We are all in the dumps
For diamonds are trumps
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august
Dead men make such convenient Heroes
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 itNor wishing bring it back, as long as it remains
The white precipitate of its dream
In the climate of sighs flung across our world,
A cloth over a birdcage. But it is certain that
What is beautiful seems so only in relation to a specific
Life, experienced or not, channeled into some form
Steeped in the nostalgia of a collective past.
"Self-Portrait in a Convex Mirror," John Ashbery
falling
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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