One week in, both my classes, and they’re so nice! In a life that feels, gonna just say it, a bit thin for human company, my teaching is textured, rugose. They go by fast, these students, even those I connect with beyond the usual. (They’ve got lives to get on with, yo?) But in their meteoric transits through, briefly they’re as if my kids – kids I never raised, but get to feel tender toward a spell, aren’t they.
Didn’t think to go there. (Even the ones who don’t remember my name. The ones whose names I have to reach for. Somehow, and more than formally, them too. What is that?) (A leopard makes a rhizome with a newborn baboon. Our instincts, drives, are endlessly various and flexible; are originally free; hence, maybe, art.*) (There’s a thesis for you – interspecies bonds and art happen by the same mechanisms.**)
My mind goes this way, these ways, thanks to William Carlos Williams’s Spring and All, first text of our rhizome workshop, whose motive is life and more life, life in nooks and crannies, life in standing water and sickbeds. Spring and yes are synonyms.
It’s late, Sunday tracking to Monday, so just this, second para:
There is a constant barrier between the reader and his consciousness of immediate contact with the world. If there is an ocean it is here. Or rather, the whole world is between:
Consider how odd that is. Intimacy with the world is intact. Consciousness of intimacy with the world is intact. There’s a barrier, and it’s constant, but it’s not anywhere you’d think to posit it. More than intact, maybe, inviolable, and yet, a barrier, a constant one.
And more – the barrier between you and your awareness of intimacy with the world – is the world. How are you not intimate with that?
Dharma of a red wheelbarrow. Why the participle glazed matters, why the prepositions, their stationing in mental space, matters.
so much depends
a red wheel
glazed with rain
beside the white
And a key to Paterson. I think so. Williams is a shitkicker, but his question’s a loving one, why don’t we treat each other more tenderly as we might? That’s not rhetorical – if it were it’d be schlock. He’s really asking. He puts a life’s energy into asking.
He moved me to ask it too. I tend to ask in the first person singular, cuz the plural feels presumptuous, though as I’ve looked at my poetry this weekend, I’ve had fears of narcissism … I, I, I, the vowel in die, the vowel in live (adj.) …
In which vein, this little one came yesterday, out of crumpled disjecta, I see a bear cub, but that may be my pareidolia talking.
* Check out that link! See if you don’t think art is incipient there. In the leopard’s uncertainty – do I nurture or do I pounce. In its unfitness – how will it feed its new charge. And in its untowardness – it’s ventured where it should not have. Those are three of the uns of art, yes, no?
It’s broken, I mean, into a new space, which it, and the baby baboon, and the forest, and 2 million YouTube views all honour in their ways.
As I do you by tapping “Publish.” G’night.
** (Next morning.) Try this. Art is second-order play. Art is when play becomes the content of new play. Which could be why it feels to us both vital and inutile, and why its nature slips out of our grasp, and why we’re tempted to think of it as transcendent, when in fact it’s supervenient …
Down boy. You’re supposed to be lesson planning.