May 8, 2013
from The Love Of My Life

SHE DIED ON a Monday during spring break of our senior year. After her funeral, I immediately went back to school because she had begged me to do so. It was the beginning of a new quarter. In most of my classes, we were asked to introduce ourselves and say what we had done over the break. “My name is Cheryl,” I said. “I went to Mexico.”

I lied not to protect myself, but because it would have been rude not to. To express loss on that level is to cross a boundary, to violate personal space, to impose emotion in a nonemotional place.

We did not always treat grief this way. Nearly every culture has a history, and some still have a practice, of mourning rituals, many of which involve changes in the dress or appearance of those in grief. The wearing of black clothing or mourning jewelry, hair cutting, and body scarification or ritual tattooing all made the grief-stricken immediately visible to the people around them. Although it is true that these practices were sometimes ridiculously restrictive and not always in the best interest of the mourner, it is also true that they gave us something of value. They imposed evidence of loss on a community and forced that community to acknowledge it. If, as a culture, we don’t bear witness to grief, the burden of loss is placed entirely upon the bereaved, while the rest of us avert our eyes and wait for those in mourning to stop being sad, to let go, to move on, to cheer up. And if they don’t — if they have loved too deeply, if they do wake each morning thinking, I cannot continue to live — well, then we pathologize their pain; we call their suffering a disease.

We do not help them: we tell them that they need to get help.

March 27, 2013
The Nothingness of Personality

There is no whole self. Grimm, in an excellent presentation of Buddhism (Die Lehre des Buddha, Munich, 1917), describes the process of elimination whereby the Indians arrived at this certainty. Here is their millennially effective precept: “Those things of which I can perceive the beginnings and the end are not my self.” This rule is correct and needs only to be exemplified in order to persuade us of its virtue. I, for example, am not the visual reality that my eyes encompass, for if I were, darkness would kill me and nothing would remain in me to desire the spectacle of the world, or even to forget it. Nor am I the audible world that I hear, for in that case silence would erase me and I  would pass from sound to sound without memory of the previous one. Subsequent identical lines of argument can be directed toward the senses of smell, taste, and touch, proving not only that I am not the world of appearances - a thing generally known and undisputed - but that the apperceptions that indicate that world are not my self either. That is, I am not my own activity of seeing, hearing, smelling, tasting, touching. Nor am I my body, which is a phenomenon among others. Up to this point the argument is banal; its distinction lies in its application to spiritual matters. Are desire, thought, happiness, and distress my true self? The answer, in accordance with the precept, is clearly in the negative, since those conditions expire without annulling me with them. Consciousness - the final hideout where we might track down the self - also proves unqualified. Once the emotions, the extraneous perceptions, and even ever-shifting thought are dismissed, consciousness is a barren thing, without any appearance reflected in it to make it exist.

Grimm observes that this rambling dialectical inquiry yields a result that coincides with Schopenhauer’s opinion that the self is a point whose immobility is useful for discerning, by contrast, the heavy-laden flight of time. This opinion translates the self into a mere logical imperative, without qualities of its own or distinctions from individual to individual.

 - Jorge Luis Borges

March 27, 2013
"To your final question, however, whether it is possible for me to take you as though nothing had happened, I can only say that it is not possible. But what is possible, and in fact necessary, is for me to take you with all that has happened, and to hold on to you to the point of delirium."

25 March (1914): Franz Kafka to Felice Bauer

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March 22, 2013
"we’re talking about the struggle to drag a thought over from the mush of the unconscious into some kind of grammar, syntax, human sense; every attempt means starting over with language. starting over with accuracy. i mean, every thought starts over, so every expression of a thought has to do the same. every accuracy has to be invented… . i feel i am blundering in concepts too fine for me."

— Anne Carson on writing

February 27, 2013

through-thefog-and-filthyair:

If certain, when this life was out,
That yours and mine should be,
I’d toss it yonder like a rind,
And taste eternity.

But now, all ignorant of the length
Of time’s uncertain wing,
It goads me, like the goblin bee,
That will not state its sting.

February 27, 2013

through-thefog-and-filthyair:

They mutilate they torment each other
with silences with words

as if they had another
life to live

February 27, 2013
“Adam’s Curse” // W. B. Yeats

through-thefog-and-filthyair:

We sat grown quiet at the name of love;
We saw the last embers of daylight die,
And in the trembling clue-green of the sky
A moon, worn as if it had been a sheel
Washed by time’s waters as they rose and feel
About the stars and broke in days and years.

I had a thought for no one’s but your ears:
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet we’d grown
As weary-hearted as that hollow moon.

(via guardswards)

January 27, 2013
La Somnambule: Early Affection

I lov’d thee from the earliest dawn,
     When first I saw thy beauty’s ray,
And will, until life’s eve comes on,
     And beauty’s blossom fades away;
And when all things go well with thee,
With smiles and tears remember me.

I’ll love thee when thy morn is past,
     And wheedling gallantry is o’er,
When youth is lost in age’s blast,
     And beauty can ascend no more,
And when life’s journey ends with thee,
O, then look back and think of me.

I’ll love thee with a smile or frown,
     ’Mid sorrow’s gloom or pleasure’s light,
And when the chain of life runs down,
     Pursue thy last eternal flight,
When thou hast spread thy wing to flee,
Still, still, a moment wait for me.

I’ll love thee for those sparkling eyes,
     To which my fondness was betray’d,
Bearing the tincture of the skies,
     To glow when other beauties fade,
And when they sink too low to see,
Reflect an azure beam on me.

(Source: poetryfoundation.org)

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Filed under: poetry Literature 
January 6, 2013

January 6, 2013
Vladimir Nabokov, The Art of Fiction No. 40
INTERVIEWER: Another critic has written that your “worlds are static. They may become tense with obsession, but they do not break apart like the worlds of everyday reality.” Do you agree? Is there a static quality in your view of things?
NABOKOV: Whose “reality”? “Everyday” where? Let me suggest that the very term “everyday reality” is utterly static since it presupposes a situation that is permanently observable, essentially objective, and universally known. I suspect you have invented that expert on “everyday reality.” Neither exists.
November 22, 2012
[asking]

there is ghazal swimming inside of her, wanting to be born. on the matter of foretelling, of small miracles, cactus flowers in bloom on this city fire escape, where inside your tongue touches every inch of her skin, where you lay your hand on her belly and sleep. here, she fingers the ornate remains of ancient mosques. here, some mythic angel will rise from the dust of ancestors’ bones. this is where you shall worship, at the intersections of distilled deities and memory’s sharp edges. the country is quite a poetic place; water and rock contain verse and metaphor, even wild grasses reply in rhyme. you are not broken. she knows this having captured a moment of lucidity; summer lightning bugs, sun’s rays in a jelly jar.
 
this is not a love poem, but a cove to escape the flux, however momentary. she is still a child, confabulating the fantastic; please do not erode her wonder for the liquid that is your language. there is thunderstorm in her chest, wanting to burst through her skin. this is neither love poem nor plea. this is not river, nor stone.

Barbara Jane Reyes, “Asking” from Poeta en San Francisco. Copyright © 2005 by Barbara Jane Reyes.  Reprinted by permission of Tinfish Press.

November 22, 2012

When Robert Hass visited Pearl London’s class in 1977, he brought with him a typed and notated draft of his poem, “Meditation at Lagunitas.” The poem went on to become one of Hass’s most celebrated poems.  Speaking with London, he confessed that the poem made him nervous; in the poem, he said, he wanted to “use abstract language and talk directly about ideas and use a long line and deal with what I was feeling and still have a poem.”

When Robert Hass visited Pearl London’s class in 1977, he brought with him a typed and notated draft of his poem, “Meditation at Lagunitas.” The poem went on to become one of Hass’s most celebrated poems.  Speaking with London, he confessed that the poem made him nervous; in the poem, he said, he wanted to “use abstract language and talk directly about ideas and use a long line and deal with what I was feeling and still have a poem.”

(Source: sed-non-satiata)

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Filed under: poetry 
November 22, 2012

(Source: lovesweetlylovetenderly, via heteroglossia)

November 11, 2012
Francesca Woodman, Untitled, Providence, Rhode Island, 1976

“In Untitled (1976), a contact sheet of eleven photographs, Woodman physically articulates the experience of transition… Divided, her identity a blur, she is counterpoised between the past and the future. Standing before her photographs, suspended in a young adult purgatory I thought I would never leave, I felt the same way: illegible, pulled in two.”

Francesca Woodman, Untitled, Providence, Rhode Island, 1976

“In Untitled (1976), a contact sheet of eleven photographs, Woodman physically articulates the experience of transition… Divided, her identity a blur, she is counterpoised between the past and the future. Standing before her photographs, suspended in a young adult purgatory I thought I would never leave, I felt the same way: illegible, pulled in two.”

October 21, 2012
"We take the plunge; under water our limbs
waver, faintly green, shuddering away
from the genuine color of skin; can our dreams
ever blur the intransigent lines which draw
the shape that shuts us in?"

Tale of a Tub, Sylvia Plath

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