[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])
