[not THROOM space]

[not THROOM space]

My Mother Would Be a Falconress

by Robert Duncan
Yet it would have been beautiful, if she would have carried me,
always, in a little hood with the bells ringing,
at her wrist, and her riding
to the great falcon hunt, and me
flying up to the curb of my heart from her heart
to bring down the skylark from the blue to her feet,
straining, and then released for the flight.
My mother would be a falconress,
and I her gerfalcon raised at her will,
from her wrist sent flying, as if I were her own
pride, as if her pride
knew no limits, as if her mind
sought in me flight beyond the horizon.
Ah, but high, high in the air I flew.
And far, far beyond the curb of her will,
were the blue hills where the falcons nest.
And then I saw west to the dying sun—
it seemd my human soul went down in flames.
I tore at her wrist, at the hold she had for me,
until the blood ran hot and I heard her cry out,
far, far beyond the curb of her will
to horizons of stars beyond the ringing hills of the world where the falcons nest
I saw, and I tore at her wrist with my savage beak.
I flew, as if sight flew from the anguish in her eye beyond her sight,
sent from my striking loose, from the cruel strike at her wrist,
striking out from the blood to be free of her.
My mother would be a falconress,
and even now, years after this,
when the wounds I left her had surely heald,
and the woman is dead,
her fierce eyes closed, and if her heart
were broken, it is stilld
I would be a falcon and go free.
I tread her wrist and wear the hood,
talking to myself, and would draw blood.

I Write My Poetry Lesson Plans in Free Verse

Listening Collages

4th grade, 1 hour

pens, pencils, markers
blank sheets of paper cut in half
poetry book

Read poems aloud and practice listening:

1. What did you notice?
2. What did you notice the second time through?
3. What questions do you have?
4. Personal response

first respond aloud together
then try one responding with writing on your paper
then one responding in pictures and writing
then just pictures

after four poems, choose one you like best, and write a response
use your drawing or writing to inspire you
write a postcard to the poet

I collect all the responses and tape them together into one big quilt/collage

I’m Creating a Workshop Based on This Word.

"For humans, tools point to the necessity of moral inquiry. Because nature makes only ambiguous prescriptions for us, we are compelled to ask, what is good? If you give a young boy a hammer for the first time and watch his face, you will see an awareness of this burden dawning on him (as he turns to the cat, for example)."

Matthew B. Crawford (thanks to nbnb)

That Oft-Quoted Quote That Must be Revisited Once a Year or So

When was writing ever your profession? It’s never been anything but your religion. Never. I’m a little over-excited now. Since it is your religion, do you know what you will be asked when you die? But let me tell you first what you won’t be asked. You won’t be asked if you were working on a wonderful, moving piece of writing when you died. You won’t be asked if it was long or short, sad or funny, published or unpublished. You won’t be asked if you were in good or bad form while you were working on it. You won’t even be asked if it was the one piece of writing you would have been working on if you had known your time would be up when it was finished…I’m so sure you’ll get asked only two questions. Were most of your stars out? Were you busy writing your heart out? If only you knew how easy it would be for you to say yes to both questions. If only you’d remember before ever you sit down to write that you’ve been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world Buddy Glass would most want to read if he had his heart’s choice. The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself. I won’t even underline that. It’s too important to be underlined. Oh, dare to do it, Buddy! Trust your heart. 

—J.D. Salinger, from “Seymour: An Introduction”

Out Of Our Heads: Philip Shepherd On The Brain In Our Belly

"Our culture has been intolerant of attempts to reclaim this lost center of consciousness. In the early 1900s a Chicago anatomist named Byron Robinson wrote a book called The Abdominal and Pelvic Brain in which he describes the neurology of an independent brain in the gut. His work was quickly forgotten — it had no relevance to our cultural story. Then, in the late 1920s, Johannis Langley mapped out the autonomic nervous system. He said there were three divisions: the sympathetic, the parasympathetic, and the enteric. The enteric nervous system, which governs the gastrointestinal functions, is exactly what Robinson called the “abdominal brain.” Langley’s book became a classic, but the enteric nervous system was widely ignored, and students were taught that the autonomic nervous system has just two divisions.

Finally, in the 1960s, Dr. Michael Gershon rediscovered the brain in the gut. In his book The Second Brain he describes how it took him fifteen years of presenting his research and answering refutations before his fellow neuro­scientists capitu­lated and agreed that the neuro­mass in the belly is indeed an independent brain. [Gershon is a professor of pathology and cell biology at Columbia University. — Ed.]

Robinson, who first discovered the pelvic brain, was much freer in his assessment of its importance than scientists are today. He talked about it as the “center of life.” I completely agree with that. It is the center of one’s being.”

-Amnon Buchbinder’s interview with Philip Shepherd

Tools for Conviviality

[Ivan] Illich offers the telephone as an example of a tool that is “structurally convivial” (remember, this is in the days of the ubiquitous public pay phone): anyone who can afford a coin can use it to say whatever they want. “The telephone lets anybody say what he wants to the person of his choice; he can conduct business, express love, or pick a quarrel. It is impossible for bureaucrats to define what people say to each other on the phone, even though they can interfere with — or protect — the privacy of their exchange.”

A “manipulatory” tool, on the other hand, blocks off other choices. The automobile and the highway system it spawned are, for Illich, prime examples of this process. Licensure systems that devalue people who have not received them, such as compulsory schooling, are another example. But these kinds of tools, that is, large-scale industrial production, would not be prohibited in a convivial society. “What is fundamental to a convivial society is not the total absence of manipulative institutions and addictive goods and services, but the balance between those tools which create the specific demands they are specialized to satisfy and those complementary, enabling tools which foster self-realization.” 

Suzanne Fischer

Albert Camus talks about his stage adaptation of Dostoyevsky’s “The Possessed” in 1959.

Hold the Landscape Culpable

"…part of our mission is to imagine the urban landscape as the cultural equivalent of a crime scene and a scientific subject; to seek out the landscape as a “person of interest” in our investigations; to hold the landscape culpable. Walter Benjamin, in his assessment of Baudelaire’s flaneurism, referred to such a thing as ‘botanizing on the asphalt.’ In doing this, so runs the artistic conceit, we can capitalize on the visible representations of the neighborhood’s sins and glories, and step back to imagine a mythological pantheon of characters, actions, and sites that more truly represent its Truths, rather than merely its Facts.

To do this, we walked.”

—Justin Hopper

glɒsiə: Thoughts on translation on 1/8/13


Thoughts on translation on 1/8/13

Translation leads to a discovery of structure.

Translation yields structure.

Translation embarrasses structure.

Translation is the reason for structure. 

Translation is impossible without structure. 

Structure is a translation of limits.

Structure is the safeguard of translation.

Structure is a translation of all that’s passed out of language.

Translation is corruption.

Translation is defiance.

Translation is a trace of freedom.

Freedom is the dark between translations.

Death is an untranslated pause. 

Translation leads, like many floors, to a diving point.

Follow me over here as I pick up an old thread…

This Town is a Mystery

Forever heartbroken that I missed these performances.

God-loving Linguists

"In 1951 Pittman had started interviewing missionaries and linguists about the languages that were spoken in the parts of the world where they worked. The result was a language catalogue called Ethnologue, the first mimeographed edition of which ran to ten pages. The Grimes threw themselves into the project, and Ethnologue grew and grew. By the time Barbara took over as editor in 1974, the next step seemed logical, if daunting. ‘I made the decision to try to include all the countries and languages of the world.’”

Seeing Performance

“One important thing that’s never been done until now is to prepare the public how to see performance,” [Abramovic] says.

But Alaina Claire Feldman, exhibitions assistant at Independent Curators International and another Summer School participant, disagrees. “I don’t think it’s necessary, because I don’t think there’s one way to prepare yourself for a performance or for art,” argues Feldman. “Every performance is subjective, based on the person who is experiencing it. And sometimes, yeah, you need to clear your head to experience something, but sometimes you also need your head to be full of things and full of your own personal history so that when you experience something it can be more full,” Feldman says, rather than less.

"Seeing Performance: The Marina Abramovic Way", by Jen Ortiz