Cosmos
μουσικὴν ποίει καὶ ἐργάζου. // Mousiken poiei kai ergazou. // Make music and work at it.
(This message comes to Socrates repeatedly in his dreams, as Plato describes in the Phaedo, (at 60e6), which takes place on the day of Socrates' death by hemlock. Socrates also describes himself as experimenting with his interpretation of the message.
This is an example of a daimonic message, in Diotima’s✨ sense of daimon, which is something that goes in between the human and the divine. One might keep it as a mantra, or reminder, subject to interpretation…)
The Poem
ὦ φίλε Φαῖδρε, ποῖ δὴ καὶ πόθεν;
Beloved Phaedrus, where to and where from?
//
Holding (with love, and so
gently) dear Phaedrus
(my day, light-ephemera)
my first and undying
metaphor, for
holding (with love, and so
longing) as asking
(as humbled-home-making)
the perfected question
to keep you. Pan,
beloved, as the drawing-
together (from the inside)
of meaning, and lover
as embrace (from the
outside) of horizon, sun-
set to sunrise, as all-time,
is the heavy becoming light-
as-boundary at the edge
of a world. We are there,
together:
the hand
and the what-would-be-
held.
( As nature
I am birthing and dying
unquestionable irresponsive
a fleeing, hiding and
by-many-wanted thing. )
( As human
I am messy, interminable
a political and personal
history of hysteria, making
and remembering, desiring
and deceiving, a restlessly
in-between
word.
A fool and a monster,
my pillaged possessions
are images and accounts
of war, and music
is how I play failure
as comedy, as a
question for a problem
with a deadly and un-
summarizable sound. )
( As god,
I am end (of motion),
I am source (of motion),
I am being (of motion),
I am (hungry
for motion),
I am
may-we-be
love. )
Morningtime, in a garden. And what is
this, that was laid in my lap? That is si-
lent but asking, that seems sent, but scatters
leafing-out patterns of my un-formed self,
harmonic. I need to know. Is it male
or female, flesh-fire of creature, salad
scrumptious and/or ambrosial bane? Shall I
eat it, be eaten by it, become it
or come into dust, be taken, wind-swept
and tearful, or reborn as clean, unseen
green, after all? I must know. I cannot
not know its reflecting, it blooms when I
touch it, it shivers, it is water-light,
earth-dispersing, kaleidoscope versing,
tongue-teasing shadow of radiant tree.
//
(About.)
Pan //
(Is it)
the shiver
that
passes through your body
(to endings from beginning)
when
you make the connection
(from ending to beginnings)
and then realize
it isn’t you
who made it
(?)
Sometimes, to get back on the right path, you have to circumnavigate the globe.
As time persists in circularity, I wonder (again) what makes this morning different from the last. There are two spider bites on my leg. (Each one two dots of red, making four dots total, with pink smudges of irritation around them.) There is dirty laundry I left soaking, for putting in the wash today. This morning, there is no specific sun, just bright cloud we seem to be a part of. Being-in-cloud is not the best for drying clothes. But the sky changes quickly here, so I, perhaps recklessly, forge ahead, and start the load in the machine.
Sometimes the cloud comes down and eats us, from above, from its permanence, further up the island’s altitude. It can be days or a week with no direction to the light. Cloud also soaks up sound. I’m accompanied now mostly by the shushing, rolling rhythms of the washing machine, nearby. It occurs to me, this is one of the less problematic (almost comforting?) of the machines. Yes, it works. So I can focus on this thing here. I like it and I almost trust the washing machine. (The sun is another matter, here’s hoping happily to be surprised.)
After purple salad.
In progress. (pandan)
Anxiety is a small crisis of faith happening constantly under everything. Like lava running under a thin crust of earth, always about to break into fragments of land on a torrent of molten rock. It can burn you (alive), or you could stay still (for fear), or you could become somehow like it (enough to survive). Crazy, you. You must burn through things, sometimes. It makes you unbearably lonely to be locked in a room with human people, but when you exit, you are not alone. You flow outward, or inward. You meet with an interjoining web of rivers of lava, each bringing news of its own catastrophe. Spreading the word. The core is turning, the burning is real.
Do not lose yourselves, any of you. Altogether, you are changing Earth. You are Mother, becoming. I interpret you as terrain, but from the air, one could see, that you have inevitably been channeled.
Music is artificial intelligence. (Anyone who says differently is selling something.) (Or are themselves being sold.)
Under rain again. Big grey above, sucking sponge beneath, birdcall from all corners. Everyone wants to speak. (Good morning, Frankie.) Knowledge and being known across distance, sound as comprehension. (And what is it you say?) Crowing. A sometime slow sheen, passing in and out of soaking pour, dry under roofs, (mostly), we let the weather check for leaks. You will not know a house until it rains ten-thousand times. (Numbers become abstract, here.) House logic, according to which, demonstration is a demonstration. (And everything is fixable, including you.) Solid structure carries watery indeterminate around the sweet space of human habitation. (A house being clear and present negation.) Emptiness is also comprehension. Toes cold, eyes blinking open, coffee is fire.
Battlegrounds at borders, clashing signs, // have me wondering this morning, are we artworks or alive? And the conflicts between us, what they say. That living (bodies) fight as bodies, over territory and resource, and cannot overlap. While artworks are hypothesis, from their inception, and somewhat placeless. So artworks violate embodied borders. Like airborne virus, impossible to contain.
Community of action, community of speech. The latter demands unison, sameness, in what is said. While the former works from difference. Different parts do different things, for the sake of accomplishing some one thing, impossible alone. One cooks, one cleans, one repairs the house, one goes to market. One economizes, one prioritizes. Actions for the sake of all, though each might have something (very) different to say.
Is it person? Or is it hypothesis? Here, behind these signs. Hypothesis is lawless. Bodies have no immunity against it. (Contrary to the myth of liberal arts, this was the function of education. Not “freedom”. But immunity, protection, fortification, against this.) That there could have been a body, a citizen, a living human being, subject to certain laws and customs. But poetry renounced that limit. Escaped sidedness. So poets make (if at all) mediocre (at best) neighbors. And,
A life of beauty is (almost always) a life of crime.
Bismillah Hir Rahman Nir Rahim. Blessed Eid to all who observe. // Today (here) Muslims celebrate Eid al-Adha, a holiday in memory of Ibrahim’s (Abraham) readiness to sacrifice his son Ismail (Ishmael) to Allah (God). There isn’t the same popular mudik/migration in most of Indonesia around Eid al-Adha as there is around Eid al-Fitr. Many people go to the mosque and pray, and some who can afford it purchase a (non-human) animal to kill, or to have killed, as a ritual of sacrifice.
I have complicated thoughts and feelings regarding ritual (non-human) animal sacrifice, and I will not personally participate in it. (It’s optional, for a Muslim, so I don’t break any rules there.) But the story of Ibrahim, and especially his readiness to sacrifice, as well as the thing, (the child), and the promised lineage, (the historical, embodied, coming-to-be and passing-away, of the future), that he is ready to sacrifice, I find that to be an extraordinary lightpost. (Relating to what I wrote yesterday, about Īśvarapraṇidhāna.)
Ibrahim is brave, he does not fit with his community, (who worship idols), and he fights to establish his own relationship with the divine. He does not hide. He listens to dreams. He barely hesitates. His devotion can be interpreted, (or rather, felt), as cruel unresponsiveness to his human relationships and blindness to his own limitations. We are rightly terrified.
(Of Ibrahim, and his daemonic readiness.)
So Allah provides Ibrahim with a substitute, the ram. This serves a double purpose, both to reward his readiness, and to contain the terrifying nature of it. Ibrahim, “in the end”, does not need to kill his child, and all of humanity can breathe a sigh of relief. (Although later, he will send him, and his mother, into the desert. It seems a never-ending trial.) In Islamic tradition, the memory of it (Ibrahim’s readiness) has been further contained by this day, every year, Eid al-Adha.
As I understand it, this is something of the purpose of religion. To contain the terrifying (and otherwise problematic) in human being, to build laws and customs around it, to codify prayer in relation to it, thereby to tame it, and to make possible the establishment of political communities of trust and moderate prosperity. Not to forget the terrible readiness of Ibrahim, but somehow to live beside it, as we play out our animal lives, on earth.
By containing Ibrahim’s terrible readiness inside the symbolic act of killing the ram, the tradition builds a barrier around this moment in Ibrahim’s heart. It is a veil through which one may never see, a hijab in the relationship between finite and infinite. My interpretation of scripture is that this barrier, while accepted gladly by the community, is ultimately provisional. The entire thing that differentiates Ibrahim from the idolators is his stubborn insistence on direct relationship with Allah. This makes him receptive to infinite demand. Indeed, what makes the sacrifice holy, and not idolatrous, is the awareness that, at any moment, the ram might not be enough. No. The ram is already nowhere near enough.
(And the veil is already lifted.)
Ibrahim’s heart is the human heart. And his readiness is what is demanded of human beings, who bridge an otherwise inconceivable gap, between creature and creator. An animal responsible both to finite and infinite. The very nature of our in-between nature is terrible. Terror at Ibrahim is terror at what we ourselves are called upon to do, every day of our human lives.
I myself love the story of Ibrahim, but I have never been supplied with a ram. (Or a human child.) I have been given certain gifts in my life. I work to pay back my finite debts, and I struggle to share whatever I have, that is good or might be helpful, with family, and friends, and community. But not once has it seemed to me that this speaks to the story of Ibrahim’s readiness. In view of which, I find myself quite poor. Poorly supplied with sacrificial substitutes for myself. For myself, and the whole extent of my meaning, in this historical (embodied, coming-to-be and passing-away) world. I am not a patriarch. I am not a king. I myself am all that I have. Myself, and whatever work I can do. Whatever (broken, imperfect) things I can make, things that say “me”, that I might put into a fire.
(To show that none of “me” belongs to me. Is to say that I am… something else.)
It is a personal practice. To have spent one’s life preparing, not really knowing what for, not yet understanding that preparing has always been the work itself. Not having any idea it would lead to where one is now, doing work that one still does not fully comprehend. It has sometimes resembled madness. (And still does.) When it doesn’t resemble hubris. (Which it does fairly often, I guess.) One can neither recommend it nor require it of others (unless one is feeling very grouchy that day, which, patriarchs also had grouchy days). In fact, the lesson (for Ibrahim, for others) might be one of compromise, if not compassion. To let people have their sacrificial ram, for as long as they find themselves supplied.
I myself have never been supplied with a ram. But I have, in my life, been given (metaphorical, and also, metaphorical) cats. For better or worse, a steady supply. (Our boy cat is even named Ismail, in another coincidence, strange even for here.) I have also been given certain other gifts. One of which is the ability to step back and see that this story shows two things: the veil (the sacrificial ram), and the thing behind the veil (the sacrificial child). What it shows is different from what it seems to recommend. So that the story itself is also a veil, and the tradition of sacrifice, another veil. That there is a multi-layered (un)veiling of (un)veiling going on, related to self and sacrifice, responsibility and creation, human demands and human limitations. That the sacrifice, as a container, has a fascinating shape, and one takes care not to miss the point.
(So, “in the end”. I click “publish post”. And draw a veil closed, behind me.)
Awake, not yet twilight, cats causing chaos. I cover eyes, determined to go back. (Wow, it worked.) Hours later, waking as digging out from under concrete. It seems more likely I never woke up.
(The invention of prayer. Begin with sleep and the way it/you works. Body is not machine. Simple acts are a negotiation, while the deepest consist of letting go. Make yourself an offering and the infinite becomes kind. Practice savasana, learn how to fly. Īśvarapraṇidhāna.)
As if death were the missing half of wonder.
Blood on the Tracks is the sun of my Bob Dylan universe. Desire is the moon. (Welcome to Bob Dylan astrology, by me.) I consider myself to be Earth. “Tangled Up in Blue” is where I am, right now, (and sometimes “Idiot Wind” album version, other times Bootleg Series version, you should listen to them one after the other for best effect. Obviously,) “One More Cup of Coffee” is right previous to where my blog is. (Listening to crickets tonight. Softly, like a crystalline froth of sound, from all around the rice paddies, in which there is no time, no history, only countless grains and some one infinite self, dissolving.)
Given the Anthropocene, a weather report in its accuracy becomes a poem. Instead of saying “It will rain,” or “It will not rain,” the weatherman, (witnessing subject as substance), says, “We will rain,” or, “We will not rain.” And if he speaks winged words, “It is raining in my heart.”
It’s like this: being of your body, and sensing (with) the ghost of past body, and sensing (with) the ghost of possible body, there is a constant negotiation between these (differing perspectives), each “one” claiming to be “the one”. Then, the analogy (between ghost bodies) is (what we call) time.
Last night, beneath a sky full of stars. Crickets and tongaret and frogs of a hundred voices, night bird from the jungle with a wistful lilt. Full chorus. From within, Pacitan and Glagahdowo chat tentatively as they wire a fixture, poke fun at R., the youngest, for an accident with the motorbike. (He’s ok.) How did so much time pass without seeing stars? (One of rainy season’s more subtle effects, no stars for months.) The sound and the visible meet in expansive absorption. One doesn’t want to leave the moment for anything.
(One must, and so, one does.)
This morning. Wake in the different, the old, the becoming emptier place, where our presence thins. Wijaya kusuma, orchids, instruments, gone. Cats observant, unsure of change. To abandon all of these heavy, unfixable things.
But our footsteps are lightness. We orchestrate movement, flowing now as if downhill. We tell Blih that he absolutely must come visit (arguing against his inner voices). And we prepare, part by part, to disappear.
(To the place where one listens to stars.)
Repetitive, slow single bangs from a place behind, across the small concrete waterway, that delivers rain and runoff down land. As chopping wood? The refrain of roosters seamlessly fused with the pastel light. Memory of a word, perhaps useless here, equiprimordial. I still shape it into a whisper.
Blue is the moon in her transparency,
And dark the sky, when she looks to the star
Without whom we would all be rock. We would
Be third person, un-personed remainder
After love, with unbound freedom, to scream
Anything and go unheard, unspoken.
So, blue becomes the face of unrequited
Silence. Earth, displaced from selfhood, touches
That, the final leaving off, so that it
Might grow conceivable. And that being
It, empty of form, pure as blue, still as
Clear water, shows her, heavenly, a home.
Indifference remains unwed, yet breaks
Open in the absolute reflection.
Spider practice. // Not just the weaving of her web, a trap and a home and a cosmos and a sort of destiny. But also, the way it (daily) breaks, and how she does it again, and again, and again. This is her work and her expression. Loss, and the spirit of starting over from (seeming) nothing. Discovering new anchors, and then, half-measuring, half-making relationships between them. Living on strands of silk is not dissimilar to living on hypothesis. (Her spider soul suspended somewhere between dia-noia and noesis.)