whiskey river Fridays

Letting Go, with Thanks

November 28, 2008 by John 9 Comments

The wonder of a moment in which there is nothing but an upwelling of simple happiness is utterly awesome. Gratitude is so close to the bone of life, pure and true, that it instantly stops the rational mind, and all its planning and plotting. That kind of let go is fiercely threatening. I mean, where might such gratitude end?

(Regina Sara Ryan, Praying Dangerously)

Not from whiskey river:

Don’t pray when it rains if you don’t pray when the sun shines.

(Leroy “Satchel” Paige, New York Post, October 4, 1959)

…and:

My advice to you is not to inquire why or whither, but just enjoy your ice cream while it’s on your plate — that’s my philosophy.

(Thornton Wilder, “Sabiba,” The Skin of Our Teeth)

Finally, the song chosen to wrap up the Northern Exposure series. Not everyone is a fan of Iris Dement’s voice, but I think this is a great song. The performance was on Austin City Limits. (If you’d prefer to see the Northern Exposure version, it’s on YouTube as well — in a shorter and quite darkly lit video.)

Lyrics:

Our Town
(words and music by Iris Dement)

And you know the sun’s settin’ fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
’cause your heart’s bound to die
Go on now and say goodbye to our town, to our town
Can’t you see the sun’s settin’ down on our town, on our town
goodnight

Up the street beside that red neon light
that’s where I met my baby on one hot summer night
He was the tender and I ordered a beer
It’s been forty years and I’m still sitting here

But you know the sun’s settin’ fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
’cause your heart’s bound to die
Go on now and say goodbye to our town, to our town
Can’t you see the sun’s settin’ down on our town, on our town
goodnight

It’s here I had my baby’s and I had my first kiss
I’ve walked down Main Street in the cold morning mist
Over there is where I bought my first car
it turned over once but then it never went far

And I can see the sun settin’ fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
’cause your heart’s bound to die
Go on now and say goodbye to our town, to our town
Can’t you see the sun’s settin’ down on our town, on our town
goodnight

I buried my Mama and I buried my Pa
They sleep up the street beside that pretty brick wall
I bring them flowers about every day
but I just gotta cry when I think what they’d say

If they could see how the sun’s settin’ fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
’cause your heart’s bound to die
Go on now and say goodbye to our town, to our town
Can’t you see the sun’s settin’ down on our town, on our town
goodnight

Now I sit on the porch and watch the lightning-bugs fly
but I can’t see too good, I got tears in my eyes
I’m leaving tomorrow but I don’t wanna go
I love you my town, you’ll always live in my soul

But I can see the sun’s settin’ fast
and just like they say nothing good ever lasts
Well, go on I gotta kiss you goodbye but I’ll hold to my lover
’cause my heart’s ’bout to die
Go on now and say goodbye to my town, to my town
Can’t you see the sun’s settin’ down on my town, on my town
Goodnight, goodnight

Words Enough, and Time

November 7, 2008 by John 2 Comments

Clock Words, by Caroline Lisfranc

[The clock above was designed by Caroline Lisfranc, replacing the numbers on the clock face with a dozen French verbs. The English translation (starting with one o’clock and moving, duh, clockwise) is to divide, to give, to listen, to work, to love, to dream, to reflect, to laugh, to tinker, to travel, to grow, and to speak.]

Changing things up a little for a Friday post…

Here’s an audio track to accompany the rest of the entry. Start it now to play in the background as you read, or come back and listen later. The song is “Lakmé,” the first number on the uncanny and apparently never-to-be-followed-up album Coco de Mer. It’s almost four minutes long — much longer than it will take for you to read the selections. So feel free to listen for a while, then start reading, finish, and listen to the end.

[audio:lakme_cocodemer.mp3|titles=Lakmé|artists=Coco de Mer]

From whiskey river:

Enough. These few words are enough.
If not these words, this breath.
If not this breath, this sitting here.
This opening to the life
we have refused
again and again
until now.
Until now.

(David Whyte, “lassie and timmy”)

…and:

A Piece Of The Storm
For Sharon Horvath

From the shadow of domes in the city of domes,
A snowflake, a blizzard of one, weightless, entered your room
And made its way to the arm of the chair where you, looking up
From your book, saw it the moment it landed.
That’s all There was to it. No more than a solemn waking
To brevity, to the lifting and falling away of attention, swiftly,
A time between times, a flowerless funeral. No more than that
Except for the feeling that this piece of the storm,
Which turned into nothing before your eyes, would come back,
That someone years hence, sitting as you are now, might say:
“It’s time. The air is ready. The sky has an opening.”

(Mark Strand)

Not from whiskey river:

Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

(T.S. Eliot, The Love Song of J. Alfred Prufrock)

…and, as long as we’re talking about having enough time (and words):

For a moment, nothing happened. Then, after a second or so, nothing continued to happen.

(Douglas Adams)

_______________________________________

More about Coco de Mer (from Rasa Music):

Conceived & produced by Adam Plack, Coco de Mer is a lush fusion of traditional French, Italian, and Latin arias, live orchestration, and instruments which are elegantly stitched together with sensual, downtempo dance grooves & modern music. Coco de Mer is a potent musical experience for the concert virgin. Australian born, New York based, Adam Plack has embraced his own childhood passion for opera, jazz, and the blues with the intention of taking opera from the perfumed arid halls of “Uptown” onto the funky street and into the heart of “Downtown.” Coco de Mer features the angelic vocals of acclaimed soprano Chen Reis [and] virtuoso pianist Ilan Rechtman under [the] direction of Plack. Although the arias written by the great classical composers Bach, Handel, Delibes, Bizet, Puccini and others are a hundred years old and beyond, in Adam Plack’s deft hand the emotions are deeply touching & ring true with us, the 21st Century listener.

As an aside, Adam Plack is a noted player of the Australian didgeridoo. I don’t know if that instrument is on the album as a whole, let alone in “Lakmé” — but wouldn’t be surprised.

Coco de Mer is available from Amazon as a plain-old CD, not as a download; but you can get it digitally, in whole or part, via iTunes.

Seeing Things

October 31, 2008 by John 4 Comments

From whiskey river:

Then away out in the woods I heard that kind of a sound that a ghost makes when it wants to tell about something that’s on its mind and can’t make itself understood, and so can’t rest easy in its grave, and has to go about that way every night grieving.

(Mark Twain, The Adventures of Huckleberry Finn)

Shadow

So the dead are among us again
even here where Halloween is not celebrated
and the moon flies through the skeletons of trees
and men in rowboats fish for souls on the river
There is a woman with spidery hair swinging a lantern
disappearing down the colonnade
a row of buildings tilted like gravestones
in which a single window is lit
a wall from whose depths shadows emerge
assuming the contours of bodies they will follow
all night and abandon at dawn:
a revelation to you
that each day we take on a new shadow

(Nicholas Christopher, from Crossing the Equator: New and Selected Poems 1972-2004)

Not from whiskey river:

Fezzik: Why do you wear a mask? Were you burned by acid, or something like that?
Man in Black: Oh no, it’s just that they’re terribly comfortable. I think everyone will be wearing them in the future.

(The Princess Bride)

Also not from whiskey river: Jim Carrey’s not to everyone’s taste. But this is pretty memorable:
[Read more…]

Salvaging the Honey at Heaven’s Edge

October 24, 2008 by John 11 Comments

You know how in the Warner Brothers “Road Runner” cartoons, the coyote is forever running (or riding a rocket, or pogo-sticking, or being launched by an ACME Giant Slingshot) off a cliff? and at some moment he realizes that he’s done so, and as soon as he realizes it he loses all forward motion, waves morosely to the audience, and drops out of the bottom of the frame?

For this Friday’s meditations from whiskey river and elsewhere, I wanted to do a “theme post.” This is a tribute to people who’ve recently shot off the edge of a personal or professional cliff, with plenty of forward momentum — and who know better than to look down.

From whiskey river:

It is hard to let old beliefs go. They are familiar. We are comfortable with them and have spent years building systems and developing habits that depend on them. Like a man who has worn eyeglasses so long that he forgets he has them on, we forget that the world looks to us the way it does because we have become used to seeing it that way through a particular set of lenses. Today, however, we need new lenses. And we need to throw the old ones away.

(Kenichi Ohmae)

…and:

Nothing can hold you back — not your childhood, not the history of a lifetime, not even the very last moment before now. In a moment you can abandon your past. And once abandoned, you can redefine it.

If the past was a ring of futility, let it become a wheel of yearning that drives you forward. If the past was a brick wall, let it become a dam to unleash your power.

The very first step of change is so powerful, the boundaries of time fall aside. In one bittersweet moment, the sting of the past is dissolved and its honey salvaged.

(Tzvi Freeman, The Illlustrated Encyclopedia of an Imaginary Universe)

…and:

Withered vines, gnarled trees, twilight crows,
river flowing beneath the little bridge,
past someone’s home.
The wind blows from the west
where the sun sets, it blows
across the ancient road,
across the bony horse,
across the despairing man
who stands at heaven’s edge.

(Ma Chih-Yuan, “Meditation in Autumn”)

Finally (lyrics below — not from whiskey river), a sort of meditation on dilemmas in general:

Crossfire
(words & music by Tommy Shannon, Chris Layton,
Reese Wynans, B.Carter, and Ruth Ellsworth;
performance by Stevie Ray Vaughan)

Day by day, night after night,
blinded by the neon lights
Hurry here, hustlin’ there,
no one’s got the time to spare
Money’s tight, nothin’ free,
won’t somebody come and rescue me
I am stranded, caught in the crossfire
Stranded, caught in the crossfire

Tooth for tooth, eye for an eye,
sell your soul, just to buy buy buy,
Beggin’ a dollar stealin’ a dime,
come on can’t you see that I
I am stranded, caught in the crossfire
I am stranded, caught in the crossfire

I need some kind of kindness,
some kind of sympathy — oh no
We’re stranded, caught in the crossfire

Save the strong, lose the weak,
never turning the other cheek,
Trust nobody, don’t be no fool,
whatever happened to the golden rule?
We got stranded, caught in the crossfire
We got stranded, caught in the crossfire
We got stranded, caught in the crossfire
Stranded, caught in the crossfire
Help me

The Thing That Happened, Once

October 17, 2008 by John 10 Comments

From whiskey river:

At Blackwater Pond

At Blackwater Pond the tossed waters have
settled
after a night of rain.
I dip my cupped hands. I drink
a long time. It tastes
like stone, leaves, fire. It falls cold
into my body, waking the bones. I hear them
deep inside me, whispering
oh what is that beautiful thing
that just happened?

(Mary Oliver)

And:

In the tea ceremony, the expression “once in a lifetime, this one encounter” is often used. The usual way this is interpreted is “a one-and-only encounter.” In Zen, though, we interpret this expression in the following way: In the course of our lifetime, there is one person we must meet. No matter through which grasslands we may walk or which mountains we may climb, we must meet this person. This person is in this world. Who is this person? It is the true self. You must meet the true self. As long as you don’t, it will not be possible to be truly satisfied in the depths of your heart. You will never lose the sense that something is lacking. Nor will you be able to clarify the way things are.

This is the objective of life as well as of the teaching of Buddhism — to meet yourself.

(Sekkei Harada)

And the obvious musical bit (lyrics follow), although the video is a bit… unusual:

Once in a Lifetime
(words and music by Talking Heads;
performance is emphatically not)

And you may find yourself living in a shotgun shack
And you may find yourself in another part of the world
And you may find yourself behind the wheel of a large automobile
And you may find yourself in a beautiful house,
with a beautiful wife
And you may ask yourself: Well… how did I get here?

Letting the days go by/Let the water hold me down
Letting the days go by/Water flowing underground
Into the blue again/After the money’s gone
Once in a lifetime/Water flowing underground.

And you may ask yourself
How do I work this?
And you may ask yourself
Where is that large automobile?
And you may tell yourself
This is not my beautiful house!
And you may tell yourself
This is not my beautiful wife!

Letting the days go by/Let the water hold me down
Letting the days go by/Water flowing underground
Into the blue again/After the money’s gone
Once in a lifetime/Water flowing underground.

Same as it ever was… same as it ever was …same as it ever was…
Same as it ever was… same as it ever was… same as it ever was…
Same as it ever was… same as it ever was…

(Followed by Statler and Waldorf: “Same as it ever was! Same as it ever was! Yeah—” “An hour ago!” [laughter])

Original, longer version, from the concert film Stop Making Sense, can be viewed here.

Things Pass Away

October 3, 2008 by John 2 Comments

From whiskey river:

September: it was the most beautiful of words, he’d always felt, evoking orange-flowers, swallows, and regret.

(Alexander Theroux)

For summer there, bear in mind, is a loitering gossip, that only begins to talk of leaving when September rises to go.

(George Washington Cable)

…and:

If we were not beings who pass quickly away like all other things, none of this would matter.

(Susan Murphy, Upside-Down Zen)

…and (the single word don’t ringing loudly):

Why we don’t die

In late September many voices
Tell you you will die.
That leaf says it. That coolness.
All of them are right.

Our many souls — what
Can they do about it?
Nothing. They’re already
Part of the invisible.

Our souls have been
Longing to go home
Anyway. “It’s late,” they say.
“Lock the door, let’s go.”

The body doesn’t agree. It says,
“We buried a little iron
Ball under that tree.

Let’s go get it.”

(Robert Bly, Eating The Honey of Words: New and Selected Poems)

…and — not from whiskey river, just because I was curious about Bly’s “iron ball” and found this video, likewise on the theme of time, and of things which can happen too quickly to see or even imagine:

…and finally, because obvious though the selection is, this post just wouldn’t be complete without it:

[audio:trytoremember_jerryorbach.mp3|titles=Try to Remember (The Fantasticks)|artists=Jerry Orbach]

Learning to See

September 26, 2008 by John 4 Comments

Continuing last Friday’s meditation on the topic of sight, and the things which we might see differently “if only”…

First, from whiskey river‘s commonplace book*:

Picasso is riding on a train and someone sits down next to him.

Recognizing who he is, the person asks, “Why don’t you paint people the way they really are?”

Picasso asks, “What do you mean by the way they really are?”

The man eagerly pulls out his wallet and shows Picasso a picture of his wife and says, “This is my wife.”

Picasso responds, “She looks rather small and flat, don’t you think?”

(by Bonnie Myotai Treace, Sensei; story also recounted elsewhere)

Not from whiskey river:

Jack London, by Arnold Genthe (taken 1906-1916)

When Jack London had his portrait made by the noted San Francisco photographer Arnold Genthe, London began the encounter with effusive praise for the photographic art of his friend and fellow bohemian, Genthe: “You must have a wonderful camera… It must be the best camera in the world… You must show me your camera.”

Genthe then used his standard studio camera to make what has since become a classic picture of Jack London.

When the sitting was finished, Genthe could not contain himself: “I have read your books, Jack, and I think they are important works of art. You must have a wonderful typewriter.”

(quoted at PhotoQuotes.com)

From The Luminous Landscape:

…a good photograph isn’t measured in line pairs per millimeter, MTF functions, S/N calculations, or any of the other measurements that photography enthusiasts recite like religious mantras. The most important tools that are used to take good photographs are the human eye, the human brain, and the human heart.

And finally, a little music. I’m not going to provide a bunch of links to online information about Ry Cooder — there’s a ton of it out there. I will say that if you don’t know his work, at all, I think you’re in for a treat. The number which follows (not one of his hits, but a performance I’ve always been fond of) is a straight-up instrumental version — a re-visioning — of an Ike & Tina Turner number called “I Think It’s Going to Work Out Fine.” Here’s what Rolling Stone said of the number in its review of Cooder’s 1979 Bop Till You Drop:

Cooder’s instrumental version of “I Think It’s Going to Work Out Fine” takes the sweet growl of the Ike and Tina Turner original and sets it against some easy, sexy self-assurance. Ike and Tina made this number into a toe-to-toe at midnight, but Cooder’s version is full of relaxed and low-slung afterglow.

“Relaxed and low-slung afterglow”: love that.

[audio:thinkitsgoingtoworkoutfine_cooder.mp3|titles=I Think It’s Going to Work Out Fine|artists=Ry Cooder]

__________________________
* whiskey river’s “commonplace book” is what the site’s author calls its archives. Unlike most blog archives, though, whiskey river’s are not strictly speaking chronologically organized: “They are arranged here in random order, the way they were found.”

Seeing, Not Seeing

September 19, 2008 by John 2 Comments

From whiskey river (originally published [PDF] in Beloit Poetry Journal, Fall/Winter 2004/2005):

It Wasn’t Death She Saw

But life:
skin dancing with flesh
like silk curtains that swirl in the wind
above her mother’s window

up up now puff! and in again

Or breath — is the wind breathing?
She’d been playing in the grass when it happened:
the snake flung
from the mower’s blade, rainbows
of ribbons in the air

rainbows rainbows everywhere, catch a ribbon for your hair

She wrapped the pretty pieces in willow leaves and grass.
When she told her mother what she’d seen —
the way life
leapt out of the snake
just like a ballerina —
her mother beat her,
scrubbed her tongue with salt

but Mama, it was beautiful, like fireflies at night

She learned to hold her body

very still.

(by Kirstin Hotelling Zona: editor, Poetry Radio podcasts)

Not from whiskey river:

The Stare’s Nest by My Window

The bees build in the crevices
Of loosening masonry, and there
The mother birds bring grubs and flies.
My wall is loosening; honey-bees,
Come build in the empty house of the stare.

We are closed in, and the key is turned
On our uncertainty; somewhere
A man is killed, or a house burned,
Yet no clear fact to be discerned:
Come build in the empty house of the stare.

A barricade of stone or of wood;
Some fourteen days of civil war;
Last night they trundled down the road
That dead young soldier in his blood:
Come build in the empty house of the stare.

We had fed the heart on fantasies,
The heart’s grown brutal from the fare;
More substance in our enmities
Than in our love; O honey-bees,
Come build in the empty house of the stare.

(W.B. Yeats)

Finally, there’s “(Looking for) The Heart of Saturday Night,” by Tom Waits, performed by Madeleine Peyroux (lyrics below):

Edit to add: And, what the heck, just for comparison here’s Shawn Colvin’s (live) very different but just as enchanting take on the same song — which I just found out about. (Thanks, Jules!)

(Looking for) The Heart of Saturday Night

Well you gassed her up
Behind the wheel
With your arm around your sweet one
In your Oldsmobile
Barrelin’ down the boulevard
You’re looking for the heart of Saturday night

And you got paid on Friday
And your pockets are jingling
And you see the lights
You get all tinglin’ cause you’re cruising with a six
You’re looking for the heart of Saturday night

Then you comb your hair
Shave your face
Trying to wipe out every trace
All the other days
In the week you know that this’ll be the Saturday
You’re reachin’ your peak

Stopping on the red
You’re going on the green
Tonight’ll be like nothing
You’ve ever seen
You’re barreling down the boulevard
Looking for the heart of Saturday night

Tell me is the crack of the poolballs, neon buzzin
Telephone’s ringing; it’s your second cousin
Is it the barmaid that’s smiling from the corner of her eye
Magic of the melancholy tear in your eye

Makes it kind of quiver down in the core
You’re dreaming of them Saturdays that came before
Now you’re stumbling
You’re stumbling onto the heart of Saturday night
Now you’re stumbling
You’re stumbling onto the heart of Saturday night

You Can Run but You Can’t Hide

September 12, 2008 by John 4 Comments

From whiskey river:

All you can do is this: Whatever you experience, whether tangible or intangible, look underneath the experience, like a child looking for a lizard under a stone. You’re not expecting anything to be there, but you’re always wondering if there might be.

(Richard Leviton)

Not from whiskey river:

One of life’s primal situations; the game of hide and seek. Oh, the delicious thrill of hiding while the others come looking for you, the delicious terror of being discovered, but what panic when, after a long search, the others abandon you! You mustn’t hide too well. You mustn’t be too good at the game. The player must never be bigger than the game itself.

(Jean Baudrillard, Cool Memories)

And finally, sometimes you can’t help wondering if there might be something under the next stone, too… Cartoon from The Funny Times cartoon archive:

Hard Questions

August 29, 2008 by John 6 Comments

From whiskey river:

The rest I have told you already

The rest I have told you already.
A few years of fluency, and then
the long silence, like the silence in the valley
before the mountains send back
your own voice changed to the voice of nature.
This silence is my companion now.
I ask: of what did my soul die?
and the silence answers

if your soul died, whose life
are you living and
when did you become that person?

(by Louise Glück)

And (not from whiskey river):

Have patience with everything that remains unsolved in your heart. Try to love the questions themselves, like locked rooms and like books written in a foreign language. Do not now look for the answers. They cannot now be given to you because you could not live them. It is a question of experiencing everything. At present you need to live the question. Perhaps you will gradually, without even noticing it, find yourself experiencing the answer, some distant day.

(by Rainer Maria Rilke, Letters to a Young Poet)

And finally, just for a change, something of an answer:

My advice to you is not to inquire why or whither, but just enjoy your ice cream while it’s on your plate — that’s my philosophy.

(by Thornton Wilder, The Skin of Our Teeth — one of my all-time favorite plays to read)