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The city of the province

April 5th, 2017

No city can ever be self-reliant, let alone a neighborhood of it. Citizens are well-advised to get out of the city once in a while, not to gather inspiration in nature, since nature is not ‘out there’, but to see what they derogate as the ‘province’…and to walk back in and see to the fact and efficience [sic] that the city rises thanks to all that which flows into the center via those same ways we take; food, soil, water, and also, vision, breath, and power. One can hardly get back from such travel and not come back with a greater baggage than when one departed. The city depends on what its province gives it; how unjust to consider one subservient to the other.

March 11th, 2017

It makes a telling difference whether one witnesses death from within or from without. When I see someone die, the event of death contains a suddenness to it that I can’t shake off. Even if we know someone is in a terminal condition, it is not until death is complete that we can say to have witnessed it. Somehow death always start from within; hence the expression: he’s death inside. The process of dying remains insensible from without. We see functions fall out, but life is nonetheless present, elsewhere. On the other hand we can consider the possibility of witnessing death from within the entity that is undergoing it. The first example of it is in the use of medical instruments that bring dying onto visual surfaces, which is the same as looking into the body, bringing out its surfaces.

The more mundane experience of witnessing death is seeing leaves fall from trees, although that is really neither witnessing it from inside nor outside. The tree is not dying and it is not that we are witnessing a gradual passing away. It is that the leaves themselves have died, which we witness only as death turns complete. Yet we might construe the cessation of a season in seeing millions of leaves fall one after the other. We can witness ourselves standing inside a season, and moving from one to another, transcending botanic cycles.

Witnessing the timeline of a dying evokes an amazement. But it does not surprise. What the observer inside a dying entity can miss is something else entirely: exactly the fact that death is in progress. The signs of completion are absent since dying is not complete yet. All seems normal since dying from inside is indistinguishable from the experience of merely divesting one’s attention from things. Those things just subtly disappear from the purview of attention. Only memory, of ever recalled after the death of its main dialer, can bring in the distinction between the things that have never existed, things that not anymore exist, and things that come back just as we attend to them again. Without memory, whatever dies, it will be as if they never existed.

(And isn’t it as if many victims of war and violence never existed in the mind of many who somehow took part in their dying? We didn’t even know them when they were alive. Evidently we engaging in wars in which we don’t kill enemies but strangers, who are not the same, but whom we conveniently confuse. “Keep you enemy close” must at least mean: know the name of your enemy.)

It is hard to prove, and hard to believe too, that we are in an era of Great Extinction. A book like Learning to Die in the Anthropocene will not be read by many; those who won’t notice the dying all around. The Leviathan seems blind, humans prove astonishingly insensitive and clueless. Yes, this is another change of season and while death is around, life will go on as well. But what was the fate of those who did not prepare for the coming of the cold season?

We are now reminded of Aristotle and Plato who wrote to save Athens in a time of crisis, a crisis that imploded Greece. They wrote to save their institutions, on paper. What of the possibility that they were writing of things whose death they experienced? What if their documented the dying of civilization instead of contributing to its life? And what if in reading them now, we are just secretly telling ourselves that whatever is passing through our attention is saying goodbye and wants to have its obituary written? Or maybe we have tried to furnish our experience as close to the memory of a dead civilization as possible? What if we have come to live inside an obituary, unwittingly but thoroughly?

What if we have written the obituary of the economy 9 years ago? Do you see how our politics has stopped talking about it? What if we are writing the obituary of politics? And what if the Anthropocene is just transcending all these ending cycles of human botany? It is perhaps time to turn the attention to the cycles that transcend us. But, can we ever get on line with Gaia?

New blog

October 11th, 2016

Old wine in new bottle and cute stickers.

Voor C.*

July 31st, 2016

Tekent haar hartslag op het aardewerk,

–dde curve van haar oogschaduw op het

—-oogwit en huidlief, verpakt ze in stof,

——versiert haar kraam. ‘Of ik daarna mag

——–sterven!’

 

Brok porselein plakt aan brok maar

niet als een van vlees en de ander,

—-ader en achting brekende,

——zwaait uit het zicht zakelijker-

——–wegen.

 

+++

 

Afscheid dan. Onmogelijk en

tegelijkertijd, onvermijdelijk;

—-nee, niet afscheid, maar verkopen

——is het gelijke van sterven.

——–Pijnlijk heengaan, hopelijk voorgoed.

 

+++

 

Kochten ze maar geen barst

kitschkijkers zonder gezicht

—-zien zulke waardigheid

——Als bezittelijk waar;

——–Zelf niet in deeg gekneden;

———-Betalen voor hartverscheur

————Dat nu alledaags is.

 

Of hechtte zij niet

Maar bloed aan klei.

—-Want dat soort vergaan

——Is niet van het leven.

——–En tekende breuken

———-Tussen aarde en aarde

————Alleen bij gratie van

————–De naamloze maker.

 

Juni 2016

* Vierde gedicht in de serie Betaalde Muzen, voor de donateurs van de Malediven/Sri Lanka reis.
* Gewijzigd op 29 september 2016, met dank aan de redactie van Kila van der Starre.

gedichtc

 

For J.*

July 31st, 2016

If for nought the sun
———————-comes stale me swoon
from my dull eyes’ bays;
———————-simmers awakenness
in my lungs’ tangles;
———————-sieves my day into
there way and there vain,
———————-
for less my teachers
———————-put me to night’s coil,
which is where my light
———————-trembles, weaving
clouds vigorously
———————-(though not past cotton,
where lovers tainted
———————-maroon the gift of
my fast rooted past.)
———————-
But we’ll meet at dawn,
———————-we who’ve arched over
the murk of dozen
———————-drowsy illusions;
we toil on our routes,
———————-sinews wail the while,
to lay woven gleam,
———————-unabated all-warmth,
sun-flooding breeze,
———————-to those lying late,
dormant in their wool,
———————-(for the beloved ought,
in seamless divine fuse,
———————-hold right that day ‘n night
light relays straight for nought.)


June 2016

* Third poem in the series of Funded Muses, for the funders of Maldives/Sri Lanka travel.
† 'Awaken-ness' is indeed a neologism. (It's not an incorrect spelling of 'awakeness'). It's not in dictionaries, but it is used in translating Hindu and Buddhist texts, meaning: alertness, the quality of being awake and aware. We can say it's Indian English in contrast with American or British English.

De maat der dingen

June 9th, 2016

(Voor T. B. N. & T.*)

Honger’s groter dan ons piepertje
Als donderend wolk voor ‘n vlindertje

Zijn traan valt diep als onze nachtrust
Ons droom hangt aan z’n stemmetje

Dan komt zij schijnen, lentelief, zusje
Haar knuffel een … warm zonnedeken

Daaronder slapen àlle sterren
Ook al is de zon zelf een kleintje

Ze groeien groot, geboeid puzzelend:
Wat is werkelijk de maat der dingen?

De hemel huist hij in twee ogen,
En moeder’s liefde past in haar hartje.

geschreven tussen 13 maart 2016 en 22 mei 2016

* Tweede gedicht in de serie Betaalde Muzen, voor de donateurs van de Malediven/Sri Lanka reis.

To M.K.*

June 9th, 2016

I may can’t write. I may can’t.
I may can’t write a poem.
May I can’t, orderly,
Begin, blood, flesh, end.

And the tuba asked the question;†
Slug-watershed, slowest quake,
Shifting slots and shelters,
‘Subjects subjected’,
Selves falling into themselves,
Answering, not knowing,
“What was the question?”

No, the tuba never changes song.
The soil’s the same.
Trouble was “I”, as inattention,
Frequencies’ impatient frenzy.
This was before that.

Not, where is the melody?
They’ve always been,
Now stretched, even while cropped.-
But, what is after this?
Culminate, cultivate, close.
Commence, next.

Not, can I?
(That lies in order.)
I may cannot.
Well, I may still.

May 12, 2016

 * First poem in the series of Funded Muses, for the funders of Maldives/Sri Lanka travel.
 † An allusion to the musical work The Unanswered Question by Charles Ives (1874-1954).

Naar haar verlangde ik vier keer

September 11th, 2014

Naar haar verlangde ik vier
keer, kort, haar niet kennende:

Ik kende mezelf niet.
Dan kende ze mij niet.

Wij verlangden naar het
onbekende.
Dan herkenden wij elk
de ander niet.

Maar stond verlangen niet
aan de wieg van kennis
en bij de kist, was niet
de garen langer dan
de knikkers verzameld?

Of zal haar kennen steeds
langer twisten naar maat
korte ringen sluiten
van dichterbij willen naderen?

Aan allen,

Waar in uw Avondland
ontmoeten elkaar ten slot
willen en weten?
Met ondergang?

Waar, opnieuw,
kan de korte man
over de schouders kijken
en ver en lang zien?

 

Waddenwoest

June 25th, 2014

Hier geworpen zijn kan
alleen per korrel zand.

Aankomen haal ik nooit,
ik blijf waaien
tussen kust en woeste
grond.

Veel heb ik van mijn vader
zee, ik drijf
en laat,
het water en droog,
vlammend boom, bladen vuur.

In het wind wortel ik niet, wel,
strand ik hier
voor nu en dan.

A line from the Third Script

May 10th, 2014

Still, we cannot speak (the) familiar!

hearing (the) familiar, I’d wish!

Thorough-speaking must,

And thorough-hearing!

The hearts, are sealed!

The tongues, are sealed!

And the ears, are sealed!

Shams Tabrizi (1184?-1247?), Rumi’s instructor, cited in N. Saheb-Zamani, The Thrid Script, 1972.

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