What I possess I see as from a distance. What has passed, to me becomes existence.What is not there to touch is out of reach. What is impalpable is wholly missed. What is not coutable does not exist. What you can't weigh is air upon your scale. What you don't coin you think does not avail. -Goethe, Trans. Arndt
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Interests: Poetry, Prose, Posey, Philosophy, Printers, People (from a safe distance), Alliteration and Caffeine are my more substantial interests.Particularly Caffeine.
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Wednesday, July 02, 2008

The Garden of Love





I went to the Garden of Love,
And saw what I never had seen:
A Chapel was built in the midst,
Where I used to play on the green.

And the gates of this Chapel were shut,
And Thou Shalt Not writ over the door;
So I turn'd to the Garden of Love
That so many sweet flowers bore.

And I saw it was filled with graves,
And tomb-stones where flowers should be;
And Priests in black growns were walking their rounds,
And binding with briars, my joys & desires.

-William Blake, Songs of Experience
_________________________
I wrote a very long entrty in a fit of passion the other day, but when I re-read it I thought it was far too personal to trust to such a public forum. I may post with some modification, but I want to let it rest for some time lest I should post something rashly. In the mean time, though this is not Blake's best poem, it contains enough of my feeling for me to post it temporarily in lieu of my other piece.


Monday, June 23, 2008

Currently Listening
Queen - Greatest Hits, Vols. 1 &2
By Queen
see related

I like to think my mind is a terrible thing to waste.

I am reminded once again why great thinkers generally come from the leisure classes. I am back to working 50-60 hour weeks of menial labor where my greatest mental challenge is filling coffee and enduring the casual sexism and mild sexual harassment in the work place. When I get home I am irritable, exhausted. I realized the other day when I found myself at a register buying a Queen CD, I am also probably depressed.* And I know exactly why. 

I understand now more than ever the terrible addictive agitation Sherlock Holmes experienced between cases. Though I am not likely to resort to a seven percent solution to my inoccupation, I understand the desperate need to escape, to throw myself into some kind of enigma, some engaging problem. To mentally stagnate is like death to me.  

I am updating quickly, because I need to get back into the habit of writing to work myself back into a routine of which will keep my brain working. The following is a list of goals for this summer which I hope will not be lost in the atrophy and apathy which has descended upon me from the dark long hours I spend working in the service industry:

  1. Submit my article “The Child and the King: Solomon and Ernesto in Duras’ Summer Rain” for publication
  2. Study for the GREs
  3. Teach myself more Greek
  4. Listen to audio courses on
    1. Theory of Mind
    2. Systems of Argumentation
  5. Earn enough money to return to university
  6. Write more on Xanga
  7. Visit as many cemeteries as possible
  8. Write something creative
  9. Research schools in South Africa for next Spring term
  10. Read some Levinas
  11. Get a bloody date (finally)

If I achieve any 5 of these this summer, I will almost certainly have elevated myself from these intellectual doldrums. But I anticipate an excellent term this fall. My courses are: 

  1. The Philosophy of Wittgenstein: Text Seminar
  2. Historical Fictions, Fictional Histories: Honors Projects Class
  3. Dante’s Inferno
  4. Human Rights
  5. Culture and Method: Theory and Interpretation

And to satiate my compulsive desire to list things, the contents of my satchel are the following:

  1. A crumpled copy of last Thursday’s newspaper
  2. A packet of pens (I am terrified of opening them. I lose pens and these pens are far too good for anything I am likely to write—it would be like using a Rolls Royce to run to the town dump.)
  3. A distressed paperback copy of C.S. Lewis’ A Grief Observed
  4. A copy of Chinua Achebe’s Things Fall Apart with 100-odd post it notes scrawled with inane comments in my handwriting
  5. At least six dollars worth of sticky nickels and pennies
  6. My student ID
  7. More post its with notes from Human, All Too Human
  8. A mechanical pencil with no lead
  9. A tea bag
  10. A ticket stub from Indiana Jones
  11. A thumb tack (ouch)
  12. Oh yes. And The Best of Queen

Better writing always lies on my horizon. I will post again before long, though heaven forbid it be more lists.

Yours,
Rebekah


 

______________________________________

* Not being prone to depression, I often do not recognize it. One sure sign, however, is a predilection for purchasing Queen CDs. Which is strange, since I cannot bear to listen to Queen when I am depressed, but I never buy them when I am cheerful. An odd cycle.


Tuesday, June 10, 2008

A RANT: Why is everything so damn interconnected?!

My Problems With Introductions
A Rant in One Part

Warning: This is a Rant.
There is very little to take away from it save that the writer of said rant is frustrated with her writing and has decided to take it out on her blog rather than, say, the nearest human being.
This entry has a dangerously low content of, well, content.
It also contains an absolutely inexcusable and completely unwarranted allusion to Aristotle.
Proceed with caution and low expectations.

I am absolutely terrible at beginnings. Always have been. Sometimes it seems I’ve not moved much past the days when I’d begin my papers by bluntly stating my ideas as fact before tersely rehearsing my argument and finishing with a re-statement of my first sentence (often the same words, different word order). Nor have I escaped that later phase when every paper started with a statement about the Human Condition and meandered its way to the main point by whatever road presented itself to my digressive mind.

From my earliest days playing with different written voices and forms, my introductions have either been abrupt, matter-of-fact and artless or self-indulgently irrelevant. The former method left my readers reeling and disoriented—perhaps, I flatter myself, they even felt betrayed. If you will forgive me the vulgar analogy, beginning my introductions so abruptly was like trying to have sex without any foreplay whatsoever: it was unpleasant for all involved and largely ineffective. My second method was not much better. To begin with an impossibly broad and bland statement (as I mentioned earlier, usually about the Human Condition, Human Nature, or Knowledge) and from there to wend my leisurely and circuitous way to what my paper was actually about dragged my readers behind me in a bewildering, pathless jungle of hackneyed and over-generalized sentiments.

The virtue of an introduction lies in the mean between the two. I imagine I can hear Aristotle now. “Virtue is practice,” he seems to say. “By practice, your character is formed and, by avoiding both excess and senseless deprivation, you surely will become an excellent Writer of Introductions.” 

I am not a virtuous Writer of Introductions, I fear, regardless of how religiously or wildly I veer from extreme to extreme. Or this is the conclusion I am forced to draw as I reread the articles, essays and creative pieces I have made in the last year. A good beginning is hard to come by, but at the same time it seems the most important part of a work: it calibrates the reader’s expectations.

So why this problem with introductions? I think its because everything I write is related to everything else I have ever written. My brain is a veritable croc-pot of stewing, soupy ideas. Thoughts are mushy and run into one another indescriminately.

Perhaps a better analogy is in order (and when an analogy is wanting, comparing the mind to a web never fails).

Every idea is joined by invisible but indissoluble threads. Anywhere I cut to make one of these ideas into a self-contained piece of writing seems equally arbitrary to me, though this severance is necessary if I am to give these thoughts to another.

Which means that introductions are yet another instance in which I must say, in the words of my friend in computational linguistics:

“Language and communications are all rot and I shall have nothing to do with them if at all possible."


Tuesday, June 03, 2008

Currently Reading
Being and Time
By Martin Heidegger
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The Words of the Dark Angel: A Poem and Meditations



“There is nothing to know above the pillars of the earth
Where the airy spirits stagnate:
No holy wind kisses their blind brows;
They neither come nor go,
And with insensible eyes
They watch the same skies,
Unseeing, still, in a holy embryo.
Only fallen angels have wings.”

A truth haunts the fundamental ontology of Being and Time, a truth perhaps even deeper for Dasein, the human being, than any of the structures which Heidegger gives a concrete presence in his book. The shadow of this truth is revealed when he discusses equipment. We take a tool (or a piece of equipment) and measure its weight, fancying that weight is the objective aspect of the hammer while its use to us is somehow a tertiary, incidental and projected reality. 

Weight itself is projected—even subjective, in a sense. Heidegger shatters our precious dreams of objectivity, teaches us that science only reveals the world around us in light of the kinds of beings that we are. Every human activity, even the “objective” sciences, paints an unrecognized and uncanny self-portrait of humanity. The sciences are a mirror in which we fancy we behold nature as it simply exists, when what it reveals are those parts of nature which concern us, those entities which appear in light of our projects. We only know a hammer as “weight” because a hammer can be too heavy or too light for us. All weight, in fact, is only known because we are frail and fragile beings, struggling in a world that resists us: a world in which thorns choke out our crops, a world in which we are vulnerable to harm, a world in which other human beings can deny us.

Our tender vulnerability and impotent mortality may seem tragedy enough, but this is but the satellite of a stronger, greater truth, a truth rooted in the brute fact of being what we are: Dasein, or Being-there. Only because of the possibility of no longer being there do we understand ourselves—only in the “possibility of the impossibility of our being,” which ordinary mortal terror has named, simply, “death,” is knowledge of ourselves even possible. 
 

“Follow me into the valley of the shadow of death:
Plunging from grace you will see,
Will look at me with eyes full of knowledge;
New-born wonder will fall from your tongue,
Your lips, your voice.
The winds of heaven will stream through your hair
And the tears of god will stream from your eyes
Only as you fall.”

 

Human knowledge is built upon this morbid foundation; this is our paradox and our tragedy. When knowledge is granted, human beings realize of the futility of all their endeavors, including the pursuit of knowledge itself. Knowledge, like a human embryo, contains the secret not only its own flourishing but also of its own death. This is the truth of Solomon, who became so wise there has never been anyone else like him. What glory did his knowledge bring him? Did not the eyes of the queen of Sheba or the adulation of the ancient world bring Solomon joy in his wisdom? No, he became the tormented teacher of Ecclesiastes, and cries, “In much wisdom is much grief: and he that increaseth knowledge increaseth sorrow.”* Solomon was brought not into wholeness but into fissure, into destruction—the path of human knowledge. The original break in the human wholeness, the first temptation, was to knowledge, the knowledge of good and evil. 

       Only without knowledge is innocence possible.


“Those who have never known holiness, will never know sin;
Only those who have fallen
Have perfect knowledge:
Knowledge of good and evil,
Knowledge of the god.”


The serpent in Eden did not lie—Eve’s eyes were indeed opened, and she saw herself for the first time through the possibility of no longer being, of her “ownmost possibility,” her death. Her immortality was consumed, and from its ashes arose corrupted knowledge, mortal potentiality—a shattered kind of freedom. In truth, we have more in common with the fallen than with angels or with gods. This is the truth Crazy Jane twisted to the Bishop when she raved, “Love has pitched his mansion in the seat of excrement 
. . . /Nothing can be sole or whole/That has not been rent.”** She echoes and distorts this truth: “Nothing can be known as whole/That you have not already rent.” 


The prosaic cliché, “You don’t know what you have until its gone,” contains the DNA of the entire human tragedy. Consult your own heart to see if it be true: only in parting do you truly know what a person means to you; only when you are broken do you realize what it is to be whole; only in abandonment do you realize your own dependence. All these are tributary, ontical facts that lead back to the spring of original, ontological truth: only because you can conceive of your death, that greatest breakdown of the human world, can you think of being who and what you are. Everything we human beings know appears in the light of a dying sun, a flame that consumes what it reveals. 

We hold our courts in temples of shattered glass, and our crowns are won at the expense of paradise.



 “Those who never knew sanctity, cannot guess at desecration,
Only a worm cannot fall,”
The dark angel said with an ancient smile
An apple resting in
The palm of his hand.

 


* Ecclesiastes 1:18, KJV
** “Crazy Jane talks to the Bishop,” by William Butler Yeats. 

Endnotes:
-The lines in italics are my own.
-This essay is a short version of a lengthier piece. It is my attempt to encapsulate in brief, lyrical writing thoughts which have been plaguing me in my studies this term. The longer version contains more Heidegger, a riff about language and the mystical, and references to Moby Dick. Feedback is, as always, cherished. Oh, and I apologize for the Heidegger; I tried to make the essay not presuppose any prior knowledge of this particularly difficult philosopher.
-I would like thoughts on my use of images. They were a last-minute addition, and I am generally ambivalent about merging image and text without careful thought. Do they add to the entry or are they distracting? Do they telegraph my meaning or do they have a meaningful relationship with the text?

-You may notice a motif of the Garden of Eden running through my blog for awhile. Blame my re-reading Good Omens, my fixation on German philosophy and my general addiction to biblical cadence, if you must
                         


Thursday, May 22, 2008

Doctors of Philosophy say the Darnest Things . . .

This semester is coming crashing to a close, and I have finally found enough time to decipher the quotes I have scrawled in the margins of my notebooks. These quotes come directly from the mouths of various professors and scholars for your reading pleasure.

Because these quotes have been taken surreptitiously in seminars, at lectures or at lunch, out of courtesy I have protected this post. If you are not on the list and would like to read them, send me a message. Otherwise, I have a few drafts on my laptop which I will post when I am a human being again. If I am feeling particularly sadistic, I may post an excerpt of my thesis.



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