EMIL CIORAN
In every man sleeps a prophet, and when he wakes there is a little more evil in the world.
Wednesday, April 12, 2017
Tuesday, April 11, 2017
CARL SAGAN from The Demon-Haunted World (1995)
I have a foreboding of an America in my children’s or grandchildren’s time – when the United States is a service and information economy; when nearly all the manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues.
When the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide, almost without noticing, back into superstition and darkness.
The dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30 second sound bites - now down to 10 seconds or less - lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance.
I have a foreboding of an America in my children’s or grandchildren’s time – when the United States is a service and information economy; when nearly all the manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues.
When the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide, almost without noticing, back into superstition and darkness.
The dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30 second sound bites - now down to 10 seconds or less - lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance.
Monday, April 10, 2017
Friday, April 7, 2017
Thursday, April 6, 2017
JULIAN RANDALL - “The King Is Dead, Long Live the King”
Heaven is the certainty that you will be avengedI know I know the kingdom is not fair
but it’s what I have a montage of red and a mitosis
of knuckles I’m not sure how you could expect me
to love anything Ain’t no question
sadness is regal like that
golden and replaceable once I wanted
a lineage of identical men once a mouth soft and hot
as the quickest way that gold can hurt you You see
a pattern yet? I practice the want of nothing and fail
I’ve been shown how ugly I can be
when I am invisible
I don’t believe in yesterdays
The throat of loneliness? Straddled with my knife
I press my hands to my face and the lament is a valley
the light sags through What do you do when you have
lost Everything? Rewrite the history of Everything
I don’t like my smile because someone told me I didn’t like it
Now I am gorgeous in all the languages I mothered
Flex the antonym of Missing I avenge myself
Stretch my hands I orphan my grief for the living and it is beauty
ain’t no question I monarch
the lonely I my own everything now I miss my love and
it is an American grief I strike the smell from nostalgia
cut my memory to spite my country What is the odor of nothing
but my dominion in want of excess I grin and pillars of bone flower
into sawed-off crowns say I flex the light and the light flexes
heat shimmer unfurling like a bicep my lust a mirage
where the body is merely a congealing of the river I can feel it
slowly drifting away from me The world I knew is gone
and getting more gone and my anthem populating my nose
with an abundance of salt I slip the shroud over the life I named
and forget I belonged to someone once My sovereign’s face is a riot
of diamonds whining This will be a beautiful death and I am free
and gorgeous and desperate to never have to miss anyone again
I rock the jeweled shroud become the bride of my own sad light
Wednesday, April 5, 2017
SHARA McCALLUM - “No Ruined Stone”
When the dead returnthey will come to you in dream
and in waking, will be the bird
knocking, knocking against glass, seeking
a way in, will masquerade
as the wind, its voice made audible
by the tongues of leaves, greedily
lapping, as the waves’ self-made fugue
is a turning and returning, the dead
will not then nor ever again
desert you, their unrest
will be the coat cloaking you,
the farther you journey
from them the more
that distance will maw in you,
time and place gulching
when the dead return to demand
accounting, wanting
and wanting and wanting
everything you have to give and nothing
will quench or unhunger them
as they take all you make as offering.
Then tell you to begin again.
Tuesday, April 4, 2017
Monday, April 3, 2017
FLORENCE RIPLEY MASTIN - “Dust”
My words are dust.
I who would build a star,
I who would touch the heel of the white sun;
Staggering up the inaccessible sky,
I look upon the dust.
The stainless clouds go mounting
In shining spires;
And a little heap of dust
Are my desires.
Yet, dwelling long upon these peaks
Unchained upon the flickering western sky,
I have beheld them at the breath of darkness
Fade slowly out and die.
What of my lineage?
Arrogant and swift,
I bend above the dust,
Untouched of all my grief,
Untarnished of the hour,
And lo! the leaf—
The passionate climbing flower!
My words are dust.
I who would build a star,
I who would touch the heel of the white sun;
Staggering up the inaccessible sky,
I look upon the dust.
The stainless clouds go mounting
In shining spires;
And a little heap of dust
Are my desires.
Yet, dwelling long upon these peaks
Unchained upon the flickering western sky,
I have beheld them at the breath of darkness
Fade slowly out and die.
What of my lineage?
Arrogant and swift,
I bend above the dust,
Untouched of all my grief,
Untarnished of the hour,
And lo! the leaf—
The passionate climbing flower!
Sunday, April 2, 2017
Saturday, April 1, 2017
Friday, March 31, 2017
RYAN ADAMS - "Oh My Sweet Carolina"
I went down to HoustonAnd I stopped in San Antone
I passed up the station for the bus
I was trying to find me something
But I wasn't sure just what
Man I ended up with pockets full of dust
So I went on to Cleveland and I ended up insane
I bought a borrowed suit and learned to dance
I was spending money like the way it likes to rain
Man I ended up with pockets full of 'caine
Oh my sweet Carolina
What compels me to go
Oh my sweet disposition
May you one day carry me home
I ain't never been to Vegas
But I gamble all my life
Building newsprint boats I race to sewer mains
Was trying to find me something
But I wasn't sure just what
Funny how they say that some things never change
Oh my sweet Carolina
What compels me to go
Oh my sweet disposition
May you one day carry me home
Up here in the city feels like things are closing in
The sunsets just my light bulb burning out
I miss Kentucky and I miss my family
All the sweetest winds they blow across the south
Oh my sweet Carolina
What compels me to go
Oh my sweet disposition
May you one day carry me home
May you one day carry me home
Thursday, March 30, 2017
Wednesday, March 29, 2017
HANNAH ARENDT from The Origins of Totalitarianism
The ideal subject of totalitarian rule is not the convinced Nazi or the convinced Communist, but people for whom the distinction between fact and fiction (i.e., the reality of experience) and the distinction between true and false (i.e., the standards of thought) no longer exist.
The ideal subject of totalitarian rule is not the convinced Nazi or the convinced Communist, but people for whom the distinction between fact and fiction (i.e., the reality of experience) and the distinction between true and false (i.e., the standards of thought) no longer exist.
Monday, March 27, 2017
Sunday, March 26, 2017
NĀGĀRJUNA - “Space”
No trace of space
Is there before
The absence of obstruction
Which describes it.
With no obstruction,
How can there be
Absence of obstruction?
Who distinguishes between them?
Space is not obstruction
Or an absence of it,
Nor is it a description
Or something to describe.
Fluidity and heat,
Energy and gravity
Are just like space.
In seeing things
To be or not to be
Fools fail to see
A world at ease.
No trace of space
Is there before
The absence of obstruction
Which describes it.
With no obstruction,
How can there be
Absence of obstruction?
Who distinguishes between them?
Space is not obstruction
Or an absence of it,
Nor is it a description
Or something to describe.
Fluidity and heat,
Energy and gravity
Are just like space.
In seeing things
To be or not to be
Fools fail to see
A world at ease.
Saturday, March 25, 2017
THOMAS MERTON from No Man is an Island
It is useless to try to make peace with ourselves by being pleased with everything we have done. In order to settle down in the quiet of our own being we must learn to be detached from the results of our own activity. We must withdraw ourselves, to some extent, from effects that are beyond our control and be content with the good will and the work that are the quiet expression of our inner life. We must be content to live without watching ourselves live, to work without expecting an immediate reward, to love without an instantaneous satisfaction, and to exist without any special recognition.
It is useless to try to make peace with ourselves by being pleased with everything we have done. In order to settle down in the quiet of our own being we must learn to be detached from the results of our own activity. We must withdraw ourselves, to some extent, from effects that are beyond our control and be content with the good will and the work that are the quiet expression of our inner life. We must be content to live without watching ourselves live, to work without expecting an immediate reward, to love without an instantaneous satisfaction, and to exist without any special recognition.
Friday, March 24, 2017
CAROLYN FORCHÉ - “Elegy”
The page opens to snow on a field: boot-holed month, black hour
the bottle in your coat half voda half winter light.
To what and to whom does one say yes?
If God were the uncertain, would you cling to him?
Beneath a tattoo of stars the gate open, so silent so like a tomb.
This is the city you most loved, an empty stairwell
where the next rain lifts invisibly from the Seine.
With solitude, your coat open, you walk
steadily as if the railings were there and your hands weren’t passing
through them.
“When things were ready, they poured on fuel and touched off the fire.
They waited for a high wind. It was very fine, that powdered bone.
It was put into sacks, and when there was enough we went to a bridge
on the Narew River.”
And even less explicit phrases survived:
“To make charcoal.
For laundry irons.”
And so we revolt against silence with a bit of speaking.
The page is a charred field where the dead would have written
We went on. And it was like living through something again one
could not live through again.
The soul behind you no longer inhabits your life: the unlit house
with its breathless windows and a chimney of ruined wings
where wind becomes an aria, your name, voices from a field,
And you, smoke, dissonance, a psalm, a stairwell.
The page opens to snow on a field: boot-holed month, black hour
the bottle in your coat half voda half winter light.
To what and to whom does one say yes?
If God were the uncertain, would you cling to him?
Beneath a tattoo of stars the gate open, so silent so like a tomb.
This is the city you most loved, an empty stairwell
where the next rain lifts invisibly from the Seine.
With solitude, your coat open, you walk
steadily as if the railings were there and your hands weren’t passing
through them.
“When things were ready, they poured on fuel and touched off the fire.
They waited for a high wind. It was very fine, that powdered bone.
It was put into sacks, and when there was enough we went to a bridge
on the Narew River.”
And even less explicit phrases survived:
“To make charcoal.
For laundry irons.”
And so we revolt against silence with a bit of speaking.
The page is a charred field where the dead would have written
We went on. And it was like living through something again one
could not live through again.
The soul behind you no longer inhabits your life: the unlit house
with its breathless windows and a chimney of ruined wings
where wind becomes an aria, your name, voices from a field,
And you, smoke, dissonance, a psalm, a stairwell.
Thursday, March 23, 2017
CHRIS WILLIAMS from Ecology and Socialism
A world economic system predicated on relentless growth, devouring increasing amounts of raw materials and energy and spewing out ever-larger amounts of toxic waste products, has produced a whole series of environmental threats: species extinction, air and water pollution, genetically modified organisms, desertification, deforestation, soil depletion, and the ever-present possibility of nuclear warfare, to name only a few.
However, as it intersects with all other threats, and furthermore has a tendency to aggravate them, the most urgent and all-encompassing of these is global climate change.
A world economic system predicated on relentless growth, devouring increasing amounts of raw materials and energy and spewing out ever-larger amounts of toxic waste products, has produced a whole series of environmental threats: species extinction, air and water pollution, genetically modified organisms, desertification, deforestation, soil depletion, and the ever-present possibility of nuclear warfare, to name only a few.
However, as it intersects with all other threats, and furthermore has a tendency to aggravate them, the most urgent and all-encompassing of these is global climate change.
Wednesday, March 22, 2017
Tuesday, March 21, 2017
Monday, March 20, 2017
TOMAS TRANSTRÖMER - “Track”
2 A.M. moonlight. The train has stopped
out in a field. Far off sparks of light from a town,
flickering coldly on the horizon
As when a man goes so deep into his dream
he will never remember he was there
when he returns again to his view
Or when a person goes so deep into a sickness
that his days all become some flickering sparks, a swarm
feeble and cold on the horizon
The train is entirely motionless
2 o’clock: strong moonlight, few stars
2 A.M. moonlight. The train has stopped
out in a field. Far off sparks of light from a town,
flickering coldly on the horizon
As when a man goes so deep into his dream
he will never remember he was there
when he returns again to his view
Or when a person goes so deep into a sickness
that his days all become some flickering sparks, a swarm
feeble and cold on the horizon
The train is entirely motionless
2 o’clock: strong moonlight, few stars
Sunday, March 19, 2017
Saturday, March 18, 2017
Friday, March 17, 2017
Thursday, March 16, 2017
Wednesday, March 15, 2017
H. L. HIX - "Blur"
Turns out lots of lines prove blurry I once thought sharp.
Some blur from further away, some from closer in.
Plant/animal, for instance. On which side, and why,
the sessile polyps, corals and sea anemones?
Same problem saying why my self must be internal.
Where do I see those finches glinting at the feeder?
To experience the is-ness of what is,
I’d need to locate the here-ness of what’s here.
Or be located by it. Or share location with it.
There’s a line I want to blur: between my senses
and my self. And another: between my senses
and the world. That anemone looks more like a lily
than an appaloosa. Looks, and acts. I feel that fizz
of finches sparkle on my tongue, the back of my throat.
I don’t say these words until I hear them. My voice
visits. Is visitation. I would choose the role
of visitor over visited, if I got to choose.
Those finches trill and warble in sequences of phrases.
I can tell there’s pattern, but not what the pattern is.
I can say I hear them (I do hear them) in my sleep,
but I can’t say what that means. Their twitters and chirps
start early, before I wake. I can say they chatter all day
(they do), when I’m hearing them and when I’m not,
but I can’t say how I know that. The back of my hand
always feels as if it’s just been lightly touched.
Turns out lots of lines prove blurry I once thought sharp.
Some blur from further away, some from closer in.
Plant/animal, for instance. On which side, and why,
the sessile polyps, corals and sea anemones?
Same problem saying why my self must be internal.
Where do I see those finches glinting at the feeder?
To experience the is-ness of what is,
I’d need to locate the here-ness of what’s here.
Or be located by it. Or share location with it.
There’s a line I want to blur: between my senses
and my self. And another: between my senses
and the world. That anemone looks more like a lily
than an appaloosa. Looks, and acts. I feel that fizz
of finches sparkle on my tongue, the back of my throat.
I don’t say these words until I hear them. My voice
visits. Is visitation. I would choose the role
of visitor over visited, if I got to choose.
Those finches trill and warble in sequences of phrases.
I can tell there’s pattern, but not what the pattern is.
I can say I hear them (I do hear them) in my sleep,
but I can’t say what that means. Their twitters and chirps
start early, before I wake. I can say they chatter all day
(they do), when I’m hearing them and when I’m not,
but I can’t say how I know that. The back of my hand
always feels as if it’s just been lightly touched.
Tuesday, March 14, 2017
Monday, March 13, 2017
Sunday, March 12, 2017
TARJEI VESAAS - “Sun-Corner”
At home there’s a sun-corner
where spring quietly stirs.
Dripping all day long.
Clear drops from the snow-rim,
they reflect both good and bad
in their brief fall, and are shattered.
The sun is a hot cataract.
In that sun-corner,
where you were born -
it’s those drops that should
mirror you, and wet your lips,
pure from the snow-rim and
right into your heart.
It’s in that faint smell of
spring moisture you should fall asleep.
That call you should heed.
There, everything would feel right.
It’s all moving downhill.
Everything’s oozing toward a distant
goal,
on its way to the sea.
An unknown sea inside a dream.
All of spring’s sorrow is heading there.
All thoughts spiral there
and then disappear.
Your childhood sun-corner is where
you are when the call sounds.
At home there’s a sun-corner
where spring quietly stirs.
Dripping all day long.
Clear drops from the snow-rim,
they reflect both good and bad
in their brief fall, and are shattered.
The sun is a hot cataract.
In that sun-corner,
where you were born -
it’s those drops that should
mirror you, and wet your lips,
pure from the snow-rim and
right into your heart.
It’s in that faint smell of
spring moisture you should fall asleep.
That call you should heed.
There, everything would feel right.
It’s all moving downhill.
Everything’s oozing toward a distant
goal,
on its way to the sea.
An unknown sea inside a dream.
All of spring’s sorrow is heading there.
All thoughts spiral there
and then disappear.
Your childhood sun-corner is where
you are when the call sounds.
Saturday, March 11, 2017
Friday, March 10, 2017
Thursday, March 9, 2017
Wednesday, March 8, 2017
Monday, March 6, 2017
ELIAS CANETTI
The Agony of Flies
____________________
____________________
It isn’t being alone that I need to know, for that comes easy to me. I like being alone; what I need to learn is how to keep silent around people … It doesn’t matter to whom my words are addressed or whether or not they are understood; the words in themselves have a horrifying and devastating effect on me. They are too strong; I need to muffle them by writing them down … I myself cannot evade my words; I am at their mercy; I take them in whole; I understand them fully and they shake me the way a storm shakes up the sea.
Sunday, March 5, 2017
YUAN MEI - "Nearing Hao-pa"
(I saw in the mist a little village of a few tiled roofs and joyfully admired it.)
There’s a stream, and there’s bamboo,
there’s mulberry and hemp.
Mist-hid, clouded hamlet,
a mild, tranquil place.
Just a few tilled acres.
Just a few tiled roofs.
How many lives would I
have to live, to get
that simple.
(I saw in the mist a little village of a few tiled roofs and joyfully admired it.)
There’s a stream, and there’s bamboo,
there’s mulberry and hemp.
Mist-hid, clouded hamlet,
a mild, tranquil place.
Just a few tilled acres.
Just a few tiled roofs.
How many lives would I
have to live, to get
that simple.
Saturday, March 4, 2017
HAROLD PINTER
Party Time
You don’t have to believe anything. You just have to shut up and mind your own business, how many times do I have to tell you? You come to a lovely party like this, all you have to do is shut up and enjoy the hospitality and mind your own fucking business. How many more times do I have to tell you? You keep hearing all these things. You keep hearing all these things spread by pricks about pricks. What’s it got to do with you?
Friday, March 3, 2017
Thursday, March 2, 2017
Wednesday, March 1, 2017
LEAD BELLY - “There’s a Man Going ‘Round Taking Names”
There’s a man going ‘round taking names
There’s a man going ‘round taking names
He’s been taking my father’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my mother’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my sister’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my brother’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my father’s name
And he left my heart in vain
There’s a man going 'round taking names
There’s a man going ‘round taking names
There’s a man going ‘round taking names
He’s been taking my father’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my mother’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my sister’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my brother’s name
And he left my heart in vain
There’s a man going 'round taking names.
There’s a man going 'round taking names
There’s a man going 'round taking names
He’s been taking my father’s name
And he left my heart in vain
There’s a man going 'round taking names
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
CHRISTOPHER HITCHENS
____________________
I am absolutely convinced that the main source of hate in the world is religion and organized religion. Absolutely convinced of that. And I think it should be - religion - treated with ridicule, hatred, and contempt.
So when I say that I think religion poisons everything, I’m not just doing what publishers like and coming up with a provocative subtitle. I mean to say it infects us in our most basic integrity.
It says we can’t be moral without “Big Brother,” without a totalitarian permission. It means we can’t be good to one another without this. It means we must be afraid.
We must also be forced to love someone whom we fear - the essence of sado-masochism, the essence of abjection, the essence of the Master/Slave relationship. And that it knows death is coming, and can’t wait to bring it on.
I say that is Evil.
And though I do, some nights, stay home, I enjoy more the nights when I go out and fight against this ultimate wickedness and this ultimate stupidity.
I am absolutely convinced that the main source of hate in the world is religion and organized religion. Absolutely convinced of that. And I think it should be - religion - treated with ridicule, hatred, and contempt.
So when I say that I think religion poisons everything, I’m not just doing what publishers like and coming up with a provocative subtitle. I mean to say it infects us in our most basic integrity.
It says we can’t be moral without “Big Brother,” without a totalitarian permission. It means we can’t be good to one another without this. It means we must be afraid.
We must also be forced to love someone whom we fear - the essence of sado-masochism, the essence of abjection, the essence of the Master/Slave relationship. And that it knows death is coming, and can’t wait to bring it on.
I say that is Evil.
And though I do, some nights, stay home, I enjoy more the nights when I go out and fight against this ultimate wickedness and this ultimate stupidity.
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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