[Image: “Sign in Woods,” by user dibytes (Diane Hammond) on Flickr. Used under a Creative Commons License. For more information, see the photographer’s note on the photo’s Flickr page.]
From whiskey river:
The Reverse Side
The reverse side also has a reverse side — Japanese proverbIt’s why when we speak a truth
some of us instantly feel foolish
as if a deck inside us has been shuffled
and there it is—the opposite
of what we said.And perhaps why as we fall in love
we’re already falling out of it.It’s why the terrified and the simple
latch onto one story,
just one version of the great mystery.Image & afterimage, oh even
the open-minded yearn for a fiction
to rein things in—
the snapshot, the lie of the frame.How do we not go crazy,
we who have found ourselves compelled
to live with the circle, the ellipsis, the word
not yet written.
(Stephen Dunn [source])
…and (italicized portion):
…“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 [source])
…and:
There are moments when a kind of clarity comes over you, and suddenly you can see through walls to another dimension that you’d forgotten or chosen to ignore in order to continue living with the various illusions that make life, particularly life with other people, possible.
(Nicole Krauss [source])