The most demanding part of living a lifetime as an artist is the strict discipline of forcing oneself to work steadfastly along the nerve of one’s own most intimate sensitivity.
Why do we lose interest in physical mastery? If I feel like turning cartwheels – and I do – why don’t I learn to turn cartwheels, instead of regretting that I never learned as a child?
And we the people are so vulnerable. Our bodies are shot with mortality. Our legs are fear and our arms are time. These chill humors seep through our capillaries, weighting each cell with an icy dab of nonbeing, and that dab grows and swells and sucks the cell dry. That is why physical courage is so important – it fills, as it were, the holes – and why it is so invigorating. The least brave act, chance taken and passage won, makes you feel loud as a child.
I have to acknowledge that the sea is a cup of death, and the land is a stained altar stone. We the living are survivors huddled on flotsam, living on jetsam. We are escapees. We wake in terror, eat in hunger, sleep with a mouth full of blood.
The fixed is the world without fire- dead flint, dead tinder, and nowhere a spark. It is motion without direction, force without power, the aimless procession of caterpillars round the rim of a vase, and I hate it because at any moment I myself might step to that charmed and glistening thread.
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.
Every place you injure adds that patch to your consciousness. You grow more alive.
All those things for which we have no words are lost. The mind – the culture – has two little tools, grammar and lexicon: a decorated sand bucket and a matching shovel. With these we bluster about the continents and do all the world’s work. With these we try to save our very lives.
You quit your house and country, quit your ship, and quit your companions in the tent, saying, “I am just going outside and may be some time.” The light on the far side of the blizzard lures you. You walk, and one day you enter the spread heart of silence, where lands dissolve and seas become vapor and ices sublime under unknown stars. This is the end of the Via Negativa, the lightless edge where the slopes of knowledge dwindle, and love for its own sake, lacking an object, begins.
Evolution loves death more than it loves you or me. This is easy to write, easy to read, and hard to believe... Are my values then so diametrically opposed to those that nature preserves? This is the key point.
But there is no one but us. There never has been. There have been generations which remembered, and generations which forgot; there has never been a generation of whole men and women who lived well for even one day. Yet some have imagined well, with honesty and art, the detail of such a life, and have described it with such grace, that we mistake vision for history, dream for description, and fancy that life has devolved.
They acted in only two small events – three, if love counts. Falling in love, like having a baby, rubs against the current of our lives: separation, loss, and death. That is the joy of them.
Intricacy is that which is given from the beginning, the birthright, and in intricacy is the hardiness of complexity that ensures against the failure of all life. This is our heritage, the piebald landscape of our time. We walk around; we see a shred of the infinite possible combinations of an infinite variety of forms. Anything can happen; any pattern of speckles may appear in a world ceaselessly bawling with newness.
I never saw a tree that was no tree in particular.
Lou knew Deary slept in the dunes somewhere. She claimed to like the way starlight smelled on sand. Once Cornelius asked her how the smell of starlight on sand differed from the smell of moonlight. – More peppery.
I myself was both observer and observable, and so a possible object of my own humming awareness.
Giacometti said, “The more I work, the more I see things differently, that is, everything gains in grandeur every day, becomes more and more unknown, more and more beautiful. The closer I come, the grander it is, the more remote it is.
The idea of a thing which a man framed for himself was always more real to him than the actual thing itself.
Who would call a day spent reading a good day? But a life spent reading – that is a good life.
There is only a little violence here and there in the language, at the corner where eternity clips time.
And like Billy Bray, I go my way, and my left foot says “Glory,” and my right foot says “Amen”: in and out of Shadow Creek, upstream and down, exultant, in a daze, dancing, to the twin silver trumpets of praise.