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Godiva en la selva, escultura en bronce de Leonora Carrington. 1995.

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Adrienne Rich, May 16, 1929 / 2023

(image: Adrienne Rich, [Poetry and Experience: Statement at a Poetry Reading] (1964); quoted in ‘Arienne Rich: The Poetics of Change", by Albert Gelpi, in American Poetry Since 1960, Edited by Robert B. Shaw (Carcanet Press, Cheadle, Cheshire, 1973), pp. 132-133. In Adrienne Rich’s Poetry and Prose. Poems, Prose, Reviews and Criticism, Selected and Edited by Barbara Charlesworth Gelpi and Albert Gelpi, W. W. Norton & Company, New York, NY, (1975-)1993, p. 165)

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Verdi’s Don Carlo (Teatro di San Carlo, 2022)

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Masked Baining Fire Dancers Papua New Guinea

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Lauren Berlant: ‘I do not read things; I read with things’

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Monument 3 (locally known as El Dios del Mundo, the God of the Earth), El Baúl, the south coast of Guatemala, 1958.

From “Incidents of travel in Central America, Chiapas, and Yucatán” by John Stephens. https://www.instagram.com/p/CoSvGqIt2Kr/?igshid=NGJjMDIxMWI=

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“In that predicament, if I’m lucky, I’ll remember the observation, usually attributed to Joan Baez, that “action is the antidote to despair.” People tend to quote this in the context of political or environmental activism, but it applies to everything else, too: an overfilled inbox, a cluttered garage, an intimidating creative project or overdue tax return. If you can get yourself over the gap between knowing what you need to do and taking an action, things can only get better from there. Which means that at least the nature of the immediate challenge is clear: not to “become more productive” or “get motivated” or “make a plan for the month” or something like that, but just to do one thing to address whatever situation you’re in. […] If you can approach your daily life in this way for a while – as a sequence of momentary, self-contained, eminently doable actions, rather than as an arduous matter of chipping away at enormous challenges – you might notice something profound, which is that, in fact, this is all you ever need to do. You can make your way through life exclusively in this manner. (As E. L. Doctorow said of writing, it’s “like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.”) And not just that: actually, it’s all you ever could do. There is no achievement, in the history of human civilisation, that has ever been accomplished by any means other than as a sequence of doable actions. In the end, it isn’t really a question of “breaking big projects down into small chunks.” It’s more a matter of seeing that “big projects” are nothing but psychological constructs, quasi-illusory entities summoned into existence by taking a particular view of what our lives really consist of – which is moments, and the actions that unfold in them. After all, in any given moment, we’re never actually “working on a big project” or “addressing a major challenge” or anything similar. We’re always just taking an action. And then another. And another.”

— Oliver Burkeman, How to get out of a rut

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Laila Aur Satt Geet (2020), dir. Pushpendra Singh

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Primeiros encontros

Todo instante que passávamos juntos

Era uma celebração, como a Epifania,

No mundo inteiro, nós dois sozinhos.

Eras mais audaciosa, mais leve que a asa de um pássaro,

Estonteante como uma vertigem, corrias escada abaixo

Dois degraus por vez, e me conduzias

Por entre lilases úmidos, até teu domínio,

No outro lado, para além do espelho

(...)

E — Deus do céu! — tu me pertencias.

(...)

Objetos comuns transfiguravam-se imediatamente,

Tudo — o jarro, a bacia — quando,

Entre nós como uma sentinela,

Era colocada a água, laminar e firme.

Éramos conduzidos, sem saber para onde;

Como miragens, diante de nós recuavam

Cidades construídas por milagre,

Havia hortelã silvestre sob nossos pés,

Pássaros faziam a mesma rota que nós,

E no rio peixes nadavam correnteza acima,

E o céu se desenrolava diante de nossos olhos.

Enquanto isso o destino seguia nossos passos

Como um louco de navalha na mão.

(Arseni Tarkovski)

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Cuarto Real de Santo Domingo, Granada

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The first bowl moistens my lips and throat. The second bowl banishes my loneliness and melancholy. The third bowl penetrates my withered entrails, finding nothing there except five thousand scrolls of writing. The fourth bowl raises a light perspiration, as all the inequities I have suffered in my life are flushed out through my pores. The fifth bowl purifies my flesh and bones. The sixth bowl allows me to communicate with immortals. The seventh bowl I need not drink, I am only aware of a pure wind rising beneath my two arms. The mountains of Penglai, what is this place? I, Master of the Jade Stream, ride this pure wind and wish to return home.

 “Seven Cups of Tea,” (Congbi xie Meng jianyi ji xin cha), Lu Tong (795– 835)

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Book of Prayers, Surat al-Yasin and Surat al-Fath

Calligraphy by Ahmad Nairizi, illumination attributed to Muhammad Hadi.  Iran, probably Isfahan, 1719–20

“This prayer book reflects the interaction between India and Iran in the eighteenth century. It contains the Surat al-Yasin and the Surat al-Fath (Victory) copied by the celebrated master of revival naskh, Ahmad Nairizi, with illuminations attributed to the renowned Muhammad Hadi. The color palette and decoration of naturalistic grape-bearing vines and vegetal scrolls in vibrant gold, pistachio green, and crimson resemble designs used in Mughal and Kashmiri manuscript illumination, architectural decoration, and decorative arts.”

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Dorothy Ashby - Green Sleeves

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“After all, [the world] is on my side. That is, I’m a part of it. Not separate from it. I walk on the ground and the ground’s walked on by me, I breathe the air and change it, I am entirely interconnected with the world.”

— Ursula K. Le Guin, The Lathe of Heaven (via soracities)

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Estandarte de Ur [Lado de la paz]. Mosaico de concha, piedra caliza roja y lapislázuli. Excavado en la tumba PG 779 del cementerio real de Ur. Mesopotamia, principios de la dinastía II-III, ca. 2600 a. de C.

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Introduction: Both Flesh and Not by Mayra Rivera, from Poetics of the Flesh

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"Relation" is the most encompassing category in Glissant's work, but it is decidedly not (simply) one. It is manifold and dynamic, elusive and opaque. These traits are at the heart of the imaginative elements of poetics, which is contiguous with poiesis—"creative making." He explains that because Relation is indeterminate, it cannot be fully known. Not knowing Relation is thus not a weakness, Glissant assures us. But "not wanting to know it certainly is."