I question a local boy under a pine.
He says, "Teacher is gathering herbs
right here on the mountain...
But who can say where?
The mountain is thick with clouds."
“Seeking a Hermit-Sage in Vain” by Jia Dao [w/ Audio]
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Author Archives: B Gourley
Faint Day Moon [Haiku]
a daytime half moon,
feeble compared to at night,
yet I stop to look.
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DAILY PHOTO: Pai’s Instagramable Places
Diabolical [Free Verse]
I don’t mind one crow,
on a rail or curb,
by its lonesome.
Nor am I troubled by
a large number of the birds.
(The group designation “murder,”
notwithstanding.)
But where two or three
are gathered, facing
each other…
That’s when I get the
heebie-jeebies.
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BOOKS: “Imagination: A Very Short Introduction” by Jennifer Anna Gosetti-Ferencei
Imagination: A Very Short Introduction by Jennifer Anna Gosetti-FerenceiMy rating: 5 of 5 stars
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This is a concise guide to the subject of imagination, the capacity to conceptualize that which does not exist in reality. Philosophy is the primary dimension through which the subject is investigated, though the insights of poets (particularly Romantics,) authors, and artists are frequently presented — in several cases, in detail. Also, the author does discuss ideas from other disciplines as relevant (e.g. psychology, anthropology, science.) This is notable, for example, in Chapter 2, which looks at early signs of imagination in the human record and the evolution of this capacity.
Philosophical views on imagination have varied to the greatest possible extent, from Plato’s belief that imagination represents untruths and is therefore dangerous to various views suggesting that imagination is a good thing, is fundamental to what it means to be human (e.g. to empathy,) and is inescapable for humans. This Plato against the world dispute is revisited in several places throughout the book. Besides those of Plato, the views of Kant, Nietzsche, Wittgenstein, and Sartre are particularly extensively examined.
Creative types will find the final chapter (Ch.6 “Creativity from invention to wonder”) the most engaging part of the book as it deals with what makes for creativity. The chapter discusses topics such as whether constraints help or hinder creativity? Take, for example, poetry: does free verse poetry produce more imaginative material, or — on the contrary — is rhymed and metered verse more innovative and novel. If you think you know the answer, you might be surprised by the arguments that have been put forth.
I enjoyed reading this book and found it thought-provoking and worthy of the time.
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Four Seasonal Haiku of Sōgi [w/ Audio]
SPRING
Despite the storm,
Spring's herald makes it through:
Scent of plum blossom.
SUMMER
Abundant fireflies
This year, but this morning
None are to be seen.
AUTUMN
Autumn sea:
A boat moves, leaf-like,
In the floating world.
WINTER
Winter rains
Cross the mountains
On rising clouds.
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Egret Eye [Haiku]
DAILY PHOTO: Mountains Around Pai Valley
“Suicide in the Trenches” by Siegfried Sassoon [w/ Audio]
I knew a simple soldier boy
Who grinned at life in empty joy,
Slept soundly through the lonesome dark,
And whistled early with the lark.
In winter trenches, cowed and glum,
With crumps and lice and lack of rum,
He put a bullet through his brain.
No one spoke of him again.
You smug-faced crowds with kindling eye
Who cheer when soldier lads march by,
Sneak home and pray you'll never know
The hell where youth and laughter go.
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PROMPT: Fate / Destiny
Do you believe in fate/destiny?
No. Life would be hard to bear if one believed one were just playing out a program, and was not a free agent.
That said, I can’t say I have enough information to have a strong belief in the opposite (i.e. free will.)
So, like a number of other big philosophical questions, it is one for which I prefer ignorance over delusion.
