Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts

Saturday, 26 September 2015

Hamlet’s Bombay Dream


“... to die, to sleep
No more; and by a sleep, to say we end
The Heart-ache, and the thousand Natural shocks
That Flesh is heir to? ‘Tis a consummation
Devoutly to be wished. To die, to sleep,
To sleep, perchance to Dream; aye, there’s the rub,
For in that sleep of death, what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There's the respect
That makes Calamity of so long life.”


A Louis XV parcel-gilt and cream painted lit à la polonaise, mid 18th century (from La vie de château, collection Jean-Louis Remilleux), part of Christie’s Objects of Desire.

Featuring elaborately carved wood with gilded details, this 18th century French four-poster bed offers its inhabitant the possibility of total seclusion at the flick of a pink silk curtain. At just over three metres in height, the bed comes complete with a floral headboard, the entire structure topped with a gold ‘blossom-form’ roof. Pink sashes and tassles add to the sense of occasion.
Photography by Tim Walker for Casa Vogue October 2010, Clementine Keith-Roach and Her Oyster Shell Bed, Northamptonshire, UK.
via bombayelectric on instagram
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Sunday, 20 September 2015

Poetic Essence: Keatsian fine excess and remembrance


These violent delights have violent ends
And in their triumph die, like fire and powder,
Which, as they kiss, consume.

~Shakespeare, Romeo and Juliet: Act II, Scene 6


Emma Bennett, Death & Co, 2008; Oil and French enamel on Canvas, 170 x 130 cm.
The music and beauty of memento mori
I am entirely in love with artist Emma Bennett’s mystical and poetic paintings, quietly glistening in the darkened melodies of vanitas and mono no aware—a silently powerful Floating World that is swooningly gorgeous. Her work takes my breath away.


Anne Vallayer-Coster, “Panaches de mer, lithophytes et coquilles (Still-Life with Tuft of Marine Plants, Shells and Corals),” Oil on Canvas, 1769, Musée du Louvre, Paris.
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“In poetry I have a few axioms, and you will see how far I am from their center.

1st. I think poetry should surprise by a fine excess, and not by singularity; it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance.

2nd. Its touches of beauty should never be half-way, thereby making the reader breathless, instead of content. The rise, the progress, the setting of imagery should, like the sun, come natural to him, shine over him, and set soberly, although in magnificence, leaving him in the luxury of twilight.

But it is easier to think what poetry should be, than to write it. And this leads me to another axiom—That if poetry comes not as naturally as the leaves to a tree, it had better not come at all.

~John Keats, from a letter to John Taylor, February 27, 1818


Willem van AelstVase of Flowers with Pocket Watch
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“The more I see her, the more I am convinced she is a very isolated figure. A man should never be that, not even a young one, for since reflection is essential to his development he must have come into contact with others. But for that reason a girl should rather not be interesting, for the interesting always contains a reflection upon itself, just as the interesting in art always gives you the artist too. A young girl who wants to please by being interesting really only succeeds in pleasing herself.”

The Seducer's Diary (part of his larger book Either/Or), by Søren Kierkegaard


Francesca Woodman


Saturday, 19 September 2015

Oneiric Sketches of a Broken Poem


Miss Horatia Feilding, half-sister of William Henry Fox Talbot, playing the harp, c. 1842
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Scents, with their eyelids heavy, 
from the oneiric sketches of our broken poems:

a muser and a paresseuse 
dreaming 
of ephemeral truths, dreaming
in the absence of dreams. 

an evanescent truth 
less sorrowful; that truthful ephemerality
even less perceivable...

the memory of a door lies in its unrecoverable closedness 
to a space imagined,
—traversed and touched only by a fingertip—
to what is left open

and songs sung 
to eyes half asleep


~my sketch composed on 19th September ’15

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“Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.”

― T. S. Eliot, Four Quartets: Burnt Norton, 1936


William Henry Fox Talbot, photogenic drawing negative using botanical specimens from his garden, taken in 1839, the year he announced his discoveries in photography.
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天空持續燃放著
無聲的煙火
我們停步
牽著手
於彼大澤
和一隻鹿對望
良久

有鹿
有鹿哀愁
食野之百合 


The silent fireworks continued 
to burn across the sky
We stopped
and held our hands
We laid our gaze upon the deer
opposite the enormous swamp
gazing back at us
for a long time

There was a deer
There was a deer of sorrow
that grazed upon wild lilies 


~《有鹿》許悔之, a poem by Taiwanese poet Hsu Huei-Ji; translated from the Chinese into English by me.

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“Everything is blooming most recklessly; 
if it were voices instead of colors, 
there would be an unbelievable shrieking 
into the heart of the night.”

~Rainer Maria Rilke


Peak of Dawn, photograph by Katsuyoshi Nakahara, for National Geographic Your Shot.
Shirley poppies bloom in a field near Japan’s Mount Tsukuba, here silhouetted against an early morning sky. The mountain—which can be ascended via a hiking trail or cable car—has two peaks, each rising more than 2,800 feet.
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to sleep 
bed’d among flowers  

for scent
to wake lovers

children become
mothers and fathers

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“Often the object of a desire, 
when desire is transformed into hope, 
becomes more real than reality itself.”

― Umberto Eco, The Book of Legendary Lands


detail from an Edgar Degas painting
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“At first he told them that everything was just the same, that the pink snails were still in the house where he had been born, that the dry herring still had the same taste on a piece of toast, that the waterfalls in the village still took on a perfumed smell at dusk. They were the notebook pages again, woven with the purple scribbling, in which he dedicated a special paragraph to each one. Nevertheless, and although he himself did not seem to notice it, those letters of recuperation and stimulation were slowly changing into pastoral letters of disenchantment. One winter night while the soup was boiling in the fireplace, he missed the heat of the back of his store, the buzzing of the sun on the dusty almond trees, the whistle of the train during the lethargy of siesta time, just as in Macondo he had missed the winter soup in the fireplace, the cries of the coffee vendor, and the fleeting larks of springtime. 

Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.

― Gabriel Garcí­a Márquez, One Hundred Years of Solitude


William Henry Fox Talbot (English, 1800-1877), Lace, photogenic drawing negative,
before December 1845, 17.1 x 22.1cm, The J . Paul Getty Museum
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Aimai-je un rêve?
Mon doute, amas de nuit ancienne, s’achève
En maint rameau subtil, qui, demeuré les vrais
Bois même, prouve, hélas! que bien seul je m’offrais
Pour triomphe la faute idéale de roses.

“Did I love a dream?
My doubt, night’s ancient hoard, pursues its theme
In branching labyrinths, which being still
The veritable woods themselves, alas, reveal
My triumph as the ideal fault of roses.”


~from Stéphane Mallarmé’s poem L’après-midi d’un faune, translated by Henry Weinfeld (read also A.S. Kline's translations of Mallarmé’s poetry)


William Henry Fox Talbot, Adiantum Capillus-Veneris (Maidenhair Fern),
photogenic drawing negative, probably early 1839, 22.5 x 18.3cm.
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“It is the job of poetry to clean up our word-clogged reality by creating silences around things.”
“Everything that is sacred and that wishes to remain so must envelop itself in mystery.”
“For me, Poetry takes the place of love, because it is enamored of itself, and because its sensual delight falls back deliciously in my soul.”

~Stéphane Mallarmé


Sunday, 31 May 2015

鴉片夢:Opium Dream


Dishonesty of three gnawed fingers:

To have your attention held
between the lips
of what disinterest stirs,

To fixate upon
and name your obsession
what you do not adore—

This must be the flower’s poison
in the imagination
of a Proustian whore.


I have always loved the mystery/horror genre.
Roses, by David Sims for Visionaire
image by John Mangila

It’s quite an artform for one to stay looking golden on the outside, while feeling so profoundly rotten inside—not even sublimely or spectacularly ugly, merely this arid and lacklustre vapidness.

At some point it has got to start showing.


Roses, by David Sims for Visionaire

As if looking through the glass at a white goldfish with angel wings, swimming in water purified by beautiful sorrow. (image by John Mangila)

Wednesday, 6 May 2015

as if hope and heart could meet, as if they might dance themselves out of the dark


The paper blushes, beads of sweat from that aftermath of love.


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La poésie a inventé le monde, le monde, elle l'a oublié.
(Poetry invented the world; the world it then forgot.)


leg image via Mikio Watanabe
The Meaning of Simplicity (translated by Rae Dalven), via Poetry Foundation
艾未未,白瓷花。(via @aiww Instagram)
Ai Weiwei, “Blossom” (via @for_site & @george_fikry Instagram)
image via @nicamille Instagram

Saturday, 11 April 2015

this living hand


This living hand, now warm and capable
Of earnest grasping, would, if it were cold
And in the icy silence of the tomb,
So haunt thy days and chill thy dreaming nights
That thou wouldst wish thine own heart dry of blood
So in my veins red life might stream again,
And thou be conscience-calm'd—see here it is—
I hold it towards you. 

~John Keats (1795-1821), This Living Hand, 1819?






Friday, 6 February 2015

The music of memento mori:薔薇,無常。


花開花落:The reverie of mono no aware...

Breathing out their swansong. “A flower is perfect, when it is almost old.” An old favourite photograph I took of a rose bouquet I brought home. After having balleted through their beautiful efflorescence, these softly rouged petals dreamed their eventual, eternal slumber scattered upon my piano.

Poetry in the melodies of Eudaimonia’s sigh of bliss.



Monday, 2 February 2015

Was it a vision, or a waking dream? Fled is that music:—Do I wake or sleep?


I.

My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
’Tis not through envy of thy happy lot,
But being too happy in thine happiness,—
That thou, light-winged Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.

II.

O, for a draught of vintage! that hath been
Cool’d a long age in the deep-delved earth,
Tasting of Flora and the country green,
Dance, and Provencal song, and sunburnt mirth!
O for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stained mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:

III.

Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.

IV.

Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Cluster’d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.

V.

I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.

VI.

Darkling I listen; and, for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a mused rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.

VII.

Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm’d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.

VIII.

Forlorn! the very word is like a bell
To toil me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is fam’d to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hill-side; and now ’tis buried deep
In the next valley-glades:
Was it a vision, or a waking dream?
Fled is that music:—Do I wake or sleep?

~John Keats, Ode to a Nightingale



 紫胸佛法僧 Lilac-breasted Roller (Coracias caudatus), image via.
紫胸佛法僧 Lilac-breasted Roller (Coracias caudatus), via.

Saturday, 6 December 2014


“All I ever asked of life was that it should pass me by without my even noticing it.”

—Fernando Pessoa, The Book of Disquiet 


 “Sometimes I sensed that the books I read in rapid succession had set up some sort of murmur among themselves, transforming my head into an orchestra pit where different musical instruments sounded out, and I would realize that I could endure this life because of these musicales going on in my head.”

—Orhan Pamuk, The New Life

fleuriste en Asie (via)

Saturday, 22 November 2014

The Dying Swan ~序


Slowly the fruit ripens— 
baskets and baskets from a single tree 
so some rots every year 
and for a few weeks there’s too much: 
before and after, nothing.

~from “Abundance,” a poem by Louise Glück



“In the body certain poetic polarities are revealed: delicacy and inner strength, devotion and defiance, eroticism and asceticism, ecstasy and reverie. The oneiric and the objective are mutually in the mystery of the skin, as a border between intimacy and being into the open/outsideness (intemperie)—evoking in the viewer a feeling of hypnotisation and lucidity at the same time.”

Luis Eduardo Martínez

Thursday, 17 July 2014

Protection


birds fluttering feathers beasts secretly cringing
as if musk spreading in the mists astray, fading
then never a sound in Death/ nor breath/ not even heart
Death seals and stagnates the pale wax of light
in her mouth
as if a tooth-filing ceremony as if anaemia as if bleeding

Rebecca Horn, “The Feathered Prison Fan” (from Der Eintänzer), 1978

It is oblique, magical and ironic, and has none of the in-your-face tone of complaint (men are colonizing thugs, women are victims, and a display of wounds is all you need to make a piece of art) that renders the work of so many of her transatlantic sisters so monotonous.” 
— Robert Hughes, “Art: Mechanics Illustrated.” Time Magazine, 13 Sept 1993; Web. 17 Nov 2009.



蒼白,是血的原色與美學的逆鱗。
他舌尖的蓮消蝕一如
右頰的月光
聲音是時間與蛇的舞姿
交纏蜿蜒的連綴
而生存,歌詠著水波紊亂
殞落著無性之魅
猩紅,似卵與熱的曲線
錯誤的春花秋月
頹萎之靡交合在古印度的菱鏡
天人於是註定了五衰
水面下的墜



Celadon

Paleness, the primary colour of blood,
Aesthetics of one disobedient scale under the Dragon’s throat
The lotus on the tip of his tongue eclipses as if
the moonbeam on his right cheek.
Voices unfold in the dance between Time and the Serpent,
interweaving the movements of musical trills, winding, meandering, murmuring.
And existence, an ode to unquiet rippling, to violent waters,
perishing allures of an androgyne.
Scarlet blood, resembling the curve of an embryo and of heat
I mistake those spring flowers and autumn moon
for the decadently beautiful unison mirrored in ancient India
And angels are thus destined to decline,
falling under the water surface.
Celadon

Rebecca Horn, Dreaming Stones, 2006 (via)

死亡美學(獻詩三島之金閣)

戰後的廢墟,重建
赭色小提琴喤泣聲線
金箔剝蝕的蒸氣與躁動的香

月華清明塗抹石橋
一如滌淨生的 死亡的確知
我兀自佇立文字的金閣
美學修長的眼睫投影
蔭翳,光正自盡。

顫抖顫抖再顫抖,這齣劇本
與血的斑痕纏綿似水
海面痛苦地沉默
光,一如岩礫,一如陰影,光的自縊。

自縊的美學倫理糾結糾結死的似非而,是。
仁波切寂然誦經
呢喃破曉前刻精神與美的歸巢
逐步逐步,緊貼眼睫的哀悽

生的諷刺文體的,死
的潔白墓塚
光正瀉落一湖的私密,若水。

Rebecca Horn, Lenny Silver's Dream, 1990. Sheet music, brass, electric motor. *via Musée des Beaux-Arts de Montréal
煢煢

半圓形的天頂被一層月華光澤的膜緊緻地拉扯住,像一只充滿著水的氣球,虛擬著生腥的焦慮與一種無所事事的、完完全全脫離精神性的美與憂鬱。那個午后,是薄如蟬翼且裹上銀粉的新生的卵,適於討論命理與禪。雲以敏捷的腳步滑行於透明且虛弱的藍,泡沫似的溫順與漠然。青春其實是極度缺乏生命力的。在旺盛與浮躁之中貪慕假象的匱乏,而後需索從不曾或缺的旺盛;在柔弱的本質中渴求堅強與信仰,之後因對於軟弱愚蠢的不自覺與惑於自我宣稱的虛偽堅強而尋覓所謂謙恭溫潤的中庸。青春是僅只存活於對純粹的堅持下、一種具備了美卻不易碎的浪費。如果死的優雅與精神性建構了藝術中闡釋生命的美學,則生不過是為襯托死的一種附屬的存在。但是生命卻是無法磨滅的,即使蒼白而無意義,卻無止盡地散發出猩紅的血的氣味。印度神濕婆在宇宙的輪迴當中毀滅自己所創造的鏡花水月,而後使之重生,不斷重複操縱著生與死的轉輪;祂是否也感受到生命中那種匱乏虛弱的美,以及死亡中屬於生之投影的愛與信念?藍所象徵的嫌惡與非難,以清澈且充滿靈性的美存在於自然界的蒼穹。隅隅獨行的生,幾人在腐臭中仍吟哦走了調的聖詩,又幾人能擺脫所有倫常的帷幕而誠摯地憎恨與厭惡?然而這一切的思索總似時間過度充裕的青春所編織的蛛網,純白得美麗亦膚淺得軟弱。當青春終於被擺脫後,生命開始進入下一段對死複雜的戀慕和禁忌,與對消逝的水光緬懷的遺憾。

Nick Knight, Roses (via)
奔馬

夢先於現實。
而純粹
似花,似血,似詩
,似枯腐前消逝的生。


Runaway Horses (Realistically Synaesthetic Purity)   

Dreams, a priori, then reality.
And purity
Resembles a flower, resembles blood, resembles poetry,
Resembles life, a priori, disappearing before decay.

荒木経惟,花。

Saturday, 24 May 2014

To the Muses


Whether on Ida’s shady brow,
         Or in the chambers of the East,
The chambers of the sun, that now
         From ancient melody have ceasd;

Whether in Heavn ye wander fair,
         Or the green corners of the earth,
Or the blue regions of the air,
         Where the melodious winds have birth;

Whether on crystal rocks ye rove,
         Beneath the bosom of the sea
Wandring in many a coral grove,
         Fair Nine, forsaking Poetry!

How have you left the ancient love
         That bards of old enjoy’d in you!
The languid strings do scarcely move!
         The sound is forc’d, the notes are few!

~“To the Muses,” by William Blake

Women rest at the Parthenon whose damaged structure is under repair, December 1930. Photograph by Maynard Owen Williams, National Geographic.

Saturday, 19 April 2014

The Loved One: a triptyque


The Loved One

The wind dared not speak
eavesdropping
on the sonorous whispers of those ancient trees:
confusing euphony
sublime cacophony

He too was afraid, of
the marionettes dancing
abandoningly
amongst
the deepest shadows
of her eyelashes imperceptible

Stained-glass velvets drawing upon the Parisian dusk
set your eyes ablaze, and
turned the River ravenously technicoloured—
bejewelled everything magnificently martial.
Rilke's Rose-Window, disappearing
into a gluttonously musical sky.

—So much to say—
(that one must pass over in silence)
But is not all fair in Love and War?

I don’t think these [words] are any good,” said she.
You are my poetry,” said he.

~by Ting-Jen Hwang
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The tree from whose flower
This perfume comes
Is unknowable.
~Matsuo Basho (1644-1694)
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*And... Heifetz’s hauntingly electrifying rendition of Vitali’s Chaconne, with organ. It is perhaps my favourite version of this masterpiece.




Sunday, 23 March 2014

From the Poetique-Onirique Archive: The First Poem, for David


Probably one of the most private things in the world is an egg before it is broken.~M. F. K. Fisher

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(For my husband, whose lullaby is my breathing every night.)

All the secrets I do not share,
and all the secrets I tell no one;
all the secrets absent in my poems,
and all the secrets I do not sing, even in the silent song
of solitude permeating my veins
like the warmth and gentle scent of your amber,
these secrets are buried deep inside, within
the dreams of your belly.
They melt, and are reborn.
They grow wings, and they fly.

In the blueness of your eyes
is the light of a deep ocean that has lived
a thousand years, a thousand years of
meditative loneliness. In your hair, the golden amber grows
into a transparent flower, fragrance of the night.
The amber flower that connects your mind
with your heart.

One day you discovered a pale feather
of an anonymous bird, colour of a pale rose.
A rare feather,
exquisite and fragile, shining under
an old tree of glittering green leaves.
It was nighttime, but the sun was out.
Your one tender kiss awoke the feather, and turned it
into the bird she once was, in a past life she had already forgotten.
The rare and exquisite and fragile bird.
And she has lived with your heart, in your heart, ever since.

Your surrender to nothingness is expansive, and
the warmest embrace there ever is, ever will be.
Your refined detachment of the closest, dearest attachment of tenderness
It gives meaning to what seems to be void of meanings at all,
resembling a delicately and beautifully
cracked porcelain vase,
its slender neck holding all the secrets which are not remembered.
The unbreaking of a broken egg, in the most perfect shade
of pearlescent ivory, with
not even the faintest lines on a rainbow-hued seashell.
I realise in this moment we are regal.
We are angels.
Your elegance is the reddest of all the red peonies
blooming between our bodies and souls.
Us.

You say I can neither understand nor imagine. I close
my eyes and think of
the most beautiful desert moon, or the saddest
love poem, or our daughter
in your arms, in the farthest and nearest yesterday
of our tomorrow.

You spoke to my philosophy professor as if
he was one of your oldest friends.
You talked about Heidegger, and game theory,
and all the dilemmas of life, in a beautiful manner which transcended them all,
as if they were lines from an old poem you had written long ago.
You say the whole life is in The Little Prince, and that you
cannot admire someone who is not an acharya,
however brilliant his thoughts,
however great his legacy.
I look at this perfect man before me, with his
bluest blue eyes and think to myself, “I married
the one rare acharya I know.”

I am your heart, as you are my poetry,
mirror of my aloneness
the soundlessness of my melodies,
the attachment of my detachment,
the meaningfulness of my meaninglessness,
the nothingness of my very own self,

my undefined/undefinable otherness.


You taught me I am myself and I am enough,
in need of no more, like Cocteau's Trinity
that binds my heart in the truest way it longs to be bound.

And so I write, different from how I have ever written poetry,
in the state of being and the state of breathing,
without striving and crafting,
without effort,

as if I was writing
for the very first and the very last time.

~June 2012





Friday, 21 March 2014

I ripened strangely in every impulse of my unlived youth, and you found yourself beginning a kind of savage childhood in my heart.



The Rose-Window (above), and one of my favourite poems by my beloved Rilke, To Lou Andreas-Salomé, as translated by my personal favourite translator of Rilke's poetry and prose: Stephen Mitchell.


    I

I kept myself too open, I forgot
that outside there are not just Things, not just 
animals at home within themselves,
whose eyes do not reach out from their life’s roundedness
differently than a picture from its frame;
that all along I snatched into myself
glances, opinion, curiosity.
    For all we know, eyes may appear in space,
staring down. Only when hurled in you
is my face not imperiled, as it grows
into you, as it continues darkly
forever onward within your sheltered heart.


    II

As one would hold a handkerchief in front of
one’s piled-up breath . . . no: as one would press it
against the wound from which life, all in one spurt,
is trying to escape—I held you close
till you were red with me. Who can describe 
what happened to us? We made up for all
that there had been no time for. I ripened strangely
in every impulse of my unlived youth,
and you, Beloved, found yourself beginning
a kind of savage childhood in my heart.


    III

Remembering them will not suffice: there must,
from all those moments, still remain a pure
existence in my depths, the sediment
from a measurelessly overfilled solution.
For I am not recalling: what I am
moves me because of you. It’s not that I 
discover you at the sad, cooled-off places
you left; the very fact that you’re not there
is warm with you and realer and is more 
than a privation. Yearning ends so often
in vagueness. Why should I be desperate while
your presence still can fall upon me, gently
as moonlight on a seat beside the window.


~Translated from the German by Stephen Mitchell, from Ahead of All Parting: The Selected Poetry and Prose of Rainer Maria Rilke, edited and translated by Stephen Mitchell, 1995, The Modern Library, New York.

Kenji Wakasugi, Fusuma – Camellia, 2012, platinum print.
Micheko Galerie, München. *via Artsy
Kenji Wakasugi, Fusuma – White Plum Blossoms, 2012, platinum print.
Micheko Galerie, München. *via Artsy
Kenji Wakasugi, Fusuma – Lily, 2012, platinum print.
Micheko Galerie, München. *via Artsy
+++

Svetlana Zakharova and Edvin Revazov in the ballet 茶花女
(La Dame aux Camélias)

Thursday, 20 March 2014

月;影


Moon,

I think you would understand
my craft of writing, how it makes of me
your king and creature in this no-man's-land
of the moment;
the wide-eye, squint-eye vision that by turns
I loose upon your beauty, my soft palm
and callused fingers of an archer's hand;
and how my introspection bends me to
you, filling the mirror of this blank white sheet
with your circle of renewed virginity
that, by violating, I complete.

Moon, by Martin Edmunds, from Paris Review issue #121, winter 1991.


Hussein Chalayan, Sakoku 鎖國, spring/summer 2011

The book is an undefined object that we can discuss only in imprecise terms, an object forever buffeted by our fantasies and illusions. (...) 
Truth destined for others is less important than truthfulness to ourselves, something attainable only by those who free themselves from the obligation to seem cultivated, which tyrannizes us from within and prevents us from being ourselves. (...)
The paradox of reading is that the path toward ourselves passes through books, but that this must remain a passage. It is a traversal of books that a good reader engages in — a reader who knows that every book is the bearer of part of himself and can give him access to it, if only he has the wisdom not to end his journey there. (...) 
Encouraged from our school years onward to think of books as untouchable objects, we feel guilty at the very thought of subjecting them to transformation. It is necessary to lift these taboos to begin to truly listen to the infinitely mobile object that is a literary text. The text’s mobility is enhanced whenever it participates in a conversation or a written exchange, where it is animated by the subjectivity of each reader and his dialogue with others, and to genuinely listen to it implies developing a particular sensitivity to all the possibilities that the book takes on in such circumstances. (...)
All education should strive to help those receiving it to gain enough freedom in relation to works of art to themselves become writers and artists.

—Pierre Bayard, from How to Talk About Books You Haven't Read


 
Robert Mapplethorpe, Calla Lily, 1984, 1986 & 1985.

Sakoku 鎖國 ("chained country"), by Hussein Chalayan: decentered, wrapping in transition, shadow readings, imminence of water, haiku, floating body.

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