Guy sank upon a couch of flowers
In an ice-ribbed underworld
Awash in blossoming gold from a new sun
Tumbling out dark long-ago clouds,
In caverns and corridors paved with painted petals
Wound round a wild cherry tree dusted pink.
and for 'the brothers':
And Jack slept safe
Enfolded in his brother’s arms
And Guy whispered ‘Good night
And you will dream of me.’
Maurice Sendak, My Brother’s Book
Now that he is safely dead,
Let us Praise him.
Now that he is safely dead,
Let us Praise him.
Build monuments to his glory.
Sing Hosannas to his name.
Dead men make such convenient Heroes.
They cannot rise to challenge the images
We would fashion from their Lives.
(Hines 1987, 468).image; Banksy
Mere forgetfulness cannot remove it
Damiel;
It's great to live by the spirit, to testify day by day for eternity, only what's spiritual in people's minds. But sometimes I'm fed up with my spiritual existence. Instead of forever hovering above I'd like to feel a weight grow in me to end the infinity and to tie me to earth. I'd like, at each step, each gust of wind, to be able to say "Now." Now and now" and no longer "forever" and "for eternity." To sit at an empty place at a card table and be greeted, even by a nod. Every time we participated, it was a pretense. Wrestling with one, allowing a hip to be put out in pretense, catching a fish in pretense, in pretense sitting at tables, drinking and eating in pretense. Having lambs roasted and wine served in the tents out there in the desert, only in pretense. No, I don't have to beget a child or plant a tree but it would be rather nice coming home after a long day to feed the cat, like Philip Marlowe, to have a fever and blackended fingers from the newspaper, to be excited not only by the mind but, at last, by a meal, by the line of a neck by an ear. To lie! Through one's teeth. As you're walking, to feel your bones moving along. At last to guess, instead of always knowing. To be able to say "ah" and "oh" and "hey" instead of "yea" and "amen."
Catherine Hessling, La fille de l’eau, Jean Renoir, 1924.
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