Sunday, October 4, 2015

Excerpt from "A Man of the People" by Ursula K. Le Guin

"After a long silence, he nodded.
            She sat stricken, understanding that she had won. She had won badly.
            She reached across to him, trying to comfort him and herself. She was scared by the darkness in him, his grief, his mute acceptance of betrayal. But it wasn't betrayal - she rejected the word at once. She wouldn't betray him. They were in love. They loved each other. He would follow her in a year, two years at the most. They were adults, they must not cling together like children. Adult relationships are based on mutual freedom, mutual trust. She told herself all these things as she said them to him. He said yes, and held her, and comforted her. In the night, in the utter silence of the desert, the blood singing in his ears, he lay awake and though, 'It has died unborn. It was never conceived.'
            They stayed together in their little apartment at the School for the few more weeks before Tiu left. They made love cautiously, gently, talked about history and economics and ethnology, kept busy. Tiu had to prepare herself to work with the team she was going with, studying the Terran concepts of hiearchy; Zhiv had a paper to write on social-energy generation of Werel. They worked hard. Their friends gave Tiu a big farewell party. The next day Zhiv went with her to Ve Port. She kissed and held him, telling him to hurry, hurry and come to Terra. He saw her board the flyer that would take her up to the NAFAL ship waiting in orbit. He went back to the apartment on the South Campus of the School. There a friend found him three days later sitting at his desk in a curious condition, passive, speaking very slowly if at all, unable to eat or drink. Being pueblo-born, the friend recognized this state and called in the medicine man (the Hainish do not call them doctors). Having ascertained that he was from one of the Southern pueblos, the medicine man said, 'Havzhiva! The god cannot die in you here!'
            After a long silence the young man said softly in a voice which did not sound like his  voice, 'I need to go home.'
            'That is not possible now,' said the medicine man. 'But we can arrange a Staying chant while I find a person able to address the god.' He promptly put out a call for students who were ex-People of the South. Four responded. They sat all night with Havzhiva singing the Staying Chant in two languages and four dialects, until Havzhiva joined in a fifth dialect, whispering the words hoarsely, till he collapsed and slept for thirty hours.
            He woke in his own room. An old woman was having a conversation with nobody beside him. 'You aren't here,' she said. 'No, you are mistaken. You can't die here. It would not be right, it would be quite wrong. You now that. This is the wrong place. This is the wrong life. You know that! What are you doing here? Are you lost? Do you want to know the way home? Here it is. Listen.' She began singing in a thin, high voice, an almost tuneless, almost wordless song that was familiar to Havzhiva, as if he had heard it long ago. He fell asleep again while the old woman went on talking to nobody.

            When he woke again she was gone. He never knew who she was or where she came from; he never asked. She had spoke and sung in his own language, in the dialect of Stse."

--Ursula K. Le Guin, "A Man of the People," Four Ways to Forgiveness (Harper Perennial, 1995), pp. 153-155

Tuesday, September 15, 2015

A Challenge to Impersonalism of Philosophic Space: From Red Mars

"The only part of an argument that really matters is what we think of the people arguing. claims a, Y claims b. They make arguments to support their claims, with any number of points. But when their listeners remember the discussion, what matters is simply that X believes a, and Y believes b. People then form their judgment on what they think of X and Y."

Kim Stanley Robinson, Red Mars (Bantam Spectra, 1993), p 77.

Sunday, September 13, 2015

In The Shade

You come out here on some old hunt
limping
from formative wounds
dents to the fender

Friendless, new, shy
your eyes spin and squint
from culture shock and sun

Everyone who passes by
you think-ask: 
Won't you come kiss me
hold me
share this warmth
by the air-conditioner?
Stare into my eyes
under the ceiling fan?

In the shade
with your daemon
squirt gun in hand
a pack of sandwiches
upon your lap
you'll wait
heavy

heavy with knots
not drawn here 
tired from the bad chemicals
that follow

Friday, September 4, 2015

Movies I Like: L'Illusionniste

For some reason I want to say a few things about a handful of movies that I like. I don't know...

Ok (no order):

1. L'Illusionniste (The Illusionist - 2010). This is a hand drawn (romanticized-realist?) animation about a traveling magician and a protege he picks up along the way - a pretty young girl. There are no words; well, actually, there are Englishy mumbles, but that's as far as it goes. I had this movie saved to my parents DVR and would watch it before going to bed when I lived there. A kind of salve. I'm wondering if this has to do with the quality of whimsy present. A graying, middle aged whimsy. One doesn't leave this movie feeling bad.

There are parts of L'Illusionniste that I always want to watch (this is a preoccupation of mine, which will make other appearances in "Movies I like" to come) - like the magician taking boat rides out to Scotland, with all this wonderful green overcastness. God... And the music hits the spot - soulful soft classical piano, often in breathtaking waltz timing, occasionally accompanied by xylophones, jazz drums, and another thing or two. Clean and well-wishing, in an elderly way (as though you are spending the day with a sophisticated grandparent, and, incidentally, you two go to a doughnut shop and sip strangely good coffee and eat two frosting donuts, one with coconut and the other with chocolate chips). Reminds me of parts of Michael Giacchino's Up's score, but less heavyhanded with the melancholy/nostalgia. Here is an example.

As far as what the movie is about, to be honest I'm not really sure. I'll have to watch it again with that project in mind. I wasn't watching it for plot, though, and so it's hard to say what the meaning of the thing is. I've been taking it in episodically - to borrow Galen Strawson's term (see this paper for a run down on what episodism means, if you are interested). Nevertheless, I've seen the movie enough to know that the plot is like this: An understated, underdog-like magician performs in some big city, then travels to Scotland to perform, then travels back to the continent to perform, where he strikes the fancy of a girl (I'm thinking 15-18 years old) who follows him as a kind of stowaway. They eventually come to share an apartment, and the girl seems to want to learn magic - she thinks it's real, and the magician is having difficulties telling her to the contrary. Anyway, the magician is having a hard time getting any more gigs - as are all the other entertainment persons that surround them (clowns, gymnasts, etc.) - and he takes up other means of employment. The girl is presented with gifts (a coat, shoes, a dress) throughout the movie by the magician, and comes to affect some poise. This gains her the interest of a young man in town. When the magician sees them together, he decides to leave her some money and a note ("Magicians do no exist."), before taking a train out of town. We see the magician look at a handheld photograph longingly as he rides away (in fact, he eyeballs the photo a few time during the movie).

Maybe it has something to do with the destructive ramifications of consumerism. Maybe not. I tend to think everything I encounter now has this theme. I should probably look into that. The movie also seems to be about loss or something like that. I wouldn't have emphasized this connection, though, without reading the wikipedia page.

I will say, though, that fortunately, L'Illusionniste is not about a romance between the young woman (maybe girl?) and the middle aged magician. Every time I show L'Illusionniste to a friend, they always think it will go in that direction. But it doesn't. There is a purity about the movie. Maybe that's not quite right.

In any case the full movie is here.

I wonder what you think.

Saturday, August 29, 2015

Initiation Song from the Finder's Lodge

Please bring strange things.
Please come bringing new things.
Let very old things come into your hands.
Let what you do not know come into your eyes.
Let desert sand harden your feet.
Let the arch of your feet be the mountains.
Let the paths of your fingertips be your maps
and the ways you go be the lines on your palms.
Let there be deep snow in your inbreathing
and your outbreath be the shining of ice.
May your mouth contain the shapes of strange words.
May you smell food cooking you have not eaten.
May the spring of a foreign river be your navel.
May your soul be at home where there are no houses.
Walk carefully, well loved one,
walk mindfully, well loved one,
walk fearlessly, well loved one.
Return with us, return to us,
be always coming home.
    - Ursula K. Le Guin
    From Always Coming Home (Harper & Row, 1985)

Thursday, June 11, 2015

"Until a man is twenty-five, he still thinks, every so often, that under the right circumstances he could be the baddest motherfucker in the world. If I moved to a martial-arts monastery in China and studied real hard for ten years. If my family was wiped out by Colombian drug dealers and I swore myself revenge. If I got a fatal disease, had one year to live, devoted it to wiping out street crime. If I just dropped out and devoted my life to being bad."

Neal Stephenson, Snow Crash (Bantam, 1993), p. 271

Friday, May 22, 2015

What You Want For Yourself

Let's say you've packed up a vehicle
enough supplies, clothes
and the special personal things you need
and you're driving somewhere

Let's say you're driving and thinking
Where should I go?

Let's say you are driving
and that you resolve to get to the bottom of it
Finally
after all these years
the body like a wet towel twisted dry
your body
always digging yourself out

Let's say you pull over and pee and get some coffee
Then put on music you can think to
perhaps its Glass's 1000 Airplanes on the Roof
or Arvo Pärt's Fur Alina

Let's say you have found yourself into some money
It's origin is nothing extreme
not the lottery
not inheritance
not a sudden rise to success or fame

Let's say you are driving away
taking a break
if that's what you are doing
from the build up of the everyday
from whatever you need to take a break from

Let's say you're free
not the freedom of political theorists or metaphysicians
but the freedom of ease
a consciousness of no commitments
no identity

Let's say you pull off the road and park
That you jump the fence
the stringy low metal and wood kind
ubiquitous to country lanes

Let's say you walk
quiet roaming hillsides
you walk them until you can be with yourself
and then you sit Indian style
near the shade of a tree
a tree you couldn't name

Let's say you are no one anymore
you have no relationships
aside from the one's you will into effect

Let's say you needn't make any moves
you can sit here on this hillside
there are no rules
the world is an open game
the blank page of the painter

Let's say you ask
What do you want for yourself?

You Say:
What do I want for myself
on this quiet roaming hillside
the pleasure of having no one to please
having no one to be
like a ginger vitality
an inner beaming
at my back