Religion Revision

I was raised in a faith that was based on a book full of words. At times it exploded with prescience and resonances in the life I was becoming, at others it fell flat or rang false, but its education in languaging experience held merit. When I say “raised” I mean inculcated and immersed. I learned terms and their arrangements by “heart” or memory and rote – as principles and rules for interpreting world and self. Childhood learning has a way of patterning subsequent life, and it comes back to me again and again when world overwhelms and skips past my reason plopping its bulky finger on “play.” I woke to it this morning and I listened. This is what I heard:

 

The Word: A Commentary

In the beginning was the Word

the Word was with God

and the Word was God.

(the same) was with God in the beginning.

Through (the Word) all things came into being,

not one thing came into being except through (the Word)”

  • Gospel of John 1:1-3 –

The light comes on and I see that you are there. I can describe you now, move toward you, interact with more knowledge and intention. I now see the table and chair on my right, between us to the side, underneath the window which is covered and which I had not known to be there, nor the “outside” or beyond, even the gap of it, the doorways, the thresholds, until the light came. On.

I had not known the cat nor dog that made their sounds of presence, like your voice and breath I sensed, until the space of living was enlightened.

The Writer’s gospel, the good news, about language and mystery and its use to shed light. Brings to awareness, aids comprehension, might even be said to bring into being (for its users) all that comes to register as existent in its own particular way.

Emotions and landscapes, persons and things. The self, once considered in words, takes on. Until that moment all is inchoate, unformed, a mix of sensations unlocalized like innumerable living points in air. The Word(s) direct and give shape, question and expose. Let there be light.

Whatever rudimentary forms of communication prevail, among cells, among plants, among animals and stars, this light, language, the words and ideas, is the light of humankind. The life of its persons.

This is a gospel that I can believe in, bearing itself out in experience. As one’s vocabulary expands to circumstances and situations, life begins to seem understood, seen-through, engaged, if only in the duration of the verbal processing.

Linking the field like fenceposts and wires, the word traverses the between and the voids or the opens, like light reflecting matter, whether in the subtlety of the atmospheric layers or the gleam of a yellow school bus. It is there, I am here, we become. Same registering difference, word requiring letter and sense, being: being-with.

And so the surface grows scribbled. Notated, defined, addendum’d and erased. The living word, in action as much as its participants, adjusting, accounting, enumerating; revise and repeat. Expand. Express.

It is the territory between exterior/interior, centripetal/centrifugal, ever breathed into the void, calling to and called by. Ever beginning, the become of all things. As we segment times and spaces, sense duration and bounds, so the Word moves along with each complex, reporting, revising,

Recall. The naming of ocean and air – what were they before but a void exhibiting difference? The animals, people, feelings and actions – unknown variations – “behaviors” and “appearances” – then light.

It has come into the world. Avail yourselves of it. Turn on the lights – and read, and write. Bring what is (for you) into being. In the beginning, the Word, and at its end, the beginning. There is always more word for the void.

N Filbert 2012

Shopping the Shelves

Had a blast yesterday…when kids were engrossed in their own realms…browsing my own shelves…resulting in today’s readings:

House Mother Normal by B.S. Johnson

Plainwater by Anne Carson

The Last Novel by David Markson

Chinese Sun and Dust – Arkadii Dragomoshchenko

History – A Novel by Elsa Morante

dancing lessons for the advanced in age, In-House Weddings and the little town where time stood still by Bohumil Hrabal – man! he just lets stories run away with him – what a blastula of reading joy!

Rot by Janet Kauffman

such delights all around!

Those breathless ones

Finishing Simon van Booy’s “Everything Beautiful Began After” reminded me of those books throughout life that once you begin you don’t finish without swallowing…browsing my shelves I remembered a few (and I’m usually reading over 20 at a time, so if one demands the patience of the others it has some driving pulse something in me can’t ignore)…

“If Nobody Speaks of Remarkable Things” by Jon McGregor

“The Trick is to Keep Breathing” by Janice Galloway

“Master and Margarita” by Mikhail Bulgakov

“Beatrice and Virgil” by Yann Martel

“The Road” by Cormac McCarthy

“Possession” by A.S. Byatt

“Notes from the Underground” by Fyodor Dostoevsky

“Dust” Arkadii Dragomoshchenko

“Impossible Object” by Nicholas Mosley

“Entrance to Porlock” and “Final Beast” by Frederick Buechner

keep thinking of them!  those startling ones that catch you off guard!

“Three Steps on the Ladder of Writing” Helene Cixous

“On Love” Alain de Botton

“To Whom it May Concern” Raymond Federman

“The Way through Doors” & “The Curfew” Jesse Ball

what books don’t allow you to put them down?

To Whom it may concern…

“Language is like drinking from one’s own reflection in still water.

We only take from it what we are at that time.”

Simon van Booy

I am in that wonderful uncertain state that obtains from living in fiction.  Where everything seems possible, if only remotely, vague, unsettled, inchoate but perhaps.

Almost readiness, but not that far along – the will hasn’t settled on a course.  No vision.

Like mentality, meshed, hovering over blank canvas or pages, just floating, sliding, swirling there, as smoke in greasy air, almost substantial, but easily wavered away.

The open.  Projects jumbled in mind and heart but no spark, no instigation, a veil of nettles slightly stinging but not enough yet for action.

Voices, emotions, some words even, indistinct but actual, rumble about in cranium and neck, but none find their ink.

In Athens, in Russia, in Oregon.  Younger, older, right now.  Finland, Norway.  Remote but still civilized.

I can’t tell whose stories are whose – other authors, your own characters, events, relatives, unknowns – dictionaries and thesauri swimming about,

yes, like that, the lessened gravity of submersion – eyes closed but able to perceive light, feel objects and presences, a wafting

and ever the questions – what now?  who now?  when?

“It is in the unconscious that fantasy, moments of the day, and memory live, a reservoir for the poetry of the world.  Is everything else prose?  Is what’s conscious ordinary prose, the prose of the world?”

“Or, I tease, the pose of the world.  She is separating much too neatly the world she knows – I nearly wrote word for world – from the world she doesn’t know, the one that owns her and to which she is a slave.  She is a slave to what she can’t remember and doesn’t know and she is a slave to what she remembers and what she thinks she knows.  Her education has damaged her in ways she does not even know.”

Lynne Tillman

“But I have always spoken, no doubt always shall, of things that never existed, or that existed if you insist, no doubt always will, but not with the existence I ascribe to them”

“So I shall merely state, without enquiring how it came, or how it went, that in my opinion it was not an illusion, as long as it lasted, that presence of what did not exist, that presence without, that presence within, that presence between, though I’ll be buggered if I can understand how it could have been anything else”

Samuel Beckett

A More Perfect Diagram

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A More Perfect Diagram That Is Not Even A Diagram

-on Untitled, by Holly Suzanne

mixed media on canvas, 2012-

      I have the enormous pleasure and extravagant gift (one that I come to understand, delinquently as is my way, ever more profoundly each day and night) of living with, being married to, and working creatively alongside a tremendously talented artist, Holly Suzanne.

     We work purposefully together in the rhetorical tradition of ekphrasis – that is, the representation of representation in various media. Usually I work in the medium of language and she in the visual arts. Sometimes we share or swap media in order to grow closer to one another, work to comprehend, and to challenge and progress our own capacities of creation and expression.

 Not a Case in Point that is Perhaps a Case in Point:

       Recently my wife invented this piece. It incorporates painting, collage and probably encaustic, containing metal “S” hooks, wire mesh, perhaps chain or other fabrics, perhaps wax, paints and probably unknown substances beyond. I can only say “who knows!” what makes its way through her avaricious mind and body onto these surfaces!

      This particular work strikes me so, as I pass it daily to enter my verbal den, having been stewing this new year on conceptualizing for myself an attempt at an accounting (to/with/for/in myself) or presentation of how I consider artistic production as a human activity.

      This morning I completed a re-reading of Wallace Stevens’ essay “Imagination as Value” from his book The Necessary Angel. A book I wholeheartedly recommend to any and everyone with creative bones in their bodies. I happened to copy out the following onto my 3”x5” notecards with which I fertilize my working-space:

the operation of the imagination in life is more significant than its operation in or in relation to works of art and letters…the chief problems of any artist, as of anyone, are the problems of the normal (daily realities – my insertion) and that he (or she) needs, in order to solve them, everything that the imagination has to give.”

Which put me in mind of my recent assays and theories re: “Art & Appearances” and A+A=AA.

which are kin to:

the intellect gobbles up everything around it, and as soon as it lays hold of feelings, it becomes spirit. Taking this step is the task of writers.” (Robert Musil)

and:

In life what is important is the truth as it is, while in arts and letters what is important is the truth as we see it.” (Wallace Stevens)

Or that we humans are some bodymind processing plant ever infusing the unreal into the real, normalizing (for ourselves) the abnormal (each future moment and all of its inherent change) even by introducing abnormalities, concocting, fabricating ever onward…

grabbing “S”-hooks and netting and fabrics and wax, and paint cans and brushes and emotion and vision, hope and suffering, wounds and joy, and making

            and there are so many ways to see this

            but I digress. As I was saying,

            passing by this recent artifact of my wife’s making, it felt replete with myself – as if my strapping bandaged finitude were bound in the caging rectangle of chain, layered under the dark-hole gobbling gunshot wounds of my core fears and imagined (or real) belabored habits of mind and perception with innocent life-light, all filtered continuously through net-webbings of intellect, imagination and feeling which sometimes tear open or bursts or wing-themselves…resulting… producing…making objects, words, behaviors, actions or ideas into the elaborately variegated open of world…

as if, unbeknownst to me, or perhaps stimulating in me, or maybe inspired by me (likely all of the above) – a most accurate image of all I’ve been attempting to express these past days,

           a kind of intuitive ekphrasis?

           an appearance of art for damn sure

           a more perfect diagram that is not even a diagram

And that is what I’m talking about.

Thank you, my love.

Thank you thinkers and makers of art.

Thank you appearances and life.

N Filbert 2012

from the notebooks & files

Moment: Airy

(being an experiment, in theory

a result)

It is hard.

It is hard and it is cold.

Hard as in difficult.

Each thing.

And cold because of the weather. Well below the freezing point. But his gloves staid on, his lips held a cigarette, and he boxed.

He could box that paper. That paper-thin page. Already beaten to a pulp.

Him with a theory.

The theory a sort of equation.

The equation as follows:

ALL (whatever a person is, has, does) + ALL (a person’s skill, effort, strength, talent, knowledge and ability)

= Appearance of Art (momentarily)

Notation: A + A = AA

An utter mystery to him.

So he sat in the freezing cold, a pen in his hand, the ink sludging slow, paper on a desk, digging/ exposing / exploring himself, believing / composing / revising language,

oh, and the catalyst necessary to the actual experimentation of this theory – (he writes) – MAKING

One had always to be making (working, acting, writing, performing) with ALL (of him or herself) and ALL (of one’s capacities, faculties and tools) to carry out this experiment, i.e. to test the hypothesis.

Catalyst: (he notes) making(out of/into/with/toward)

Source and goal (purpose, intent) unnecessary, indifferent

Any action requires an energy source. In this case: living organism possessing capacities, perhaps even proficiencies, and coffee, and cigarettes.

No specified laboratory or station or constituents (conditions) to each his own [marginalia]

Quite a simple test really.

Requiring no great funding, no special services or permissions, few qualifications, variant supplies.

Simply vast amounts of time and consistent (persistent) and enormous amounts of effort. (As he saw it).

Reviewing centuries of other experimentations and practitioners of this simple eternal test led him to observe : results in momentary airy results (often discovered in different places at different times dependent on observer – even in same test results – thus airy, ephemeral moments)

 Feeling he had yet to produce an AA. A momentary Appearance of Art, he was compelled to introduce a compendium of criteria – identifiable attributes – whereby to justly analyze resultant artifacts and actions.

Again the qualities boiled down quite simply: put the equation into reverse for the observer or verifying assistant:

an Appearance of Art results through the remaking process or catalyzation of the observer,

requiring as a result, ALL of the observer’s person and ALL of the observer’s capacities,

faculties, abilities.

Notation: criteria for AA to be AA:

AA = (must equal) A + A

He practiced this experiment from both sides of the equation – attempting to verify Appearances of Art by engaging / observing / remaking results that demanded enormous effort, large amounts of time and all of his experience and capacities, and as the performer of the experiment – devoting vast amounts of time, energy and effort of his total self to the making of Appearances of Art.

It wasn’t going well.

It is hard (extremely difficult)

And it happens to be very cold (causation: weather in Winter)

He’d read of other conditions explicated by practitioners before him: contingencies such as warmth, geographical position, silence, wealth, solitude, suffering (the Ss came up quite often); specific environments, times or places, assistant substances or particular tools or resources, even difficulty itself had been recorded – but there seemed to be no rhyme or reason, certainly no agreement, in fact, very often direct and incommensurable contradictions between one catalystic experimentor of A + A = AA and the next, which led to his marginal note (copied above): “to each its own”

He carried on, in spite of the grave difficulties, confusions and multivalent referents of the equation’s elements. Once in awhile he believed he had discerned a momentary result – an appearance of art in his own private performances of the experiment; unfortunately he could not obtain verification of his tests from contemporary scholars/students/or adepts of the ancient and cryptically-clear equation.

He had no trouble himself verifying most attested AAs, given sufficient time and effort, but, as he progressed in his work, identification became more efficient yet verification demanded more and more of him, devouring his time, energy and effort, interfering with and greatly complicating his own experiments and test cases from the equation’s other end.

He began to understand why past personages were led to choose to practice and perform the experiment from one side or the other.

It is hard.

It is cold.

And there is only so much time and effort.

There is only so much living organism to be had.

Limitations began to seem insurmountable.

But by now he had come too far.

There was only to go on.

It is hard, he wrote.

It is hard and it is cold, he recorded.

Hard as in difficult.

Each thing.

And cold because of the weather.

But my gloves stay on, he wrote, and my lips still hold a cigarette, right to the end.

His gloved hand fighting the pages.

There is only so much life.

N Filbert 2012

Art & Appearances

Art & Appearances

Nourishment, I mean

“In short, there are two realisms: the first deciphers the “real” (what is demonstrated but not seen); the second speaks “reality” (what is seen but not demonstrated): fiction, which can mix these two realisms, adds to the intelligible of the “real” the hallucinatory tail of “reality”…the onset of historical intelligibility and the persistence of the thing in being there.”

-Roland Barthes, The Pleasures of the Text-

Words

“the author that I am can say:  I am not me.  That is all.”

-Helene Cixous-

“We are a sign without interpretation”

-Martin Heidegger-

“the irresistible compulsion to seek the tiny spark of accident – the here and now”

-Walter Benjamin-

“we always envision as we see…because all of us fictionalize our lives and the lives of others who have a part in our story…the frame excludes more than it includes…”

-Mary Price-

“I consider fiction the main reality-making art”

-Ronald Sukenick-

“the suffering of being: that is, the free play of every faculty”

-Samuel Beckett-

“language owes its existence and identity to what it can never be, to what it can only point at…the sound of language is the very embodiment of desire”

-Simon van Booy-

A day’s work

Films of Maya Deren

words of Clarence Majors, Helene Cixous, Simon van Booy, MAK Halliday, Samuel Beckett, Alain Badiou

coffee

therapy

music – Do Make Say Think and  a composition of my own

the thises and thats:

“For we live in deeds, not years; in thoughts, not breaths; and our time should be counted in the throbs of our hearts as we love and help, learn and strive, and make from our own talents whatever can increase the stock of the world’s good.” from a monumental-looking effort of A.C. Grayling “The Good Book: A Humanist Bible” – I recommend you pore over it

“The author has a passion for doors.  All doors:  doors to mystery…the passion for books, the ferocity, the need, the exultation, the haste to flee the places inhabited by those people close to me, in order to regain the poets and other characters, in their books…In the middle of the house we open the white door and we’re no longer here…escape in broad daylight…people I would’ve never dreamed of approaching while they were alive enter, sometimes, in the very moment I turn toward them as toward people essential to my existence, forever indissociable from my taste, my mobility, my view, enter, suddenly, my other country…” -Helene Cixous “Firstdays of the Year”

and perhaps:

Begin Ending Beginnings

To learn from crows

To father children

To accumulate and recede

Some event sets in motion

Taking wing or stumbling feet

To oscillate between

Begin or conclude

Always the same at once

No difference that we know of

So begin, ending something

as crows and as carrion,

and the first buds of Spring

N Filbert 2012