial our words like Muzak.
We hear each other through water.The genre is dead. Invent something new.
Invent a man and a woman
naked in a garden,
invent a child that will save the world,
a man who carries his father
out of a burning city.
Invent a spool of thread
that leads a hero to safety,
invent an island on which he abandons
the woman who saved his life
with no loss of sleep over his betrayal.Invent us as we were
before our bodies glittered
and we stopped bleeding:
invent a shepherd who kills a giant,
a girl who grows into a tree,
a woman who refuses to turn
her back on the past and is changed to salt,
a boy who steals his brother’s birthright
and becomes the head of a nation.
Invent real tears, hard love,
slow-spoken, ancient words,
difficult as a child’s
first steps across a room.
(Lisel Mueller [source])
That It Not Be Found
[Image: Found this gizmo (sorry — out of stock!) at a retail site called “iFancee.” The caption there: Useless Box Kit – Useless Machine Leave Me Alone Box Kill Time Tricky, which seems to have pretty much covered the bases. Inside the box was a battery-powered motorized mechanism; when you flipped the switch labeled “Push,” a small acrylic “hand” emerged from under the box lid and flipped the switch back to the Off position. If so inclined, you can also view an animated GIF of the box — in the “gleaming acrylic” edition — in action.]
From whiskey river:
I am, by calling, a dealer in words; and words are, of course, the most powerful drug used by mankind. Not only do words infect, ergotise, narcotise, and paralyse, but they enter into and colour the minutest cells of the brain, very much as madder mixed with a stag’s food at the Zoo colours the growth of the animal’s antlers. Moreover, in the case of the human animal, that acquired tint, or taint, is transmissible. May I give you an instance? There is a legend which has been transmitted to us from the remotest ages. It has entered into many brains and coloured not a few creeds. It is this: Once upon a time, or rather, at the very birth of Time, when the Gods were so new that they had no names, and Man was still damp from the clay of the pit whence he had been digged, Man claimed that he, too, was in some sort a deity. The Gods were as just in those days as they are now. They weighed his evidence and decided that Man’s claim was good—that he was, in effect, a divinity, and, as such, entitled to be freed from the trammels of mere brute instinct, and to enjoy the consequence of his own acts. But the Gods sell everything at a price. Having conceded Man’s claim, the legend goes that they came by stealth and stole away this godhead, with intent to hide it where Man should never find it again. But that was none so easy. If they hid it anywhere on Earth, the Gods foresaw that Man, the inveterate hunter—the father, you might say, of all hunters—would leave no stone unturned nor wave unplumbed till he had recovered it. If they concealed it among themselves, they feared that Man might in the end batter his way up even to the skies. And, while they were all thus at a stand, the wisest of the Gods, who afterwards became the God Brahm, said, “I know. Give it to me!” And he closed his hand upon the tiny unstable light of Man’s stolen godhead, and when that great Hand opened again, the light was gone. “All is well,” said Brahm. “I have hidden it where Man will never dream of looking for it. I have hidden it inside Man himself.” “Yes, but whereabouts inside Man have you hidden it?” all the other Gods asked. “Ah,” said Brahm, “that is my secret, and always will be; unless and until Man discovers it for himself.
(Rudyard Kipling [source])
…and:
Moon Fishing
When the moon was full they came to the water,
some with pitchforks, some with rakes,
some with sieves and ladles,
and one with a silver cup.And they fished till a traveler passed them and said,
“Fools,
to catch the moon you must let your women
spread their hair on the water—
even the wily moon will leap to that bobbing
net of shimmering threads,
gasp and flop till its silver scales
lie black and still at your feet.”And they fished with the hair of their women
till a traveler passed them and said,
“Fools,
do you think the moon is caught lightly,
with glitter and silk threads?
You must cut out your hearts and bait your hooks
with those dark animals;
what matter you lose your hearts to reel in your dream?”And they fished with their tight, hot hearts
till a traveler passed them and said,
“Fools,
what good is the moon to a heartless man?
Put back your hearts and get on your knees
and drink as you never have,
until your throats are coated with silver
and your voices ring like bells.”And they fished with their lips and tongues
until the water was gone
and the moon had slipped away
in the soft, bottomless mud.
(Lisel Mueller [source])
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