Wednesday, February 15, 2012

The time of the almond tree




















The time of the rain tree is not the time of the almond tree. While the rain trees are filling up their bare branches with a million fresh green leaves, their canopies thicker by the day, the almond trees are slowly turning golden-red and shedding their leaves, on the morning-walk streets. (You must someday speak to the road-sweepers, how intimately they must know each tree.)

And the mango trees have been abloom in their inconspicuous way since a while, their sharp fragrance exhuding promises of mangoes, their tanginess, followed by sweetness. The yellow jacaranda has begun to bloom all over the city last week. Soon they will make even the most insensitive person stop and stare. The dense cover of thick bunched-fist blooms on branches where the leaves have gracefully fallen, to make way for one brief glorious declaration of yellow.

And you, mute ghost, you walk among them, the only certainties in your world, while your fleeting fickle quicksilver seasons leave you dazed, afraid, the ground beneath your feet forever shifting.

A guide who leads us only to ourselves

"A pantheistic force animating the world; a schizophrenic deity both plebeian and patrician; a guide who leads us only to ourselves: Eros, clearly, is no simple god. He is, Socrates contends, no god at all. Draw­ing together the strands of these various reflections, Socrates main­tains that Eros is, rather, a 'great spirit' who is 'midway between what is divine and what is human,' his ambiguous nature owing to the strange circumstances of his conception.

Sired at the birthday party of Aphrodite, the goddess of beauty and love, Eros is the child of Pov­erty, who came to the festivities uninvited as a beggar, and the god Plenty, a welcome guest who passed out there drunk. He produces a son who is neither 'mor­tal nor immortal.' Now fully grown, Eros takes after his mother. Con­stantly in need, he is 'hard, unkempt, barefoot, homeless.' But, like his father, he is 'brave, enterprising, and determined.' Having inher­ited 'an eye for beauty and the good,' Eros continually searches for these two qualities through love, as befits one conceived in the pres­ence of Aphrodite.   

"Straddling the human and the divine, Eros is an emissary, con­ducting 'all association and communication, waking or sleeping,' between the gods and men. His twofold nature explains his defin­ing characteristic - desire itself. For what is desire but the human acknowledgment that one is in need, that one is lacking? As Socrates explains, 'the man who desires something desires what is not avail­able to him, and what he doesn't already have in his possession.' "

Author: Darrin M. McMahon  
Title: Happiness: A History 
Publisher: Atlantic Monthly Press
Date: Copyright 2006 by Darrin M. McMahon
Pages: 32-34

Tuesday, February 14, 2012

This quiet voice that is borrowed, or my own

Many Scientists Convert to Islam
Nomi Stone

Conversations with a Muslim friend

1
So, if you don’t believe in full it means you don’t
believe. Words tumble onto the rock. A book
happens.

Okay then tell me about heaven’s beautiful
food and women. Who are these women?


My friend says, “This life is like a twenty-minute train ride.”
He says, “I live inside my
faith more fully every day.”

I am standing on soaked pavement outside
that majestic hotel in the center of town. Just before
dark, the birds come in a furious swoop like
hornets, stinging the sky to let in

what is on the other side.

2
Then the next life is equally
about the body, denied in the first?


“Do you know the Prophet knew the exact number of bones in the human
body? And why do you ask so many questions? You ask
more questions than you take in breaths of air."

The birds beat. They crumple in
rivers of sky. At the same time every day. Kierkegaard said that

every instant a man in despair is contracting it. My friend is not
in despair; I am not in despair.

3
Kierkegaard says there are three kinds of despair: despair
at not being conscious of having a self, despair at not being
willing to be oneself, and despair at willingness to be

oneself. Listen, the train. Why complain about
the seat, the air conditioner? Just do
your best until you arrive.

During Ramadan, I fasted a week. I went to the mosque.
My friend’s uncle said:
“So you are becoming Muslim?” I said: “No.” He said: “Shame
on you.”

In the cold November current, there is a whirring of wings. Sometimes
they cloud into petals, sometimes they don’t.

4
When the forehead presses to the earth, the blood moves
down. In the joining, the self lightens. You must count the three perfect
joints of each finger to keep time. Make no mistake, you leave the body only

through the body. The train ride. This quiet voice that is borrowed or my own.

Sunday, February 12, 2012

Apatheia, holy stillness




















"From Remigiusz Sowa best Documentary Transmitter Award winner at the Crystal Palace International Film Festival; a truly remarkable story of Father Lazarus El Anthony, university lecturer, Marxist who abandoned his life in Australia and went in search of God and freedom. His pilgrimage eventually brought him to a life of a Christian Coptic monk and live in solitude on the Al-Qalzam Mountain (Egypt) in the pursuit of what the Desert Fathers called apatheia, holy stillness."

The Last Anchorite Part 1 (8.55 minutes): http://www.youtube.com/watch?v=uKXf_7Tt0-c&feature=related

The Last Anchorite Part 2 (10.01 minutes): http://www.youtube.com/watch?v=ag6WE__82Q8&feature=related

Anachōreō: To withdraw: http://whilethereisstilltime.blogspot.in/2012/02/anachoreo-to-withdraw.html

Photo from Google Images

Tségihi, house made of dawn...

"In fact, many Native American and First Nations songs do not use a fixed language at all, but rely on vocables, which are impromptu words without a specific meaning but whose sound fits the song. Words are not necessarily an essential component of songs, sung poems, or even certain prayer ceremonies.

...Here is a song (or poem) used by the Navajo Nation as a prayer in the healing ceremony known as the Night Chant. It uses fixed words and phrases, and is recited to a rythmic ceremonial drum beat or, sometimes, to a small spirit drum:

Tségihi,
House made of dawn.
House made of evening light.
House made of the dark cloud.
House made of male rain.
House made of dark mist.
House made of female rain.
House made of pollen.
House made of grasshoppers.
Dark cloud is at the door.
The trail out of it is dark cloud.
The zigzag lightning stands high upon it.
Male deity!
Your offering I make.
I have prepared a smoke for you.
Restore my feet for me.
Restore my legs for me.
Restore my body for me.
Restore my mind for me.
This very day take out your spell for me.
Your spell remove for me.
You have taken it away for me.
Far off it has gone.
Happily I recover.
Happily my interior becomes cool.
Happily I go forth.
My interior feeling cool, may I walk.
No longer sore, may I walk.
Impervious to pain, may I walk.
With lively feeling may I walk.
As it used to be long ago, may I walk.
Happily may I walk.
Happily, with abundant dark clouds, may I walk.
Happily, with abundant showers, may I walk.
Happily, with abundant plants, may I walk.
Happily, on a trail of pollen, may I walk.
Happily may I walk.
Being as it used to be long ago, may I walk.
May it be beautiful before me
May it be beautiful behind me.
May it be beautiful below me.
May it be beautiful above me.
With it be beautiful all around me.
In beauty it is finished."

From here.

Anachōreō: To withdraw

Anchorite (female: anchoress; adj. anchoritic; from Greek: ἀναχωρέω anachōreō, signifying "to withdraw", "to depart into the rural countryside") denotes someone who, for religious reasons, withdraws from secular society so as to be able to lead an intensely prayer-oriented, ascetic, and—circumstances permitting—Eucharist-focused life.

...The anchoritic life became widespread during the early and high Middle Ages. Examples of the dwellings of anchorites and anchoresses survive. They tended to be a simple cell (also called "anchorhold"), built against one of the walls of the local village church. In the Germanic lands from at least the tenth century it was customary for the bishop to say the office of the dead as the anchorite entered her cell, to signify the anchorite's death to the world and rebirth to a spiritual life of solitary communion with God and the angels.

...Hearing Mass and receiving Holy Communion was possible through a small, shuttered window in the common wall facing the sanctuary, called a "hagioscope" or "squint". There was also a small window facing the outside world, through which the inhabitant would receive food and other necessities and, in turn, could provide spiritual advice and counsel to visitors, as the anchorites gained a reputation for wisdom.

http://en.wikipedia.org/wiki/Anchorite

Saturday, February 11, 2012

Words

A Conversation

Drinking together, just the one cup between us,
The wine soon tasted of both our mouths,
Back and forth so often I could not tell
If the wine made me drunk, or your words.

Hu Ming-Xiang

From here.

We talk about the weather





















Of university days. Of theatre, street plays, changing the world. The belief that we will never let this fire die, that we are all in this together, this brotherhood of the Passionate. That autumn of Brecht. Of Kundera. Of Che. And Neruda. Of "Come and see the blood in the streets!"

A poem of Brecht. And it all comes back.

Parting 

We embrace.
Rich cloth under my fingers
While yours touch poor fabric.

A quick embrace
You were invited for dinner
While the minions of law are after me.

We talk about the weather and our
Lasting friendship. Anything else
Would be too bitter.

Bertolt Brecht

Swaying

Sea-weed sways and sways and swirls
as if swaying were its form of stillness;
and if it flushes against fierce rock
it slips over it as shadows do, without hurting itself.

D.H Lawrence

Friday, February 10, 2012

The hands from the trains

From 'Bombay, Meri Jaan - Writings on Mumbai', Edited by Jerry Pinto & Naresh Fernandes, Penguin 2004.

"Asad, of all people, has seen humanity at its worst. I asked him if he felt pessimistic about the human race.

"Not at all", he replied. "Look at all the hands from the trains."

If you are late for work in Bombay, and reach the station just as the train is leaving the platform, you can run up to the packed compartments and you will find many hands stretching out to grab you on board, unfolding outward from the train like petals. As you run alongside you will be picked up, and some tiny space will be made for your feet on the edge of the open doorway. The rest is up to you...

And at the moment of contact, they do not know if the hand that is reaching theirs belongs to a Hindu or Muslim or Christian or Brahmin or untouchable or whether you were born in the city or arrived only this morning or whether you live in Malabar Hill or Jogeshwari; whether you are from Bombay or Mumbai or New York. All they know is that you're trying to get to the city of gold, and that's enough. Come on board, they say. We'll adjust."

(Excerpt from a review, I have not yet read the book - http://www.sawnet.org/books/reviews.php?Bombay+Meri+Jaan)

Tuesday, February 7, 2012

Kabir




















“..As for Kabir, I went to him through the Nirgunia singers of Malwa whom I heard while lying ill in Dewas. I learnt about their capacity to create vacuum which is so crucial for a Nirgunia bhajan. They use notes in a distinctly hermit-like manner so that notes are thrown at you but you don’t get hurt. They sing in loneliness.

In singing Kabir my attempt is to create this essential loneliness and yet also a persisting sense of community. Kabir says it himself beautifully: "I am severally alone." The total identification of the interior and exterior is Kabir’s most challenging aspect.”

Kumar Gandharva

The Second Time

"....You haven't met yourself as yet. But the advantage of meeting others in the meantime is that one of them might present you to yourself."

From the film 'Waking Life', by Richard Linklater

*          *          *          *          *          *          *
"We saw Lazarus arise and walk. Took off.
And was not seen thereafter.
No one saw him die the second time."

'The Garden of Epicurus and Other Poems'
Ulla Hahn

*          *          *          *          *          *          *
"Catch me, I am falling."

Woody Allen, 'Zelig'

Nathaniel. I will teach you fervour...

"...Nathaniel, I will teach you fervour.Our acts are attached to us as its glimmer is to phosphorous. They consume us, it is true, but they make our splendour.

And if our souls have been of any worth, it is because they have burnt more ardently than others.

Great fields, washed in the whiteness of dawn, I have seen you; blue lakes, I have bathed in your waters - and to every caress of the laughing breeze I have smiled back an answer - this is what I shall never tire of telling you, Nathaniel. I will teach you fervour."

André Gide (1869-1951)
Les Nourritures Terrestres [Fruits of the Earth]

Suicide

"Suicide was against the law. Johnny had wondered why. It meant that if you missed, or the gas ran out, or the rope broke, you could get locked up in prison to show you that life was really very jolly and thoroughly worth living."

Terry Pratchett

Reciprocity

"There is only one reason why you could sympathize with this story and it is that you must care for the terrible lack of reciprocity we all must learn to live with. If you have not yet felt it, let me only say I love and envy you for your incompleteness.

- and of course that inevitably you will feel it, as we all feel death, not as punishment, but simply the inevitable.

...We are looking at an ordinary woman, one living in the natural non-reciprocal world, trying hard to believe in reciprocity, trying to shoulder the burden for lack of correspondence, trying still to find not love nearly so much as reciprocity."

'The Man who Shook Hands' a cpllection of poems by Diane Wakoski

29 Jul 1991

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