corson’s inlet

I went for a walk over the dunes again this morning
to the sea,
then turned right along
   the surf
              rounded a naked headland
              and returned

   along the inlet shore:

it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
     some breakthroughs of sun
  but after a bit

continuous overcast:

the walk liberating, I was released from forms,
from the perpendiculars,
     straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
          of sight:

                 I allow myself eddies of meaning:
yield to a direction of significance
running
like a stream through the geography of my work:
   you can find
in my sayings
               swerves of action
               like the inlet’s cutting edge:
        there are dunes of motion,
organizations of grass, white sandy paths of remembrance
in the overall wandering of mirroring mind:

but Overall is beyond me: is the sum of these events
I cannot draw, the ledger I cannot keep, the accounting
beyond the account:

in nature there are few sharp lines: there are areas of
primrose
    more or less dispersed;
disorderly orders of bayberry; between the rows
of dunes
irregular swamps of reeds
though not reeds alone, but grass bayberry, yarrow, all . . .
predominantly reeds: 

I have reached no conclusions, have erected no boundaries,
shutting out and shutting in, separating inside
       from outside: I have
       drawn no lines:
       as

manifold events of sand
change the dune’s shape that will not be the same shape
tomorrow,

so I am willing to go along, to accept
the becoming
thought, to stake off no beginnings or ends establish
      no walls:

by transitions the land falls from grassy dunes to creek
to undercreek: but there are no lines though
     change in that transition is clear
     as any sharpness: but “sharpness” spread out,
allowed to occur over a wider range
than mental lines can keep:

the moon was full last night: today, low tide was low:
black shoals of mussels exposed to the risk
of air
and, earlier, of sun,
waved in and out with the waterline, waterline inexact,
caught always in the event of change:
    a young mottled gull stood free on the shoals
    and ate
to vomiting: another gull, squawking possession, cracked a crab,
picked out the entrails, swallowed the soft-shelled legs, a ruddy
turnstone running in to snatch leftover bits:

risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
         the shallows, darts to shore
                  to stab – what? I couldn’t
    see against the black mudflats – a frightened
    fiddler crab?

         the news to my left over the dunes and
reeds and bayberry clumps was
         fall: thousands of tree swallows
         gathering for flight:
         an order held
         in constant change: a congregation
rich with entropy: nevertheless, separable, noticeable
       as one event,
               not chaos: preparations for
flight from winter,
cheet, cheet, cheet, cheet, wings rifling the green clumps
beaks
at the bayberries
   a perception full of wind, flight, curve,
   sound:
   the possibility of rule as the sum of rulelessness:
the “field” of action
with moving, incalculable center: 

in the smaller view, order tight with shape:
blue tiny flowers on a leafless weed: carapace of crab:
snail shell:
        pulsations of order
        in the bellies of minnows: orders swallowed,
broken down, transferred through membranes
to strengthen larger orders: but in the large view, no
lines or changeless shapes: the working in and out, together
        and against, of millions of events: this,
                 so that I make
                 no form of
                 formlessness:

orders as summaries, as outcomes of actions override
or in some way result, not predictably (seeing me gain
the top of a dune,
the swallows
could take flight – some other fields of bayberry
       could enter fall
       berryless) and there is serenity:

       no arranged terror: no forcing of image, plan,
or thought:
no propaganda, no humbling of reality to precept:

terror pervades but is not arranged, all possibilities
of escape open: no route shut, except in
   the sudden loss of all routes:

       I see narrow orders, limited tightness, but will
not run to that easy victory:
       still around the looser, wider forces work:
       I will try
     to fasten into order enlarging grasps of disorder, widening
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
       that tomorrow a new walk is a new walk.

(A. R. Ammons)

adorno on punctuation

The writer is in a permanent predicament when it comes to punctuation marks; if one were fully aware while writing, one would sense the impossibility of ever using a mark of punctuation correctly and would give up writing altogether. For the requirements of the rules of punctuation and those of the subjective need for logic and expression are not compatible: in punctuation marks the check the writer draws on language is refused payment. The writer cannot trust in the rules which are often rigid and crude; nor can he ignore them without indulging in a kind of eccentricity and doing harm to their nature by calling attention to what is inconspicuous – and inconspicuousness is what punctuation lives by. But if, on the other hand, he is serious, he may not sacrifice any part of his aim to a universal, for no writer today can completely identify with anything universal; he does so only at the price of affecting the archaic. The conflict must be endured each time, and one needs either a lot of strength or a lot of stupidity not to lose heart. At best one can advise that punctuation marks be handled the way musicians handle forbidden chord progressions and incorrect voice leading. With every act of punctuation, like every musical cadence, one can tell whether there is an intention or whether it is pure sloppiness.

(Theodor W. Adorno, Notes to Literature, Volume 1, ed. Rolf Tiedemann & trans. Shierry Weber Nicholson, Columbia University Press, 1958, pp. 96–7)

the joy of the r.v.

“It is very agreeable,” he confided to me. “I stop where I please and go on when I please, a regular land yacht. And I am alone.”

“Alone?” I said, “But people . . .”

“Yes, that’s true, but one can avoid the villages. Mussolini, whom I went to see in Rome, made the same remark. I replied that he did not need such an automobile to attract the attention of the crowd. Ah! the pope too, wished to see my auto. But as he cannot leave the Vatican and I could not decently – I wonder why – drive my roulotte in there, he sent someone, the nuncio, who went away filled with admiration.”

(Raymond Roussel, in conversation with Roger Vitrac)

grammar

“Only those who do not know how to think what they feel obey grammar. People who want to control their own expression use grammar. The story is told about Sigismund, King of Rome, that he made a grammatical error in one of his public speeches and responded to the person who pointed it out to him in this way: “I am King of Rome and am above grammar.” And the story goes on to say that from then on he was known as Sigismund ‘super-grammaticam.’ A wonderful symbol! Every person who knows how to say what he talks about is in his way King of Rome. The title isn’t bad, and its soul is being oneself.”

(Fernando Pessoa, The Book of Disquiet (trans. Alfred Mac Adam), from fragment 11)

people are leaving

“Look: Tomorrow my best, my most intimate friend is going to Paris to stay. Aunt Anica (take a look at her letter) in all likelihood is soon going off to Switzerland with her daughter, who’s married now. Another one is going to Galicia for a long time. My second-best friend is moving to Porto. So in my human environment everything is organizing (or disorganizing) itself to drift away, and I don’t know if it’s to isolate me or to lead me to another path I cannot as yet see. Even the fact that I am going to publish a book is going to change my life. I am losing something – being unpublished. And so changing for the better, because change is bad, is always changing for the worse. And losing a defect or a deficiency or a negation is always losing something. Imagine Mother not living with her painful, daily feelings, a creature who is so sensitive!”

(Fernando Pessoa, The Book of Disquiet (trans. Alfred Mac Adam), from fragment 2)

at night, in rome,

At night, in Rome, it seems you can hear lions roaring. There is an indistinct murmur, and that is the city breathing, amidst its dark domes and the distant hills, in shadow that glistens here and there; and every so often, the raucous noise of sirens, as if the sea were nearby, and ships were setting sail from the harbour for unknown horizons. And then there is that sound, both lovely and savage, cruel but not devoid of an odd sweetness, the roaring of lions, in the nocturnal desert of houses.

I have never figured out what makes that sound. Perhaps hidden workshops, or car engines as they climb uphill? Or perhaps the sound is born, more than from any actual event, from the depths of memory, from the time when between the Tiber and the forests, on solitary slopes, wild beasts still roamed, and she-wolves still suckled foundlings?

I listened carefully, peering into the dark, over roofs and terraces, into that world teeming with shadows; and the sound pierced me like a childhood memory, terrifying, moving, and obscure, bound up with another time. Even if produced by machinery, it is still an animalistic sound, which seems to well up from hidden viscera or from maws yawning futilely, seeking an impossible word. It is not the metallic sound of trams rounding bends in the night, the prolonged, thrilling screech of the trams of Turin, the doleful but confident howl of those factory-worker nights in the empty cool air. This is a noise full of laziness, like some yawning beast, indeterminate and terrible.

You can hear it everywhere in the city. I listened to it for the first time, so many years ago now, as it came through the bars of a cell in the prison of Regina Coeli, along with the screams of the sick and the mad in the infirmary, and a distant clattering of metal; at the time it seemed like the breathing of that mysterious liberty that must somehow still exist, out there. And I was listening to it just now, a few months after the liberation, from a room high above the Via Gregoriana, a temporary, provisional refuge in those times of change, according to where a providential destiny led us, here and there.

(Carlo Levi, L’orologio, trans. Tony Shugaar)

captain debray & the aesthetics of taxidermy

Extremely obliging as he was, he did enjoy some small popularity and in the end made up for not being a fireman by stuffing, furiously and with great conviction, all the polecats and weasels killed in the surrounding woods. Every family possessed at least one specimen of our cousin’s skill and at that time we could not got into a house without seeing in its place of honour one of these animals, seated on its piece of wood, indulging in flirtacious gestures, generally in the style of squirrels. Owing to a tendency towards the ideal, which the elderly, retired military often display, our cousin adjusted and softened features in the animals corpses which seemed too repellent or fierce.

(Octave Mirbeau, Abbé Jules, trans. Nicoletta Simborowski)