Scripts

Ask me for the shape of things and I shall pick you up a pebble. Let the wind answer for me. This bit of hair, this dust of skin. After the communiqu├ęs, I shall take courage and be wrong.

Ask after the old and the new and I will find you some soil, my sandbox to play in, some knitting, there will be no albums. Money, photographs, leaves, they all fall slowly. I cherished them once. And I will tell you of the span of ten fingers, all dreams and air, and the desperate need for record-keeping.


Rope

You said, “No more walls.”

What did you see after you threw yourself against the ropes? Launched yourself from them? Did you find anything? Did they crawl over your wrists, the ropes? Tie you in knots, your knees bent climbing them? Did you meet that other body you raged against?

Were you subdued before you hung from them?

Did you find it, what you were looking for all the time you were using the perimeter of the ring, the stage, the self, the world?

Did you look up?


Change

You, Man, go on, tear up the script. I want to see the edges of that paper tear the light when you do it. Sharp edges. Make splinters when you scour wood. And raw, inflamed, cold skin. Scrape it out.

 
And you, Woman, cold as fury, you shall be ice shards in the wood fence. The bits that will pierce him when he reaches for the gate. Unable to burn, you will disappear and leave naught but the thought that if this is winter there must have been another season, too.


Doors

‘Tis a terrible thing, isn’t it, to know that one is utterly responsible for every act, every instant, of this long and strange life…

How does one map the golden dust between the weight of this cross on one’s shoulders and the serenity of freedom? The smiles on all those sculptures say that freedom confers serenity. Others say justice is serene, or should be, and take solace in human formulations of transcendent law.

Crouching at the foot of all things tall–altars, crosses, saints, gods, statues– where do I put aside this bundle of grief? It seems out of place in thy philosophy. I cannot enter, my liege.


Sugarman, there is no why

http://www.nytimes.com/2014/05/14/movies/malik-bendjelloul-36-dies-directed-sugar-man-movie.html?_r=0

There is no why. Our questions are allowed, but no answers.

It is heady to flirt with the darkness and the light. Death is enormously seductive in its anonymity but not for those who want to go in and find anything out. You have to be willing to surrender, and do so without belief in a higher grace. That’s why, perhaps, suicide is called a sin; it sins against the possibility of hope, forgiveness, redemption and all that grace, and the agent takes all choice in hand, leaving none for a god. The witnesses cannot bear that. That loss of hope.

For the acteur, to choose death is a surrender unto the archetypal Servant, to consent to become a momentary mirror for whatever we see facing us. To have done with the broken knees of the world.

Is death so different then from the archetypal Lover, the dark eternal god? Both will be angered, because you have come to them before they asked for you, but the deed is done and they, being lovers, must still make it difficult for themselves to allow you to join them. So they ask for a price, a final discharging of debts before the merging. The shoulders of the world.


Reckoning

The poet, a man, had stacked body, heart, mind and god against himself.

I, being what I am, stack body against heart. There! The kindling is laid, and the cross.

 


Pillar and Tree

Tell me how to stand without wish, without desire. Even Kalpataru rears arrested by longings.

Tell me, how to prune to singular aim this multitudinous life, that in pursuit of one invisible longing one may find the flowering and the fruition of all the long years.

Tell me. Is it true?


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