“We feared that the music which had given us sustenance was in danger of spiritual starvation. We feared it losing its sense of purpose, we feared it falling into fattened hands, we feared it floundering in a mire of spectacle, finance, and vapid technical complexity. We would call forth in our minds the image of Paul Revere, riding through the American night, petitioning the people to wake up, to take up arms. We too would take up arms, the arms of our generation, the electric guitar and the microphone.”
“I wonder if the snow loves the trees and fields, that it kisses them so gently? And then it covers them up snug, you know, with a white quilt; and perhaps it says, “Go to sleep, darlings, till the summer comes again.”
― Lewis Carroll, Alice’s Adventures in Wonderland / Through the Looking-Glass
It was a long drive from Lawrence back to Dallas and we had to leave at six in the morning to insure we made it home in time to watch the Cowboys get beat. It was very cold with most of Saturday’s snow still frozen on the ground.
There was a thick… it couldn’t have been fog because it was too cold – some sort of pea-soup frozen haze… smothering everything. Over an hour later the sun rose unseen over the vast flint-hill plains. The haze slowly lightened into a gray blanket.
We stopped to switch drivers at one of the Kansas Turnpike rest areas, the ones with the oddly shaped water towers.
Belle Plaine Service Area, Kansas Turnpike
And I took this photo of one of the few trees within a hundred miles… blurred and obscured by the fog.
“He stood at the window of the empty cafe and watched the activities in the square and he said that it was good that God kept the truths of life from the young as they were starting out or else they’d have no heart to start at all.”
“Bad architecture is in the end as much a failure of psychology as of design. It is an example expressed through materials of the same tendencies which in other domains will lead us to marry the wrong people, choose inappropriate jobs and book unsuccessful holidays: the tendency not to understand who we are and what will satisfy us.”
― Alain de Botton, The Architecture of Happiness
Reflection in The Globe, AT&T Discovery District, Dallas, Texas
“I believe that what we become depends on what our fathers teach us at odd moments, when they aren’t trying to teach us. We are formed by little scraps of wisdom.” ― Umberto Eco, Foucault’s Pendulum
Tattered Sign on warehouse – I see this every day on my drive home from work. (click to enlarge)
“I only went out for a walk and finally concluded to stay out till sundown, for going out, I found, was really going in.” ― John Muir, John of the Mountains: The Unpublished Journals of John Muir
Margaret McDermott bridge, pedestrian path, Dallas, Texas
“Louisiana in September was like an obscene phone call from nature. The air–moist, sultry, secretive, and far from fresh–felt as if it were being exhaled into one’s face. Sometimes it even sounded like heavy breathing. Honeysuckle, swamp flowers, magnolia, and the mystery smell of the river scented the atmosphere, amplifying the intrusion of organic sleaze. It was aphrodisiac and repressive, soft and violent at the same time. In New Orleans, in the French Quarter, miles from the barking lungs of alligators, the air maintained this quality of breath, although here it acquired a tinge of metallic halitosis, due to fumes expelled by tourist buses, trucks delivering Dixie beer, and, on Decatur Street, a mass-transit motor coach named Desire.”
“In the various arts, and above all in that of writing, the shortest distance between two points, even if close to each other, has never been and never will be, nor is it now, what is known as a straight line, never, never, to put it strongly and emphatically in response to any doubts, to silence them once and for all.”
― Jose Saramago
11 Acute Unequal Angles, Bernar Venet, 2016, Cor-ten steel, Sydney and Walda Besthoff Sculpture Garden, New Orleans 11 Acute Unequal Angles, Bernar Venet, 2016, Cor-ten steel, Sydney and Walda Besthoff Sculpture Garden, New Orleans
“But how can I put a name to what it is that I want? How am I to know that I really don’t want what I want, or that I really don’t want what I don’t want? These are intangibles that the moment you name them their meaning evaporates like jellyfish in the sun.”
― Andrei Tarkovsky, Stalker: un film de Andreï Tarkovski
Broken Concrete and Rebar, Dallas, Texas
I took a day of PTO today (I am still working, I am essential) to try and heal my knee which I hurt in a fall outside my shower on Sunday. Someone reminded me of RICE – Rest, Ice, Compression, and Elevation (Would like to try RICED – with the addition of Drugs… but no luck there) and that sounded good for me. I made a spot where I could stretch out with a flexible ice pack on my knee. To kill the time I watched a movie on my laptop which I had seen over three decades ago – Stalkerby Andre Tarkovsky.
Tarkovsky is, as I’m sure you know, an unmitigated genius – a master of idiosyncratic film making. I’m glad I saw the film again – I noticed a lot that I missed the first time.
One aspect is the Russian technique of adding very deep philosophical soliloquies spouted by characters in the story – the plot becomes a scaffold to present these musings on faith, desire, and humanity. It is like Dostoevsky or Tolstoy where dramatic action illustrates deeper issues.
Here’s an example – the long monologue by the character known only as Writer after he narrowly escaped death in the room of dunes (you’ll have to click through and watch it on YouTube).
Look at this closely… who is he talking to?
And, like all of Tarkovsky’s films… what images! I hadn’t noticed (or remembered) the Wizard of Oz trick of having the day to day life in black and white (or at least de-saturated sepia tones) and only have the full luscious color spring out in the Zone itself (when you see the film note carefully what other subject is shown in color). The burning rocks on the shore. The room of dunes. The dust devils on the dried up undulating swamp (apparently this scene and others involved carcinogenic chemical wastelands that may have eventually led to the death of the director and others involved in the film). The catalog of items in the long shot through the shallow water. The stalactite festooned tunnel of horror, the meat grinder. The way he films faces….
It is a feast for the eyes as well as the brain.
Let everything that’s been planned come true. Let them believe. And let them have a laugh at their passions. Because what they call passion actually is not some emotional energy, but just the friction between their souls and the outside world. And most important, let them believe in themselves. Let them be helpless like children, because weakness is a great thing, and strength is nothing. When a man is just born, he is weak and flexible. When he dies, he is hard and insensitive. When a tree is growing, it’s tender and pliant. But when it’s dry and hard, it dies. Hardness and strength are death’s companions. Pliancy and weakness are expressions of the freshness of being. Because what has hardened will never win.
Bill Chance 