I am not the fallen, but the falling -- he who never hit the ground. And you may hope to know my call, but I was never there at all. I was sitting on the tower. I was dropping to the ground. I never emitted a flash of light, and never emitted a peep of sound. I am the falling, not the fallen. The one who never hit the ground.
I roam the old city, gazing at Gothic gargoyles and touching stonework made by men long since dead, wondering how I ended up in this chunk of time, rather than one in which this land was all just forest or marshland, or one in which we all wait amid the rubble to blast off to some secondary hive of humanity.
Rain sidles up in a commanding cloud -- early -- And so it waits in its cloud, like the awkward party guest who sits in his car, waiting to be fashionably late, but - not having decoded what "on-time" really means - arrives early, nevertheless.
I stare at the flowing river, and, for a moment, it seems still, as the world whips into a wild ride of vertigo, leading me to question all I believe about the still & the moving. Everything that's still is spinning, orbiting, and expanding Everyone who's still is a seven-jetted space monkey on a rocket ride.
They say hands are the hardest human part to artistically render -- to draw or sculpt or paint, causing artists to hide hands, or at least to not replace them when an earthquake or inept movers break them off. I believe them. The perfect curve is not easily attained, all those random crenulations and creases, the lumps and knuckle nubs, the veins and blemishes, all that is necessary to convey life -- be it a hard, hammer-wielding hand, or the soft suppleness of an unworked hand. Straight digits can create an uncanny valley as surely as does a rubberized face. Emotion is expressed through hands, as through faces. I heard that the straightened fingers of Olympia's left hand caused quite a controversy when Manet presented the painting, causing almost as much of a stir as the fact that she was an ashen, syphilitic prostitute. In Dream Yoga, we do reality checks with our hands, looking at the hand, looking away, flipping it over, and then looking at it once more. Doing this whenever one sees anything strange or suspect. It trains the brain, which - in sleep - shuts down its suspicious bits, to take note of the nonsensical. If you're awake, you just see your same old [underestimated] hand. If you're asleep, you won't see five perfectly curved fingers, you might see an expansive fractal pattern, or a cloven, bifurcated, mitt. Even our sleeping brain can't keep track of five wriggling little digits. No wonder they give artists such fits.
In the early morning hours, a staggering drunk asked me if I were him, thinking he was looking at a mirror rather than through a glass door. I told him it was too early for such metaphysical inquiry.
I watch a frangipani blossom -- its elegant five twisted petals swept downstream, drifting toward the smooth laminar lip that rolls over the cascade. And I feel a teensy queasy, watching it be lifted and whipped over the edge. As if I were it, and it were me.
to be poured steaming tea from a dented kettle, in a wooden building, hanging at the mountain's edge, at the end of a long day's journey, has a special spirit-raising force
Tiger Riding for Beginners 