EMIL CIORAN
In every man sleeps a prophet, and when he wakes there is a little more evil in the world.
Tuesday, February 28, 2017
Monday, February 27, 2017
URSULA K. LE GUIN from her 2014 Speech at the National Book Awards
We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art - the art of words.
We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art - the art of words.
Sunday, February 26, 2017
THOMAS MERTON from Introductions East & West
It is true, political problems are not solved by love and mercy.
But the world of politics is not the only world, and unless political decisions rest on a foundation of something better and higher than politics, they can never do any real good for men. When a country has to be rebuilt after war, the passions and energies of war are no longer enough. There must be a new force, the power of love, the power of understanding and human compassion, the strength of selflessness and cooperation, and the creative dynamism of the will to live and to build, and the will to forgive.
The will for reconciliation.
It is true, political problems are not solved by love and mercy.
But the world of politics is not the only world, and unless political decisions rest on a foundation of something better and higher than politics, they can never do any real good for men. When a country has to be rebuilt after war, the passions and energies of war are no longer enough. There must be a new force, the power of love, the power of understanding and human compassion, the strength of selflessness and cooperation, and the creative dynamism of the will to live and to build, and the will to forgive.
The will for reconciliation.
Saturday, February 25, 2017
Friday, February 24, 2017
RAINER MARIA RILKE - “I live my life in widening circles”
I live my life in widening circles
that reach out across the world.
I may not ever complete the last one,
but I give myself to it.
I circle around God, that primordial tower.
I have been circling for thousands of years,
and I still don’t know: am I a falcon,
a storm, or a great song?
Translation by Anita Barrows and Joanna Macy
I live my life in widening circles
that reach out across the world.
I may not ever complete the last one,
but I give myself to it.
I circle around God, that primordial tower.
I have been circling for thousands of years,
and I still don’t know: am I a falcon,
a storm, or a great song?
Translation by Anita Barrows and Joanna Macy
Thursday, February 23, 2017
Wednesday, February 22, 2017
Tuesday, February 21, 2017
Monday, February 20, 2017
Sunday, February 19, 2017
Saturday, February 18, 2017
Friday, February 17, 2017
TENSHIN REB ANDERSON from Warm Smiles from Cold Mountains: Dharma Talks on Zen Meditation
I don’t like the cold, but I love the cold. When I walk in the cold wind, I hate it, but I feel myself surrounded by the truth. I feel I am in the right place. The cold wind is so invigorating, so vital. And I hate it. I feel both of those things. I’m afraid the cold will take away my warm smile and warm heart. Certainly it can take away my warm fingers and warm toes. Can I find a way for this warm person to be settled in the cold mountains? If I stay too warm, I’ll be afraid of the cold. If I get too cold, I’ll be afraid of the cold. What is Buddha’s work in the middle of the cold? Have a dialogue with the cold, a dialogue with emptiness. Stare at the cold, stare at the not-you. If you look at it long enough, it will look back at you. The cold mountains will smile.
I don’t like the cold, but I love the cold. When I walk in the cold wind, I hate it, but I feel myself surrounded by the truth. I feel I am in the right place. The cold wind is so invigorating, so vital. And I hate it. I feel both of those things. I’m afraid the cold will take away my warm smile and warm heart. Certainly it can take away my warm fingers and warm toes. Can I find a way for this warm person to be settled in the cold mountains? If I stay too warm, I’ll be afraid of the cold. If I get too cold, I’ll be afraid of the cold. What is Buddha’s work in the middle of the cold? Have a dialogue with the cold, a dialogue with emptiness. Stare at the cold, stare at the not-you. If you look at it long enough, it will look back at you. The cold mountains will smile.
Thursday, February 16, 2017
Wednesday, February 15, 2017
Tuesday, February 14, 2017
ELIZABETH BISHOP - "Lullaby for the Cat"
Minnow, go to sleep and dream,
close your great big eyes;
Round your bed Events prepare
The pleasantest surprise.
Darling Minnow, drop that frown,
Just cooperate,
Not a kitten shall be drowned
In the Marxist State.
Joy and Love will both be yours,
Minnow, don’t be glum.
Happy days are coming soon—
Sleep, and let them come…
Minnow, go to sleep and dream,
close your great big eyes;
Round your bed Events prepare
The pleasantest surprise.
Darling Minnow, drop that frown,
Just cooperate,
Not a kitten shall be drowned
In the Marxist State.
Joy and Love will both be yours,
Minnow, don’t be glum.
Happy days are coming soon—
Sleep, and let them come…
Monday, February 13, 2017
CORMAC McCARTHY from Blood Meridian
One evening almost within sight of the town of El Paso they looked off toward the north where the Gileños wintered and they knew they would not be going there. They camped that night at the Hueco tanks, a group of natural stone cisterns in the desert. The rocks about in every sheltered place were covered with ancient paintings and the judge was soon among them copying out those certain ones into his book to take away with him. They were of men and animals and of the chase and there were curious birds and arcane maps and there were constructions of such singular vision as to justify every fear of man and the things that are in him. Of these etchings—some bright yet with color—there were hundreds, and yet the judge went among them with assurance, tracing out the very ones which he required. When he had done and while there yet was light he returned to a certain stone ledge and sat a while and studied again the work there. Then he rose and with a piece of broken chert he scappled away one of the designs, leaving no trace of it only a raw place on the stone where it had been. Then he put up his book and returned to the camp.
One evening almost within sight of the town of El Paso they looked off toward the north where the Gileños wintered and they knew they would not be going there. They camped that night at the Hueco tanks, a group of natural stone cisterns in the desert. The rocks about in every sheltered place were covered with ancient paintings and the judge was soon among them copying out those certain ones into his book to take away with him. They were of men and animals and of the chase and there were curious birds and arcane maps and there were constructions of such singular vision as to justify every fear of man and the things that are in him. Of these etchings—some bright yet with color—there were hundreds, and yet the judge went among them with assurance, tracing out the very ones which he required. When he had done and while there yet was light he returned to a certain stone ledge and sat a while and studied again the work there. Then he rose and with a piece of broken chert he scappled away one of the designs, leaving no trace of it only a raw place on the stone where it had been. Then he put up his book and returned to the camp.
Sunday, February 12, 2017
CHARLES WRIGHT - “Yard Work”
I think that someone will remember us in another time,
Sappho once said—more or less—
Her words caught
Between the tongue’s tip and the first edge of the invisible.
I hope so, myself now caught
Between the edge of the landscape and the absolute,
Which is the same place, and the same sound,
That she made.
Meanwhile, let’s stick to business.
Everything else does, the landscape, the absolute, the invisible.
My job is yard work—
I take this inchworm, for instance, and move it from here to there.
I think that someone will remember us in another time,
Sappho once said—more or less—
Her words caught
Between the tongue’s tip and the first edge of the invisible.
I hope so, myself now caught
Between the edge of the landscape and the absolute,
Which is the same place, and the same sound,
That she made.
Meanwhile, let’s stick to business.
Everything else does, the landscape, the absolute, the invisible.
My job is yard work—
I take this inchworm, for instance, and move it from here to there.
Saturday, February 11, 2017
Friday, February 10, 2017
FERNANDO PESSOA
Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it’s all evaporating. I constantly feel that I was someone else, that I felt something else. What I’m attending here is a show with another set. And the show I’m attending is myself.
Everything around me is evaporating. My whole life, my memories, my imagination and its contents, my personality - it’s all evaporating. I constantly feel that I was someone else, that I felt something else. What I’m attending here is a show with another set. And the show I’m attending is myself.
Thursday, February 9, 2017
SAMUEL BECKETT from The Unnamable
I’ll clap an eye at random in the thick of the mess, on the off chance something might stray in front of it, then I’ll let down my trousers and shit stories on them, stories, photographs, records, sites, lights, gods and fellow-creatures, the daily round and common task.
I’ll clap an eye at random in the thick of the mess, on the off chance something might stray in front of it, then I’ll let down my trousers and shit stories on them, stories, photographs, records, sites, lights, gods and fellow-creatures, the daily round and common task.
Wednesday, February 8, 2017
LEONARD COHEN - "Famous Blue Raincoat"
It's four in the morning, the end of December
I'm writing you now just to see if you're better
New York is cold, but I like where I'm living
There's music on Clinton Street all through the evening.
I hear that you're building your little house deep in the desert
You're living for nothing now, I hope you're keeping some kind of record.
Yes, and Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear
Did you ever go clear?
Ah, the last time we saw you you looked so much older
Your famous blue raincoat was torn at the shoulder
You'd been to the station to meet every train
And you came home without Lili Marlene
And you treated my woman to a flake of your life
And when she came back she was nobody's wife.
Well I see you there with the rose in your teeth
One more thin gypsy thief
Well I see Jane's awake --
She sends her regards.
And what can I tell you my brother, my killer
What can I possibly say?
I guess that I miss you, I guess I forgive you
I'm glad you stood in my way.
If you ever come by here, for Jane or for me
Your enemy is sleeping, and his woman is free.
Yes, and thanks, for the trouble you took from her eyes
I thought it was there for good so I never tried.
And Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear --
Sincerely, L. Cohen
It's four in the morning, the end of December
I'm writing you now just to see if you're better
New York is cold, but I like where I'm living
There's music on Clinton Street all through the evening.
I hear that you're building your little house deep in the desert
You're living for nothing now, I hope you're keeping some kind of record.
Yes, and Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear
Did you ever go clear?
Ah, the last time we saw you you looked so much older
Your famous blue raincoat was torn at the shoulder
You'd been to the station to meet every train
And you came home without Lili Marlene
And you treated my woman to a flake of your life
And when she came back she was nobody's wife.
Well I see you there with the rose in your teeth
One more thin gypsy thief
Well I see Jane's awake --
She sends her regards.
And what can I tell you my brother, my killer
What can I possibly say?
I guess that I miss you, I guess I forgive you
I'm glad you stood in my way.
If you ever come by here, for Jane or for me
Your enemy is sleeping, and his woman is free.
Yes, and thanks, for the trouble you took from her eyes
I thought it was there for good so I never tried.
And Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear --
Sincerely, L. Cohen
Tuesday, February 7, 2017
VIRGINIA WOOLF from To The Lighthouse
But slumber and sleep though it might there came later in the summer ominous sounds like the measured blows of hammers dulled on felt, which, with their repeated shocks still further loosened the shawl and cracked the tea-cups. Now and again some glass tinkled in the cupboard as if a giant voice had shrieked so loud in its agony that tumblers stood inside a cupboard vibrated too. Then again silence fell; and then, night after night, and sometimes in plain mid-day when the roses were bright and light turned on the wall its shape clearly there seemed to drop into this silence, this indifference, this integrity, the thud of something falling.
But slumber and sleep though it might there came later in the summer ominous sounds like the measured blows of hammers dulled on felt, which, with their repeated shocks still further loosened the shawl and cracked the tea-cups. Now and again some glass tinkled in the cupboard as if a giant voice had shrieked so loud in its agony that tumblers stood inside a cupboard vibrated too. Then again silence fell; and then, night after night, and sometimes in plain mid-day when the roses were bright and light turned on the wall its shape clearly there seemed to drop into this silence, this indifference, this integrity, the thud of something falling.
Monday, February 6, 2017
DŌGEN
Drifting pitifully in the whirlwind of birth and death,
As if wandering in a dream,
In the midst of illusion I awaken to the true path;
There is one more matter I must not neglect,
But I need not bother now,
As I listen to the sound of the evening rain
Falling on the roof of my temple retreat
In the deep grass of Fukakusa.
Drifting pitifully in the whirlwind of birth and death,
As if wandering in a dream,
In the midst of illusion I awaken to the true path;
There is one more matter I must not neglect,
But I need not bother now,
As I listen to the sound of the evening rain
Falling on the roof of my temple retreat
In the deep grass of Fukakusa.
Sunday, February 5, 2017
Saturday, February 4, 2017
Friday, February 3, 2017
CAROLYN FORCHÉ - "The Museum of Stones
These are your stones, assembled in matchbox and tin,
collected from roadside, culvert, and viaduct,
battlefield, threshing floor, basilica, abattoir–
stones, loosened by tanks in the streets
from a city whose earliest map was drawn in ink on linen,
schoolyard stones in the hand of a corpse,
pebble from Apollinaire’s oui,
stone of the mind within us
carried from one silence to another,
stone of cromlech and cairn, schist and shale, horneblende,
agate, marble, millstones, ruins of choirs and shipyards,
chalk, marl, mudstone from temples and tombs,
stone from the tunnel lined with bones,
lava of a city’s entombment, stones
chipped from lighthouse, cell wall, scriptorium,
paving stones from the hands of those who rose against the army,
stones where the bells had fallen, where the bridges were blown,
those that had flown through windows, weighted petitions,
feldspar, rose quartz, blueschist, gneiss and chert,
fragments of an abbey at dusk, sandstone toe
of a Buddha mortared at Bamiyan,
stone from the hill of three crosses and a crypt,
from a chimney where storks cried like human children,
stones newly fallen from stars, a stillness of stones, a heart,
altar and boundary of stone, marker and vessel, first cast, lode and hail,
bridge stones and others to pave and shut up with,
stone apple, stone basil, beech, berry, stone brake,
stone bramble, stone fern, lichen, liverwort, pippin and root,
concretion of the body, as blind as cold as deaf,
all earth a quarry, all life a labor, stone-faced, stone-drunk
with hope that this assemblage of rubble, taken together, would become
a shrine or holy place, an ossuary, immoveable and sacred
like the stone that marked the path of the sun as it entered the human dawn.
These are your stones, assembled in matchbox and tin,
collected from roadside, culvert, and viaduct,
battlefield, threshing floor, basilica, abattoir–
stones, loosened by tanks in the streets
from a city whose earliest map was drawn in ink on linen,
schoolyard stones in the hand of a corpse,
pebble from Apollinaire’s oui,
stone of the mind within us
carried from one silence to another,
stone of cromlech and cairn, schist and shale, horneblende,
agate, marble, millstones, ruins of choirs and shipyards,
chalk, marl, mudstone from temples and tombs,
stone from the tunnel lined with bones,
lava of a city’s entombment, stones
chipped from lighthouse, cell wall, scriptorium,
paving stones from the hands of those who rose against the army,
stones where the bells had fallen, where the bridges were blown,
those that had flown through windows, weighted petitions,
feldspar, rose quartz, blueschist, gneiss and chert,
fragments of an abbey at dusk, sandstone toe
of a Buddha mortared at Bamiyan,
stone from the hill of three crosses and a crypt,
from a chimney where storks cried like human children,
stones newly fallen from stars, a stillness of stones, a heart,
altar and boundary of stone, marker and vessel, first cast, lode and hail,
bridge stones and others to pave and shut up with,
stone apple, stone basil, beech, berry, stone brake,
stone bramble, stone fern, lichen, liverwort, pippin and root,
concretion of the body, as blind as cold as deaf,
all earth a quarry, all life a labor, stone-faced, stone-drunk
with hope that this assemblage of rubble, taken together, would become
a shrine or holy place, an ossuary, immoveable and sacred
like the stone that marked the path of the sun as it entered the human dawn.
Thursday, February 2, 2017
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