When we lose our innocence – when we start feeling the weight of the atmosphere and learn that there’s death in the pot – we take leave of our sense.
What do we ever know that is higher than that power which, from time to time, seizes our lives, and reveals us startlingly to ourselves as creatures set down here bewildered? Why does death so catch us by surprise, and why love? We still and always want waking. We should amass half dressed in long lines like tribesmen and shake gourds at each other, to wake up; instead we watch television and miss the show.
The lenses of telescopes and cameras can no more cover the breadth and scale of the visual array than language can cover the breadth and simultaneity of internal experience.
The moth’s enormous wings are velveted in a rich, warm, brown, and edged in bands of blue and pink delicate as a watercolour wash. A startling ‘eyespot,’ immense, and deep blue melding to an almost translucent yellow, luxuriates in the centre of each hind wing. The effect is one of a masculine splendour foreign to the butterflies, a fragility unfurled to strength.
What you see in an eclipse is entirely different from what you know. It is especially different for those of us whose grasp of astronomy is so frail that, given a flashlight, a grapefruit, two oranges, and fifteen years, we still could not figure out which way to set the clocks for Daylight Saving Time.
Each thing in the world is translucent.
Mountains are giant, restful, absorbent. You can heave your spirit into a mountain and the mountain will keep it, folded, and not throw it back as some creeks will. The creeks are the world with all its stimulus and beauty; I live there. But the mountains are home.
Nobody whispers it in your ear. It is like something you memorized once and forgot. Now it comes back and rips away your breath. You find and finger a phrase at a time; you lay it down cautiously, as if with tongs, and wait suspended until the next one finds you: Ah yes, then this; and yes, praise be, then this.
Now the thing is no longer a vision: it is paper.
No one knew that ordinary breakfast would be their last. Why not memorize everything, just in case?
Seeing the open pits in the open air, among farms, is the wonder, and seeing the bodies twist free from the soil. The sight of a cleaned clay soldier upright in a museum case is unremarkable, and this is all that future generations will see. No one will display those men crushed beyond repair; no one will display their loose parts; no one will display them crawling from the walls. Future generations will miss the crucial sight of ourselves as rammed earth.
You can read in the space of a coffin, and you can write in the space of a toolshed meant for mowers and spades.
Somewhere, and I can’t find where, I read about an Eskimo hunter who asked the local missionary priest, “If I did not know about God and sin, would I go to hell?” “No,” said the priest, “not if you did not know.” “Then why,” asked the Eskimo earnestly, “did you tell me?
Martin Buber tells this tale: “Rabbi Mendel once boasted to his teacher Rabbi Elimelekh that evenings he saw the angel who rolls away the light before the darkness, and mornings the angel who rolls away the darkness before the light. ‘Yes,’ said Rabbi Elimelekh, ’in my youth I saw that too. Later on you don’t see these things any more.
Here is the fringey edge where elements meet and realms mingle, where time and eternity spatter each other with foam.
An honest work generates its own power; a dishonest work tries to rob power from the cataracts of the given.
The feeling that the work is magnificent, and the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.
She bade solitude good-bye. Good-bye to no schedule but whim; good-bye to her life among no things but her own and each always in place; good-bye to no real meals, good-bye free thought. The whole fat flock of them flapped away. But what was solitude for if not to foster decency? Her solitude always held open house. when was the last time anyone needed her? She was eager to do it, whatever it was.
Could tiny birds be sifting through me right now, birds winging through the gaps between my cells, touching nothing, but quickening in my tissues, fleet?
You adapt yourself, Paul Klee said, to the contents of the paintbox. Adapting yourself to the contents of the paintbox, he said, is more important than nature and its study. The painter, in other words, does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint. The self is the servant who bears the paintbox and its inherited contents.