Are not civilizations: J. Hillman, "Wars, Arms, Rams, Mars--On the Love of War." (Andrews, et al.,1987).

Duchamp's urinal: In April 1917 the urinal was sent by Marcel Duchamp to the first exhibition of the American Society of Independent Artists, in New York, with the only requirements for showing being "the initiation fee of one dollar and the annual dues of five dollars." As the urinal was manufactured by the J.L. Mott Iron Works (except for the stand), Duchamp entered it under the pseudonym, "R. Mutt." Many years later the artist said: "Mott was too close so I altered it to Mutt, after the daily strip cartoon 'Mutt and Jeff' which appeared at the time, and with which everyone was familiar. Thus, from the start there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man...And I added Richard [French slang for money-bags]. That's not a bad name for a 'pissotière.'" M. Duchamp. (Hahn, 1966).
    "Two days before the Exhibition opened, there was a glistening white object in the storeroom getting readied to be put on the floor. I can remember Walter Arensberg and George Bellows standing in front of it, arguing. Bellows was facing Walter, his body on a menacing slant, his fists doubled, striking at the air in anger. Out of curiosity, I approached.
    'We cannot exhibit it,' Bellows said hotly, taking out a handkerchief and wiping his forehead.
    'We cannot refuse it, the entrance fee has been paid,' gently answered Walter.
    'It is indecent!' roared Bellows.
    'That depends upon the point of view,' added Walter, suppressing a grin.
    'Someone must have sent it as a joke. It is signed R. Mutt; sounds fishy to me,' grumbled Bellows with disgust. Walter approached the object in question and touched its glossy white surface. Then with the dignity of a don addressing men at Harvard, he expounded: 'A lovely form has been revealed, freed from its functional purpose, therefore a man clearly has made an aesthetic contribution.' B. Wood. Quoted by W.A. Camfield, "Marcel Duchamp's Fountain: Its History and Aesthetics in the Context of 19l7." (Kuenzli and Naumann,1989).

I'm an old symbolist: R.B.Kitaj. (Darnton, 1994).

Water Lilies: "They had heard rumors of 'an immense and mysterious decoration' on which Monet was working in secret. To their surprise he willingly led them through the garden to the mural studio. On entering the glass-roofed interior they found themselves before a strange artistic spectacle: a dozen canvases placed in a circle on the floor, one beside the other...a panorama made up of water and lilies, of light and sky. In that infinitude, water and sky have neither beginning nor end." (Sietz,1960)

Vivienne Hermann: At the age of eight, she was sent to Nazi concentration camps in Czechoslovakia and Poland. ("This whole family, all of them dead,. My father and I were the only survivors.") She became an artist and teacher, in New York, her work in several distinguished collections. Much of, but not all of, Hermann's art reveals the horrors of the Holocaust. ("My mother is the holocaust. She's the holocaust for me." -Jason Hermann. See, Is There Poetry After Auschwitz? Videotape. The National Center for Jewish Film, New York. Vivienne Hermann died of cancer, in Albuquerque, NM.

Is it open: "When the dead are brought to the towers, they are carried inside by the corpse- bearers. At the top of each structure there is a stone or iron platform, and a hollow well descends to the bottom of the tower. On this platform are special places for men, women, and children. There the bodies are left naked with their faces to the sky and their heads to the south--never to the north, where the demons dwell. Then the vultures come and dispose of the body. In less than an hour, all that is left are the bones. When these are dry, they're put into the central well of the tower to turn to dust. All the Parsis in Bombay--the rich and the poor, the good and the selfish, the old and the young--mix together in the towers." (Turner,1976)

nothing further: "Cracow, in southern Poland, has become a tourist center mostly because of its location: it is only a thirty-minute taxi ride from the most famous death camp of them all, which attracts some half a million visitors a year. When tourists get off the train from Warsaw they are greeted at the platform by eager taxi drivers offering, 'Taxi? Hotel? Auschwitz?' When a driver gets an Auschwitz fare he merrily informs the others at the stand, 'I'm off to Auschwitz!'" (Kurlansky,1994)

like a banker: A strange remark in view of Einstein's notorious ineptness with financial matters. One example: "Einstein had been offered a position at the Institute for Advanced Studies (at Princeton University) by Dr. Abraham Flexner, the director, who gave Einstein virtually a blank check to write his own salary. Einstein carefully figured out how much money he would require to live in his new country. Translating his knowledge of German currency into American dollars, Einstein computed that he would require $3,000 a year, and it was this figure that he suggested to Dr. Flexner.
    "Fortunately for Einstein, the Institute did not accept his suggestion. Einstein, perplexed by their refusal, and assuming that he had asked too much, quickly asked Dr. Flexner, 'Could I live on less?' Flexner, astutely sizing up the situation, suggested that the matter be arranged by Mrs. Einstein, who was more adept at business affairs." (Bucky,1992)

palimpsests: "When he enters the territory of which Eutropia is the capital, the traveler sees not one city but many, of equal size and not unlike one another, scattered over a vast, rolling plateau. Eutropia is not one, but all these cities together; only one is inhabited at a time, the others are empty; and this process is carried out in rotation. Now I shall tell you how this process is carried out. On the day when Eutropia's inhabitants feel the grip of weariness and no one can bear any longer his job, his relatives, his house and his life, debts, the people he must greet or who greet him, then the whole citizenry decides to move to the next city, which is waiting for them, empty and good as new..." (Calvino,1974)

cement food: J. Weishaus, "Cat."

I'm in college. It's finals week. I'm depressed & panicking as I miss final exams, one after another. I call home in distress. Mother comes to college to help me but she's all upset, too. I'm driving her around (the) student ghetto when she turns into a cat. I pet & stroke her, & try to get her to turn back into a person. She jumps out of my arms & runs away. (Blaire's dream, May 1994.)

yellow eye: "Eros is often thought of in yellow terms. The Yellow Cat was a well-known brothel in the Strand in London. (The term 'cat house' goes back to the 15th century in which a 'cat' was a prostitute. Related to the French le chat, or 'pussy,' for a woman's genitals.) Yellow is often the color of debauchery, impure love, trashiness." (Theroux,1994)

One of the large: (Kelher,1994)

steel bars: "'The electric train with two cars approached the bus slowly. It hit the bus in the middle. Slowly the train pushed the bus. The bus had a strange elasticity. It bent more and more, but for a time it did not break....When the bus reached its maximal flexibility it burst into a thousand pieces, and the train kept moving. It ran over many people. I remained under the train. Not Frida. But among the iron rods of the train, the handrail broke and went through Frida from one side to the other at the level of the pelvis.'...Her spinal column was broken in three places in the lumbar region. Her collarbone was broken, and her third and forth ribs. Her right leg had eleven fractures and her right foot was dislocated and crushed. Her left shoulder was out of joint, her pelvis broken in three places. The steel handrail had literally skewered her body at the level of the abdomen; entering on the left side, it had come out through the vagina. 'I lost my virginity,' she said." A.G. Arias. (Herrera,1983).

appreciation for trees: "we may note at once that the tree represents--whether ritually and concretely, or in mythology and cosmology, or simply symbolically--the living cosmos, endlessly renewing itself. Since inexhaustible life is the equivalent of immortality, the tree-cosmos may therefore become, at a different level, the tree of 'life undying'. And as this inexhaustible life was, in primitive ontology, an expression of the notion of absolute reality, the tree becomes for it a symbol of that reality ('the centre of the world')." (Eliade,1958)

Sweeney's memorable video: Skip Sweeney's "My Father Sold Studebakers." R. Beck, et al., "Selections From the EAI Archive." (Zippay 1991). My father spent the last decades of his working life selling Pontiacs.

a long tress: "Hair, as time and custom testify, is a symbol for the soul because it grows out of the head--the place of consciousness. It grows again after it is cut and even continues growing after a person dies. Initiation rites usually include some form of hair cutting or alteration to symbolize a new orientation of the psyche. Rapunzel's hair had grown so long that it must have been time to change--time to start another phase of life." (Hall,1980)

superhero: "Why then was there a need for the costume and often a mask? I propose that their major function was to symbolically dramatize the split between the egalitarian common man and the individualistic, self-reliant, achievement-motivated superhero. The costume and deeds draw attention to his superiority while the mask hides his true identity. In other words, by attempting to resolve the contradiction, the superhero becomes a split personality. For if a person by dint of personal endowment, hard work, and perseverance raises himself to the point of superiority, how can he then retain the equal of his compatriots and remain within the community? The only answer, of course, is that he must mask his superiority." (Connor,1980)

When I'm with you: L. Cohen. From, "The Reason I Write."  "The artist, as man, is subject to the physical scars of aging, deterioration, and finally death. More painful are the psychological scars, as childhood innocence, wonder, and belief in magic give way to the experience of guilt, suffering, and a dull acceptance of surface reality and social conventions. Aging thus becomes a kind of dying, another scar." P.A.Morley, "'The Knowledge of Strangerhood;' 'The Monuments Were Made of Worms.'" (Gnarowsiki,1976).

through the use of blood: (Lewis-Williams,1989)

he showed a dozen: (Moholy-Nagy,1947). This passage refers to Picasso's painting, "Guernica."

distinctive personalities: "The structure of the film is even more rudimentary than its theology. In the book, the identity of Jekyll and Hyde is a surprise; the author saves it for the end of the ninth chapter. The allegorical narration feigns to be a detective story. No reader guesses that Hyde and Jekyll are the same person; even the title makes us postulate that they are two. Nothing would be easier than transforming this approach into the cinema. Let us imagine a case for the police: two actors, recognizable to the public, will figure in the plot (let us say, George Raft and Spencer Tracy). They can use analogous words; they can mention facts that presuppose a common past; when the problem becomes undecipherable, one of them imbibes the magic drug and changes into the other. (Of course, the satisfactory execution of this plan would involve two or three phonetic readjustments: the modification of the names of the protagonists.) More civilized than I, Victor Flaming manages to avoid all surprise and all mystery. In the opening scenes of the film, Spenser Tracy fearlessly downs the versatile potion and is transformed into Spencer Tracy with a different wig and negroid features." J.L. Borges, "Dr. Jekyll and Edward Hyde, Transformed." (Monegal and Reid,1981).

On the original Tonight Show (NBC-TV), its host, Steve Allen, was interviewing Dr. Jekyll in his laboratory, with its bubbling flasks and steaming alembics. The good doctor downed the famous morphing potion, and lights began flashing, shadows dancing, Jekyll's face and demeanor apparently going through a profound transformation. Then Allen said, "That's amazing!. How did you do it?" "Do what Steve?" the actor replied. And the audience realized that nothing had changed! It was all "smoke and mirrors."

X-rays: "The X-ray style is without doubt an expression of the shamanistic view current among the early hunters that animals could be brought back to life from certain vitally important parts of the body. The mere portrayal of these vitally important parts or of the lifeline brought about the resuscitation or increase of animals. Representations of animals were not merely pictures but contained the animals' vital substance. An increase in their numbers was brought about by touching up the pictures or by performing religious and magic rites in front of them." (Lommel,1967)

the tooth: "The tooth has always been accorded a special, magical role among all peoples and at all times, and has stood for power, and its loss of power. In ancient folk belief, and in our nightmares today, every tooth that falls, naturally or forcibly extracted, is a more or less symbolic little death. Even--especially--the mutilation of teeth for aesthetic, totemistic, apotheopaic and sacrificial purposes, which is so foreign to the Western tradition, has its roots in the power of symbolism. Toothache, wrote Ambroise Paré, an ancient authority, in the sixteenth century, is the greatest and most eternal of all pains, excepting death. Toothache was the fiery torture of the damned in hell; toothache was caused by the devil, 'her Dreadfulness Satania Infernals.'" D. Kunzle, "The Art of Pulling Teeth in the Seventeenth and Nineteenth Centuries: From Public Martyrdom to Private Nightmare and Political Struggle?" (Feher, 1989).

Last year I lost: Han Yü (768-824). "(William) Hague talks about walking down the street one day and meeting Emerson. I forget now whether Emerson was just coming out of the dentist's office or whether Hague was just coming out of the dentist's office. Anyway, they got talking about teeth and Emerson made the comment that Thoreau liked his false teeth so much better than his natural ones Thoreau told Emerson that if he had only known this he would have gotten rid of the natural ones much earlier." (Aton,1984)

A spool of canvas: Jim Wald, "Canyon Del Oro (1984)."

dry-mouthed pallet: 'When I hike the desert on hot days I select pale clothing, an old faded shirt, a pair of tan khakis tufted by run-ins with thorny cat-claw acacias, a hat of any color except black. My fondness for khakis, which extends beyond desert hikes, has earned me the derision of my fashion-conscious teenaged sons and amused comments from my colleagues. I suffer these criticisms calmly, because I know from long experience that I will be comfortable and relatively cool in a pair of baggy, beat-up khakis. If, however, khakis were black, I could not imagine wearing them on desert hikes in May or even April. But there sits a jet black male phainopepla on an absolutely exposed perch, showing no sign of distress under the roasting sun." (Alcock,1990

animated by: "In this glum desert suddenly a specific photograph reaches me; it animates me and I animate it. So this is how I must name the attraction which makes it exist: an animation." (Barthes,1981)

peeling motor home: The mobile home as 'transitional shelter'...means that it is symbolic of a 'transitional age' in our culture, a period when values and goals for individuals a groups are in a strong state of flux. The mobile home with its low coat and ease of maintenance offers the individual flexibility and adaptability not given by the permanence of a house and mortgage. It also offers privacy and limited fund reclamation not possible to apartment users. In short, transitional rather than transportable. The courtship of house and car has produced an offspring with a symbolism of its own. (Neuman,1973)

Like Scorpio and Orion: Tu Fu. From, "For the Recluse Weipa." B. Watson translates this as, "like stars at opposite ends of the sky we move."

Amsterdam home: In accordance with the "plan of the three canals," adopted by Amsterdam's city fathers in 1610. "The upper classes were to be located on three grand grachts (canals): the Herengracht, the Keizergracht, and the Prinsengracht in that order of preference, social prestige, and cost. (The Stattman house, presently occupied by Jacob Stattman's widow, Helene B. Stattman-de Regt, M.D., and their three children, is located on Keizergracht.) "The larger houses in Amsterdam had four big rooms on the ground floor--two in front and two in back--plus entrance hall, corridor, and stairwell. The entrance hall floor consisted usually of contrasting black and white tiles. Each floor ordinarily had the same number of rooms as could be found on the ground floor. No great house was complete without a rear garden with accompanying pavilion or summerhouse." (Murray,1967)

dead friends: "To write as Gertrude Stein and Maurice Blanchot both have said, is to write to a stranger, to a friend. As we go forward, say on the Net, perhaps we are also going back, and I am not a great believer in linear models of time, to times when literature and economics met each other in the region of friendship. 'The ancients,' comments (Hannah) Arendt, 'throught friends indispensable to human life, indeed that a life without friends was not really worth living.'" -K. Acker, "Writing, Indentity, and Copyright in the Net Age."

climbing a high mountain: (Jung,1934)

On top of a long high shelf: "There, where the world is turned inside out, a heavy fabric embroidered with stars and beasts, you stroll, inspecting the trustworthy seams." (C. Milosz. From, "On Angels")

Korean teacher: "One winter afternoon, during Yong Maeng Jong Jin at the Providence Zen Center, Seung Sahn Soen-sa went for a walk with some of his students. It had snowed the day before. Soen-sa asked one student, 'What color is the snow?' The student said, 'White.' Soen-sa said, 'You have attachment to color.' (Mitchell,1976)

or if ever: "Travel: a word repeated a thousand times in the streets, in advertising; it is seduction itself. It draws us to travel agencies. But, by this very fact, its popular meaning has become considerably restricted. We have the impression that there is only one type of travel, the 'round trip.' Given the fundamental metaphorical function of travel in all reading (and, correlatively, writing) and, in consequence, in our knowledge of the real and our action upon it, it is certain that the above-mentioned reduction will develop mythological powers all the more deceitful the less we notice it. It is easy to see that many human movements are one-way trips." (Butor,19764)

Moon sinks: Tu Fu. From, "Dreaming of Li Po." J. Weishaus, trans. After being involved in a minor rebellion, Li Po was banished to a wasteland in the southwest--an exile few survived.

you almost appear: "When someone departs, the security of being there together, in the network of paths which always have the possibility of crossing--ends. But another time begins, made of other sorts of excursions--more secret, more abstract or 'intellectual' as one might say. These are traces of the things which we learn to seek through rational and 'academic' paths, but in fact they cannot be separated from chance, from fortuitous encounters, from a kind of knowing astonishment. This second movement always begins sometime before someone leaves. But through the uncanny urgency of real departure, the situation exits the realm of metaphor. So it is that through this very departure things continue--with no other ties than these forests of signs, these symbols of absence and, as the Kabbalah puts it, these letters, initiating other encounters and other spaces. These are the icons of what one begins to understand might still be said--resembling the 'angels' which have become nothing more than a manner of speaking." M. de Certeau  (Terdiman,1992).

spoken here: "The original settlers who came here to New Mexico in 1598--to the Nueba Mexico, as the land was called at that time--brought with them a sixteenth-century Spanish that was fundamentally rural--Astilian, mixed with the speech of Andalusians, Asturians, Basques, and Galicians..."As the Spanish language spread throughout central New Spain during the course of the sixteenth century, it adopted many words from the Indian dialect, particularly from the Nahuatl. Most of this vocabulary referred to items related to the culture of the Aztecs and for which the Spaniards had no equivalents in their tongue." Unlike in Mexico, however, where these terms have undergone changes, in New Mexico most of the words "are still pronounced very much as they were spoken by the early seventeenth-century settlers." During the next three centuries, although some indigenous Indian words were acquired, the vocabulary remained basically the same. During these times, however, at the end of the twentieth century, "the dialect is losing its struggle for existence because English is the official language of the area." (Cobos,1983)

macular degeneration: "The macular is the central area of the retina directly behind the pupil. It receives the most critically focused central light rays and thus provides the central portion of the visual field. It has the highest concentration of the keenest receptor cells (cones), arranged in a perfectly regular fashion. Cones are scattered about the retina in other areas, but it is only in the tiny macular area that their number and arrangement is sufficient to allow good visual acuity....Loss of central vision is the main symptom of macular disease. The patient with advanced macular degeneration must look off to the side in order to bring an object into view." (Michelson,1980)

in the mirror: "it must be remembered that one of the attributes of the Great Mother Goddess, whose cult was widespread in the Near East, was a mirror which she held in her hand. From this arose the proposition, which we share, that mirrors symbolized fertility." (Martynov,1991)

Whenever you see a mirror: (Eco,1989)

deposited his shit: "You set a problem--for example, eliminating dog shit from the sidewalks of Paris. This is, by the way, a massive problem. I recall reading somewhere that four hundred tons appear on the streets each day, which seems a lot, but perhaps not if you remember that no French family or shop is complete without a dog--and some of those dogs are big. Little children in Paris are taught not only to look both ways before crossing the street, but also to look down before walking on the sidewalk." (Watson,1995)

plastic rings: "The 8 offers no half-way measures. It is either persona; limitation or spiritual freedom, splendor or degradation, the casket or the rainbow, the terrestrial or the celestial." (Helive,1977)

a persistent wind: "In South Africa, a Xhosa priest-diviner would lead a large number of people up a convenient hill, and fill his mouth with a special potion which he spat right into the eye of the wind, while directing a mass demonstration of communal rage. In parts of southern India, the priest confronted a storm entirely on his own, armed with just a sword, a club and a flaming torch." (Bloomfield,1897)

demonic jest: "'These are the things I've written,' James Hillman says, sweeping a hand across a long shelf of books in the office of his Connecticut house. There are nearly 20 books that he wrote or co-wrote...It seems an ironic monument to someone intent on dismantling the ego, hero and self. After all, what is such a shelf if not a tribute to an ego-driven, heroic self-image? His answer is typically Hillmanesque, mixing metaphor and myth: He gets possessed by demons. 'The demonic is something that is a taskmaster to do these things or say these things or produce these things,' he explains. 'It's the slave driver. You spend your life making it, then it tortures you...'" (Yoffe,1995)

West Wind: "West has persistently symbolized satanic darkness, grief, and death for the Christians. Christ on the cross faced west. The expression 'to go west,' meaning to die, still occurs in popular usage. The early Christian attitude toward west is expressed as follows in a forth-century sermon to newly baptized converts: 'You stretched forth your hand and with this gesture you renounced Satan as thought he were actually present..." (Gordon,1971)

East Wind: "The 'Apostolical Constitutions,' which were probably written towards the end of the third century, state 'let us rise up with one consent, and looking towards the east...pray to God eastward, who is ascending up to the heaven of heavens to the east; remembering also the ancient situation of paradise in the east.'" (Ibid.)

spoke: "The speech that bursts forth from the Biblical prophet is already stamped into words; it is rhythmically articulated, 'objective' speech. And yet it is not a discourse from the speaker, which he merely utters: it embraces the whole person, the whole speaking human body, alive in itself and now inspired...it embraces the whole existence of this man: the whole man is mouth." M. Buber, "Symbolic and Sacramental Existence in Judaism." (Campbell, 1985).

exemplary love: "I believe that what we become depends on what our fathers teach us at odd moments, when they aren't trying to teach us." (Eco,1988)

to trek further: "When he was not working in his studio at the Jas, he wandered off alone into the countryside, to dream by the Infernets dam, or at the foot of Mont Sainte-Victorire. Sometimes, by nightfall, he would find himself far from Aix, and would ask hospitality from a peasant for the night and sleep on the straw." (Perruchot,1961)

paths zigzagging: "when Katz asked !Kung shamans to draw themselves as they conceived of themselves, they produced various forms derived, by synaesthesia, from entopic phenomena. One man drew zigzag legs and a zigzag spine. The rest of his body was, he said, represented by detached zigzags." (Lewis-Williams,1989)

I am discussing: "We arrived at (Andy) Clausen's to find Corso wild eyed and red faced. He paced up and down the living room, disappearing once in awhile, returning with renewed energy. Nothing Ginsberg said seemed right. I tried to imagine what it must have been like--their first meeting in a Manhattan bar back in 1950, Allen twenty-four and Gregory twenty, Gregory just out of prison and Allen already steeping in the wise madness of William Burroughs and Jack Kerouac.
There was no literary talk at Clausen's that night, no reminiscing on long-gone times. Ginsberg and I made sandwiches in the kitchen, devouring them just as Corso bounded back into sight. He screamed: 'WHAT DID YOU TELL THIS MAN? THIS MAN THINKS HE'S A POET. BUT HE'S GOING TO DIE, SEE? AND HIS POETRY WON'T BE REMEMBERED.'
    "'I didn't say anything, Gregory, ' I replied.
    "'Oh yeh! he exclaimed, backing up several steps and jumping into the air. 'YOU'RE BOTH JEWISH YENTAS. ALL YOU CAN DO IS PRY INTO OTHER PEOPLE'S BUSINESS.' Then, he broke out laughing." (Cherovski,1988)

We set out: "They danced down the streets like dingle-dodies. and I shambled after as I've been doing all my life after people who interest me, because the only people for me are the mad ones, the ones who are mad to live..." (Kerouac,1957)

which is always possible: (Hugo,1900?)

this shallow identity: "The genome is incredibly resourceful, and when posed with the question, 'How do I achieve the development and evolution of this new structure?' there's more and more evidence that it just goes back to itself and says, 'let's rearrange these genes in a different way in a different place to come up with what would appear to be something completely novel.'" M. McFall-Ngal. (Yoon, 1994).

shell-strewn beach: "In risky habitats full of light and life and predators, (Geerat Vermeiji) documented evidence of architectural innovations in more modern shells, changes what helped to protect a shell's inhabitant. Over time shells appeared more tightly coiled, with greater buttressing, showing more teeth lining increasing smaller openings in heavily guarded entryways.
   "Meanwhile, the fossil record showed crabs, fish and others who would dine on these shelled delicacies diversifying and becoming better at cracking, popping, drilling and peeling their victims open--all mounting evidence in favor of an hypothesis that predicts that life on earth will only get more and more difficult." (Yoon,1995)

sniffing its spindrift: "You can only feign that you love the ocean by caressing it; the ocean would demand as an act of love that you drown in it." C. Frentes. (Lundkuist,1991).

outside the City Limits: "it is from the beginning of the nineteenth century that everyone has a right to her or his own little box for her or his own little personal decay; but on the other hand, it is only from that start of the nineteenth century that cemeteries began to be located at the border of cities. In correlation with the individualization of death as an 'illness.' The dead, it is supposed, bring illness to the living, and it is the presence and proximity of the dead right beside the houses, next to the church, almost in the middle of the street, it is the proximity that propagates death itself. This major theme of illness spread by the contagion in the cemeteries persisted until the end of the eighteenth century, until, during the nineteenth century, the shift of cemeteries toward the suburbs was initiated. The cemeteries then came to constitute, no longer the sacred and immortal heart of the city, but 'the other city,' where each family possesses its dark resting place." (Foucault,1986)

ominous incompletion: "Yesterday, the anniversary of my father's death. Rarely have I been more emotionally dejected. Tendency toward individuality; generality calls me, but I am a dead end. Thus, during these twelve months, I have experienced a constant thrust toward the outside; and inside, I remain empty. Seek strength from art (Rembrandt), from humanity (Mickiewicz), from nature itself (Serres), from living, suffering nature." (Michelet,1984)

of the Other:

In the archaeology review, the skeleton
of a superb Neanderthal man--
I wonder where the woman lies,
why weren't they buried together.

Nor is Novalis beside his beloved Sophie....
(G. Tartler. From, "Why Do You Care For Eminescu's Woman?")

Note: My mother's name is Sophie.

It's only to net: R. Juarroz. From, "Seventh Vertical Poetry." W.S. Merwin, translator.

 

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