T.G.I.F.: It’s been a long week


Officials record and examine cygnets and swans during the annual census of the Queen’s swans, known as ‘Swan Upping,’ along the River Thames near Chertsey, Britain. (Toby Melville, Reuters, wsj.com July 16, 2018)

Welcome Home Dad

Adisalem Abu embraces his twin daughters after meeting them for the first time in 18 years on the end of conflict between Ethiopia and Eritrea. (Tiksa Negeri, wsj.com, July 18, 2018)

Lightly Child, Lightly

One of the Japanese words for mind is kokoro. The word koro is the onomatopoeia for “rolling along.” Something that rolls like a ball is koro koro koro. So kokoro is something that is always moving and changing, never stopped. There is no object or form that we can identify as mind. It is always changing. Though we are always looking for something to rely on, we cannot find it in something called mind.

~Shodo HaradaNot One Single Thing: A Commentary on the Platform Sutra


Notes:

  • Photo: via Your Eyes Blaze Out). Quote: Thank you Make Believe Boutique
  • Prior “Lightly child, lightly” Posts? Connect here.
  • Post Title & Inspiration: Aldous Huxley: “It’s dark because you are trying too hard. Lightly child, lightly. Learn to do everything lightly. Yes, feel lightly even though you’re feeling deeply. Just lightly let things happen and lightly cope with them.”

Flying over I-40 N. With Lav #1.

airplane-black-and-white

I just didn’t know. Or perhaps I didn’t care to know. Or maybe it’s just not possible to know. How could you possibly know?

And then there’s a moment or two, when you cross that line, from passively aware or passively engaged to actually feeling. And perhaps you only feel when the suffering is so high, yours or others, that only just then do you begin to give-a-sh*t.

I’m seated in an exit row on an Airbus A3215, 1 seat back and across from the airplane lavatory: ~40” long x 34” wide x 75″ inches tall. Inches.

A Mother walks down the aisle. She grabs the back of one seat, and then the next, and the next, to keep her balance. The plane tips left and right in soft turbulence. She makes her way down the aisle.

There are two hands gripping the tops of her shoulders. She’s slight, maybe 5’2”, and stooped under the weight of the hands. The hands are owned by a strapping 14-year old who towers over her. Mildly handicapped?

She enters the restroom first, her Son doesn’t let go. She lifts one hand off her shoulder and turns to him. She slides her arms under his arms and begins to tug him in. Won’t fit. Not possible. Two full size humans in 40 x 34 x 75.

There’s silence, five minutes or so, which is interrupted by a toilet flush. She exits, pulling him out with her arms under his. She strains to extract him from the box, her face red, filled with rage.

She extracts him and pauses to catch her breath. Her Son claws after her shoulders to grab on as the plane tips. They head back up the aisle. She settles him in.

She comes hurrying back down the aisle.  And into the Lav.

It’s quiet again, now for 5-7 minutes. Then a toilet flush.

She exits. Her right hand dries her eyes, now red and swollen. She catches my glance, offers a forced smile, turns, and heads back to her seat.

You just don’t know. No chance. Not close.


Notes:

Guess.What.Day.It.Is? (Where is he?)


Notes:

  • Photograph: It’s the real-life Scooby Doo! Six-foot Great Dane Presley weighs over 13 stone – but runs to his owner’s arms at the slightest fright – Dailymail.com (via Newthom)
  • Background on Caleb/Wednesday/Hump Day Posts and Geico’s original commercial: Let’s Hit it Again

Before Air-Conditioning*

Later on, in the Depression thirties, the summers seemed even hotter. Out West, it was the time of the red sun and the dust storms, when whole desiccated farms blew away and sent the Okies, whom Steinbeck immortalized, out on their desperate treks toward the Pacific. My father had a small coat factory on Thirty-ninth Street then, with about a dozen men working sewing machines. Just to watch them handling thick woollen winter coats in that heat was, for me, a torture. The cutters were on piecework, paid by the number of seams they finished, so their lunch break was short—fifteen or twenty minutes. They brought their own food: bunches of radishes, a tomato perhaps, cucumbers, and a jar of thick sour cream, which went into a bowl they kept under the machines. A small loaf of pumpernickel also materialized, which they tore apart and used as a spoon to scoop up the cream and vegetables.

~ Arthur Miller, Before Air-Conditioning (The New Yorker, June 22, 1998)


Notes:

  • *Inspired by temperature now in Dallas, TX: 103° F and Rising!
  • Photo: Radishes by El Oso Botas. “Madrid-based, Guatemala-born and raised, photographer, food stylist, chef and digital content creator. I’ve had a keen interest in art, colours, and shapes since I was a child.” More photographs here.

whereon thou standest is holy ground

One viewer who did not dismiss Millet was Vincent van Gogh. In 1875, he visited a large auction show of the artist’s late pastels. Van Gogh, who had not yet fully embraced his own artistic vocation, was smitten. When he entered the room, he later wrote his brother Theo, “I felt something akin to: Put off thy shoes from off thy feet, for the place whereon thou standest is holy ground.”

Van Gogh was not alone in his reaction. Millet’s pursuit of humble subject matter and his skill as a draftsman would influence artists for decades. Pastels facilitated his innovations with perspective. Requiring no drying time, they were easy to rework, encouraging spontaneous expression. They also made him a virtuoso of green. “Path Through the Wheat” (c. 1867) abounds in sunlit grassy hues. Forest tones anchor two companion pieces, “Primroses” and “Dandelions” (both 1867-68), which Millet seems to have composed while lying on his stomach in the shade.

~ M.J. Anderson, from ‘French Pastels: Treasures From the Vault’ Review: Delicate and Delightful. Boston’s Museum of Fine Arts presents works by Degas, Millet and others, rarely shown due to the fragility of their powdered surfaces. (wsj.com, July 14, 2018)


Notes:

  • Photo 1: ‘Path Through the Wheat’ (c. 1867), by Jean-François Millet
  • Photo 2: ‘Primroses’ (1867-68), by Jean-François Millet
  • Photo 3: ‘Dandelions’ (1867-68), by Jean-François Millet

Monday Morning Wake-Up Call


Art:  Esa Riippa with NENÄLLEHYPPIJÄ1978. (Translated by Leena Gonzalez as “Jumping on the Nose.”) Riippa is a Finnish visual artist who was born in 1947. (via Carnet Imaginaire)

Sunday Morning

HELP ME I murmur
as if I knew
to whom I speak
or what I’m asking for…

M.C. Richards, from “Morning Prayer” in Opening our Moral Eye

 


Photo: paramore.livejournal (via Nini Poppins)

Yesterday I was shucking (sweet) corn

Yesterday I was shucking corn
for supper – pulling off the green sheaths
and brushing away the silks –
and suddenly in my hand I feel the naked cob
so cool, sweet, intimate, smooth, like skin I’m holding.
And I am deeply touched with surprise and rapture.
And I think how it is to feel life in the skin,
in the touch of plant flesh (sweet milk swelling the seeds) –
and how mostly people go for days
without touching anything from the earth…
Like ivory keys
I play the kernels with my tongue:
OH
OH

~ M.C. Richards, from “Sweet Corn” (1994) in Opening our Moral Eye


Photo: Stephen Ritchie with i love corn on the cob

%d bloggers like this: