Running After My Hat

Give Yourself Time, Because Time Doesn’t Give Itself to You

March 1, 2019 by John Leave a Comment

[Image: “#everydaybandw 443,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) It seems to speak for itself, especially once you understand the context.]

From whiskey river:

TIME PASSES TIME does not pass. Time all but passes. Time usually passes. Time passing and gazing. Time has no gaze. Time as perseverance. Time as hunger. Time in a natural way. Time when you were six the day a mountain. Mountain time. Time I don’t remember. Time for a dog in an alley caught in the beam of your flashlight. Time not a video. Time as paper folded to look like a mountain. Time smeared under the eyes of the miners as they rattle down into the mine. Time if you are bankrupt. Time if you are Prometheus. Time if you are all the little tubes on the roots of a gorse plant sucking greenish black moistures up into new scribbled continents. Time it takes for the postal clerk to apply her lipstick at the back of the post office before the supervisor returns. Time it takes for a cow to tip over. Time in jail. Time as overcoats in a closet. Time for a herd of turkeys skidding and surprised on ice. All the time that has soaked into the walls here. Time between the little clicks. Time compared to the wild fantastic silence of the stars. Time for the man at the bus stop standing on one leg to tie his shoe. Time taking Night by the hand and trotting off down the road. Time passes oh boy. Time got the jump on me yes it did.

(Anne Carson [source])

…and:

The things you do not have to say make you rich. Saying things you do not have to say weakens your talk. Hearing things you do not need to hear dulls your hearing. And things you know before you hear them—those are you, those are why you are in the world.

(William Stafford [source])

…and:

Bad People

A man told me once that all the bad people
Were needed. Maybe not all, but your fingernails
You need; they are really claws, and we know
Claws. The sharks—what about them?
They make other fish swim faster. The hard-faced men
In black coats who chase you for hours
In dreams—that’s the only way to get you
To the shore. Sometimes those hard women
Who abandon you get you to say, “You.”
A lazy part of us is like a tumbleweed.
It doesn’t move on its own. Sometimes it takes
A lot of Depression to get tumbleweeds moving.
Then they blow across three or four States.
This man told me that things work together.
Bad handwriting sometimes leads to new ideas;
And a careless god—who refuses to let people
Eat from the Tree of Knowledge—can lead
To books, and eventually to us. We write
Poems with lies in them, but they help a little.

(Robert Bly [source])

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Too Magical Not to Believe

February 22, 2019 by John 1 Comment

[Image: photo of “Familiar,” sculpture by Dorcas Casey (winner of the 2013 Public Speaks Prize at the Broomhill (UK) National Sculpture competition. The detailing of these pieces appears to have been, well, too incredible not to be believed. Casey herself has said of them: “I intend these domestic creatures and materials to appear familiar, comforting and playful whilst also seeming disconcertingly sinister and malevolent.” See the gallery at her Web site for more examples of creatures which, once seen, are difficult to unsee (e.g., this closeup of the bull’s head).]

From whiskey river:

Magic doesn’t sweep you away; it gathers you up into the body of the present moment so thoroughly that all your explanations fall away: the ordinary, in all its plain and simple outrageousness, begins to shine—to become luminously, impossibly so. Every facet of the world is awake, and you within it.

The deeper I slid into the material density of the real, the more I found that there was nothing determinate or predictable about existence. Actuality, this inexhaustible mystery, cannot be domesticated. It is wildness incarnate. Reality shapeshifts.

(David Abram [source])

…and:

Not Anyone Who Says

Not anyone who says, “I’m going to be
careful and smart in matters of love,”
who says, “I’m going to choose slowly,”
but only those lovers who didn’t choose at all
but were, as it were, chosen
by something invisible and powerful and uncontrollable
and beautiful and possibly even
unsuitable—
only those know what I’m talking about
in this talking about love.

(Mary Oliver [source])

…and:

You have to return to the stillness often to balance yourself out and to keep from becoming as extreme as the jumpy little symbols that pulse through your mind. Return again and again until you come to see that you are really there all the time anyway. Until you listen to the sound of your own voice as if it were small and far away, and the sound gives you no real pleasure anymore, but the listening does, the listening contains all the richness that you used to seek.

Return over and over until you watch the movements of your mind and find that your thoughts have lost their cleverness somewhere down the line. They still ring, but ring hollow. You’re no longer so easily convinced as before, and the brilliance is now in the watching. The brilliance that you sought has remained hidden behind each movement of your mind, hidden in the twisted branches of the continual seeking.

(G. BlueStone [source])

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To Think About Thinking About What We Think About*

February 15, 2019 by John Leave a Comment

[Image: “Boat shoes tucked under hall tree,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH) I am inordinately fond of this photo, for reasons which generally escape me. But it’s probably got something to do with our taking steps to “downsize”: to move into a smaller home, and rid ourselves of a great deal of stuff we’ve gotten used to looking at over 25+ years.]

From whiskey river:

The world — whatever we might think when terrified by its vastness and our own impotence, or embittered by its indifference to individual suffering, of people, animals, and perhaps even plants, for why are we so sure that plants feel no pain; whatever we might think of its expanses pierced by the rays of stars surrounded by planets we’ve just begun to discover, planets already dead? still dead? we just don’t know; whatever we might think of this measureless theater to which we’ve got reserved tickets, but tickets whose lifespan is laughably short, bounded as it is by two arbitrary dates; whatever else we might think of this world — it is astonishing.

But “astonishing” is an epithet concealing a logical trap. We’re astonished, after all, by things that deviate from some well-known and universally acknowledged norm, from an obviousness we’ve grown accustomed to. Now the point is, there is no such obvious world. Our astonishment exists per se and isn’t based on comparison with something else.

Granted, in daily speech, where we don’t stop to consider every word, we all use phrases like “the ordinary world,” “ordinary life,” “the ordinary course of events”… But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone’s existence in this world.

It looks like poets will always have their work cut out for them.

(Wislawa Szymborska (translated by Stanislaw Baranczak and Clare Cavanagh) [source])

…and:

Common Book Pillow Book

Long enough since the genre was popular
we’ve forgotten what to call it: weird mix of quotes and collectibles, private
thoughts and uncensored meditations in brief, like locks of hair and
child height charts of your considerations
and ponderings. An abandoned art, you practice it with care: each quote
equal to the other, simple entries like coordinates of unmarked appearances
in the sky—twenty years, over
8,000 days—the weather is “what you make of sunshine,” and only women “can
make a man successful,” haven’t you heard
“God is the messenger, and we are all brothers and sisters,” organizations
of hate “must be fought with the ultimate crest: humanity,” and you
note a quote with a love reserved
for precision and the unattained, and I
suspend like cracked meteors in the ether
of your common message: go to bed, what is truly important in this world
has already been said.

“When people deserve love the least
is when they need it the most,” we are the axis
of cliche, “like mother like daughter,” sign your name
on this one before I turn out the light
and resume my interrupted prayer.

(Priscila Uppal [source])

[Read more…]

“…Light, Light, Light!”

February 8, 2019 by John Leave a Comment

[Image: ‘Elements Modular Kitchen,’ by Matthew Gilbride — a concept which took third place in the 2010 Design Lab competition sponsored by Electrolux, the appliance manufacturer. What you see in this photo are actually seven of the Y-shaped “kitchens,” each of which has an array of buttons in the little blue strip you can see on the outer edges of the surface. The buttons determine whether a given unit is being used for “cooking, refrigeration, air conditioning, [or] lighting.” The caption on the photo at Flickr continues: “The appliance draws power wirelessly through technology applied to the wall, which is supplemented through solar energy as required. Multiple units and surfaces automatically work together through wireless smart networking, whilst customisation is offered by being able to install the units as the user prefers.”]

From whiskey river:

Monotony collapses time; novelty unfolds it. You can exercise daily and eat healthily and live a long life, while experiencing a short one. If you spend your life sitting in a cubicle and passing papers, one day is bound to blend unmemorably into the next—and disappear. That’s why it’s so important to change routines regularly, and take vacations to exotic locales, and have as many new experiences as possible that can serve to anchor our memories. Creating new memories stretches out psychological time, and lengthens our perception of our lives.

(Joshua Foer [source])

…and:

Correspondences
(excerpt)

Sometimes we are led through the doorway
by a child, sometimes
by a stranger, always a matter of grace changing
the past, for if there is anything we must change
it is the past. To look back
and see another map.

Love enough to fill
a shoe, a suitcase, a bit of ink,
a painting, a child’s eyes at a chalkboard,
a bit of chalk, a bit of
bone in ash.

All that is cupped,
all that is emptied

the rush of water from a pump,
a word spelled out
on a palm.

(Anne Michaels [source])

…and (from whiskey river’s commonplace book):

In a dream I am walking joyfully up the mountain. Something breaks and falls away, and all is light. Nothing has changed, yet all is amazing, luminescent, free. Released at last, I rise into the sky… This dream comes often. Sometimes I run, then lift up like a kite, high above earth, and always I sail transcendent for a time before awaking. I choose to awake, for fear of falling, yet such dreams tell me that I am a part of things, if only I would let go, and keep on going. “Do not be heavy,” Soen Roshi says. “Be light, light, light—full of light!”

(Peter Matthiessen [source])

[Read more…]

Read the Hints, Come at Last

February 1, 2019 by John 1 Comment

[Image: “Book Art,” by Blondinrikard Fröberg. Found on Flickr, naturally, and used here under a Creative Commons license (thank you!). The photo’s caption at Flickr says, only, “The window of the Göteborg city museum gift shop.” But the work of art which it captures seems to suggest much more about the nature of books, no?]

From whiskey river:

The Story of Our Lives
(excerpt)

5

If only there were a perfect moment in the book;
if only we could live in that moment,
we could begin the book again
as if we had not written it,
as if we were not in it.
But the dark approaches
to any page are too numerous
and the escapes are too narrow.
We read through the day.
Each page turning is like a candle
moving through the mind.
Each moment is like a hopeless cause.
If only we could stop reading.
He never wanted to read another book
and she kept staring into the street.
The cars were still there,
the deep shade of trees covered them.
The shades were drawn in the new house.
Maybe the man who lived there,
the man she loved, was reading
the story of another life.
She imagine a bare parlor,
a cold fireplace, a man sitting
writing a letter to a woman
who has sacrificed her life for love.
If there were a perfect moment in the book,
it would be the last.
The book never discusses the causes of love.
It claims confusion is a necessary good.
It never explains. It only reveals.

(Mark Strand [source])

…and:

On rare occasions there comes along a profound original, an odd little book that appears out of nowhere, from the pen of some obscure storyteller, and once you have read it, you will never go completely back to where you were before. The kind of book you might hesitate to lend for fear you might miss its company. The kind of book that echoes from the heart of some ancient knowing, and whispers from time’s forgotten cave that life may be more than it seems, and less.

(Edmund James Banfield [source: see the Note at the foot of this post]) [Read more…]

Getting What’s Meant (and Meaning What’s Gotten)

January 25, 2019 by John Leave a Comment

[Image: “The Chariot Race,” by a favorite street photographer, Tom Waterhouse. (Found on Flickr, and used here under a Creative Commons license. Thank you!)]

From whiskey river:

…for just as the universal family of gifted writers transcends national barriers, so is the gifted reader a universal figure, not subject to spatial or temporal laws. It is he—the good, the excellent reader—who has saved the artist again and again from being destroyed by emperors, dictators, priests, puritans, philistines, political moralists, policemen, postmasters, and prigs. Let me define this admirable reader. He does not belong to any specific nation or class. No director of conscience and no book club can manage his soul. His approach to a work of fiction is not governed by those juvenile emotions that make the mediocre reader identify himself with this or that character and ‘skip descriptions.’ The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book. The admirable reader does not seek information about Russia in a Russian novel, for he knows that the Russia of Tolstoy or Chekhov is not the average Russia of history but a specific world imagined and created by individual genius. The admirable reader is not concerned with general ideas: he is interested in the particular vision. He likes the novel not because it helps him to get along with the group (to use a diabolical progressive-school cliché); he likes the novel because he imbibes and understands every detail of the text, enjoys what the author meant to be enjoyed, beams inwardly and all over, is thrilled by the magic imageries of the master-forger, the fancy-forger, the conjuror, the artist. Indeed, of all the characters that a great artist creates, his readers are the best.

(Vladimir Nabokov [source])

…and:

Library
(excerpt)

I open this book and smoke pours out, I open this book and a bad sleet
slices my face, I open this book: brass knuckles, I open this book: the
spiky scent of curry, I open this book and hands grab forcefully onto my
hair as if in violent sex, I open this book: the wing beat of a seraph, I
open this book: the edgy cat-pain wailing of the damned thrusts up in a
column as sturdy around as a giant redwood, I open this book: the travel
of light, I open this book and it’s as damp as a wound, I open this book
and I fall inside it farther than any physics, stickier than the jelly we
scrape from cracked bones, cleaner than what we tell our children in the
dark when they’re afraid to close their eyes at night.

(Albert Goldbarth [source])

[Read more…]

Beyond the Yardstick, Beyond Supper and Dollars

January 18, 2019 by John Leave a Comment

[Image: “Beyond the Yardstick, Beyond Supper and Dollars,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.)]

From whiskey river:

Where words come from, into consciousness, baffles me. Speaking or writing, the words bounce instantaneously into their context, and I am victimized by them, rather than controlling them. They do not wait for my selection; they volunteer. True, I can reject them, but my whole way of writing induces easy acceptance—at first—of any eager volunteer. I want to talk about these volunteers, but first want to consider another reason for trying carefully to set the record straight, about attitudes toward language. The point concerns how a writer feels about language, in general. Many opine that a writer, and particularly a poet, for some reason, must love language; often there is even a worshipful attitude assumed. I have noticed this assumption with particular attention because it happens that insofar as I can assess my own attitudes in relation to others I have an unusually intense distrust of language. What people say or write comes to me attenuated or thinned by my realization that talk merely puts into the air an audio counterpart of mysterious, untrustworthy, confused events in the creature making the sounds. Truth, or wonder, or any kind of imaginative counterpart of absolute realities—these I certainly do not expect in human communication.

(William Stafford [source])

…and:

I have just stood before the open window of my bedroom and I have breathed in deeply all the honeysuckle-perfumed air, the sunshine, the snowdrops of winter, the crocuses of spring, the primroses, the crooning pigeons, the trills of the birds, the entire procession of soft winds and cool smells, of frail colors and petal-textured skies, the knotted snake greys of old vine roots, the vertical shoots of young branches, the dank smell of old leaves, of wet earth, of torn roots, and fresh-cut grass, winter, summer, and fall, sunrises and sunsets, storms and lulls, wheat and chestnuts, wild strawberries and wild roses, violets and damp logs, burnt fields and new poppies.

(Anaïs Nin [source])

…and:

There is something else which has the power to awaken us to the truth. It is the works of writers of genius, or at least those with genius of the very first order and when it has reached its full maturity. They give us, in the guise of fiction, something equivalent to the actual density of the real, that density which life offers us every day but which we are unable to grasp because we are amusing ourselves with lies.

(Simone Weil [source])

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Weekend Music Break/What’s In a Song: The Avalon Boys (and Not Incidentally, Laurel and Hardy), “At the Ball, That’s All”

January 12, 2019 by John Leave a Comment

Laurel and Hardy didn’t write this little number, nor did the Avalon Boys and, for that matter, nor did anyone else associated with the film. More about that history in a moment. For now, though, just sit back, click the Play button, and take pleasure in the guileless charm of this three-minute segment of one of their greatest films, 1937’s Way Out West.

(The setup for this scene: the boys have just arrived, via stagecoach, in an old Wild West town. They’re there with a purpose; before pursuing it, though, they turn to head into the saloon. And that’s where they encounter the Avalon Boys Quartet, arrayed on the wooden porch as though to formally welcome L&H to town.)

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…And So Seeing the Radiance

January 11, 2019 by John Leave a Comment

[Images: “Non-Geometric Geometry #1 (color) and #2 (black-and-white,” by John E. Simpson. (Shared here under a Creative Commons License; for more information, see this page at RAMH.) These two images were the starting and ending points of a series, in which I gradually drained color from the original (top). As the color palette shrank, I realized where I’d seen this kind of geometry before: photographs taken in wind tunnels. Later, examining actual wind-tunnel photos, I discovered that it wasn’t those after all… but I know I’ve seen it somewhere! First person to answer the riddle for me (runningaftermyhat AT johnesimpson DOT com) gets a free professional print of either of these two shots. Seriously — it’s driving me crazy!]

From whiskey river:

In preparing this memoir, I have stuck to facts except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it. Wherever liberties have been taken with names, dates, places, events and conversations, or with the identities, motivations and interrelationships of family members and historical passages, the reader is assured that they have been taken with due abandon.
[…]
In a weird way, it’s a memoir of not my life, but my imaginative life, like a history of my imagination.

(Michael Chabon [source])

…and (italicized lines):

Shaving in the Dark

How old is the sun today

Where are the shoes of yesteryear

What an evil potato goes through
we can never know, but
I’m beginning to resemble one

Ah, a little light now

It is the hour
the moment
when it becomes possible
to distinguish a white
thread from a black,
so prayer begins

I see a shadowy reflection now our fingers touch

There’s nothing like what is

fragile and momentary
as the pale yellow light along the windowsill
in winter north
of nowhere yet
if not for winter, nothing
would get done

would finally get done

I’ve been all around this world

and not to die in hell
not to die in the flames of hell homeless with a cell phone
please

There’s nothing like today

And contributing one’s atoms to the green universe
how strange is that

and some have managed to live in a constant awareness
that all things, every evil thing
will be forgotten, neglecting
to mourn for every radiant thing, and so seeing
the radiance

(Franz Wright [source])

…and:

When I write I am trying to express my way of being in the world. This is primarily a process of elimination: once you have removed all the dead language, the second-hand dogma, the truths that are not your own but other people’s, the mottos, the slogans, the out-and-out lies of your nation, the myths of your historical moment—once you have removed all that warps experience into a shape you do not recognize and do not believe in—what you are left with is something approximating the truth of your own conception.

{Zadie Smith [source])

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All the Snowflakes, the Pennies, the Carefully Stacked Blessings of All the Days

January 4, 2019 by John Leave a Comment

[About the video: Monk’s “Ruby, My Dear” inspired one of the two Billy Collins poems below; he might have been listening to it while creating the other, too.]

From whiskey river:

Calendars

Back in the blue chair in front of the green studio
another year has passed, or so they say, but calendars lie.
They’re a kind of cosmic business machine like
their cousin clocks but break down at inopportune times.
Fifty years ago I learned to jump off the calendar
but I kept getting drawn back on for reasons
of greed and my imperishable stupidity.
Of late I’ve escaped those fatal squares
with their razor-sharp numbers for longer and longer.
I had to become the moving water I already am,
falling back into the human shape in order
not to frighten my children, grandchildren, dogs and friends.
Our old cat doesn’t care. He laps the water where my face used to be.

(Jim Harrison [source])

…and:

This [year], mend a quarrel. Seek out a forgotten friend. Dismiss suspicion and replace it with trust. Write a letter. Give a soft answer. Encourage youth. Keep a promise. Forgo a grudge. Forgive an enemy. Apologize. Try to understand. Examine your demands on others. Think first of someone else. Be kind. Be gentle. Laugh a little more. Express your gratitude. Welcome a stranger. Gladden the heart of a child. Take pleasure in the beauty and wonder of the earth. Speak your love and then speak it again.

(Howard W. Hunter [source])

…and (in different format, without the first stanza):

Blessing in the Chaos

To all that is chaotic
in you,
let there come silence.

Let there be
a calming
of the clamoring,
a stilling
of the voices that
have laid their claim
on you,
that have made their
home in you,

that go with you
even to the
holy places
but will not
let you rest,
will not let you
hear your life
with wholeness
or feel the grace
that fashioned you.

Let what distracts you
cease.
Let what divides you
cease.
Let there come an end
to what diminishes
and demeans,
and let depart
all that keeps you
in its cage.

Let there be
an opening
into the quiet
that lies beneath
the chaos,
where you find
the peace
you did not think
possible
and see what shimmers
within the storm.

(~~John O’Donohue~~ Jan Richardson [source])

[Read more…]