[Image: “One Elvis,” by John E. Simpson. We toured the historic Sun Records studio in Memphis in November, 2021. (Sun Records was of course Elvis Presley’s first record label.) At that time, COVID-related social-distancing policies remained in effect in many places, and, well, you can fill in the blanks.]

Aside to regular visitors: company coming this weekend, so, y’know: this will of necessity be an abbeviated Friday post.

From whiskey river (italicized lines):

View with a Grain of Sand

We call it a grain of sand,
but it calls itself neither grain nor sand.
It does just fine without a name,
whether general, particular,
permanent, passing,
incorrect, or apt.

Our glance, our touch mean nothing to it.
It doesn’t feel itself seen and touched.
and that it fell on the windowsill
is only our experience, not its.
For it, it is no different from falling on anything else
with no assurance that it has finished falling
or that it is falling still.

The window has a wonderful view of a lake,
but the view doesn’t view itself.
It exists in this world,
colorless, shapeless,
soundless, odorless, and painless.

The lake’s floor exists floorlessly,
And its shore exists shorelssly.
Its water feels itself neither wet nor dry
and its waves to themselves are neither singular nor plural.
They splash deaf to their own noise
on pebbles neither large nor small.

And all this beneath a sky by nature skyless
in which the sun sets without setting at all
and hides without hiding behind an unminding cloud.
The wind ruffles it, its only reason being
that it blows

A second passes.
A second second.
A third.
But they’re three seconds only for us.

Time has passed like a courier with urgent news.
But that’s just our simile.
The character is invented, his haste is make-believe,
his news inhuman.

(Wislawa Szymborska [source])

Not from whiskey river:

The wind, with its hands in its pockets, whistles a tune as it wanders down the road—a jaunty melody, at odds with the surroundings—and the theme is picked up by everything it passes, until all of Aldersgate Street, in the London borough of Finsbury, has joined in. The result tends towards the percussive. A bottle in the gutter rocks back and forth, cha-chink cha-chunk, while a pair of polystyrene cartons, one nestled in the other’s embrace, whisper like a brush on a snare drum way up on the pedestrian bridge. A more strident beat is provided by the tin sign fixed to the nearest lamppost, which warns dogs not to foul the pavement, a message it reinforces with a rhythmic rattle, while in the Barbican flowerbeds—which are largely bricked-in collections of dried-up earth—pebbles rock and stones roll. By the entrance to the tube there’s a parcel of newspapers bound by plastic strips, whose pages gasp and sigh in choral contentment. Dustbins and drainpipes, litter and leaves: the wind’s conviction that everything is its instrument is justified tonight.

And yet halfway down the road it pauses for breath, and the music stops. The wind has reached a black door, wedged between a dirty-windowed newsagent’s, visibly suffering from lack of public interest, and a Chinese restaurant offering the impression that it’s still in lockdown, and plans to remain so. This door, irredeemably grimy from the exhalations of passing traffic, is a sturdy enough construction, the only gap in its armour a long-healed wound of a letterbox, impervious to junk mail and red-lettered bills, but a door is only a door for all that, and the wind has blown down bigger. Perhaps it considers rendering this supposed obstruction into dust and matchsticks, but if so, the moment passes; the wind moves on, and its orchestra goes with it…

So the black door is left unshaken and unstirred. But just as it never opens, never closes during daylight hours, nor is it about to yield now, and anyone intent on entry must take the stagedoor johnny route, down the adjacent alley, past the overflowing wheelie-bins and the near-solid stench from the drains, through the door that sticks in all seasons, and then, once inside, climb stairs whose carpet has worn thin as an actor’s ego, and whose walls boast mildew stains, and lightbulbs that are naked and/or spent. It’s dark in here, a bumpy kind of dark, with sound effects provided by rising damp and falling plaster, and the offstage antics of vermin. The stairs grow narrower the higher they go, and the paired offices that lurk on each landing are furnished with shabby props, scratched on every surface and torn in all the ways they can tear—nothing capable of being damaged twice has been damaged only once, because history repeats itself, first as tragedy then as farce, and here in Slough House the daily grind is of such unending repetition that the performers can barely tell one from the other…

(Mick Herron [source])

…and:

#25: If I said, “I’m about to hit you over the head with the phrase ‘baseball bat,'” you’d think I was nuts, but not dangerous. You wouldn’t actually duck, would you? Some people apparently would.

(JES, Maxims for Nostalgists)