Thursday, May 9, 2013

"This is Water". The David Foster Wallace Kenyon Commencement Speech 2005


In 2005, David Foster Wallace was asked to give the commencement address to the 2005 graduating class of Kenyon College in the USA. The speech turned out to be an inspired moment for David Foster Wallace and an inspiring experience for those who heard it. Based on an abridged version of the speech, "The Glossary" have created a sweet little video which in these days of fast information and zapping visual media mentality, will probably provide a nice little trailer (directed by Matthew Freidell) for the complete "movie" or rather "moving experience" which is reading the whole speech. It follows straight after the video.     



And here is the full speech:

"(If anybody feels like perspiring [cough], I'd advise you to go ahead, because I'm sure going to. In fact I'm gonna [mumbles while pulling up his gown and taking out a handkerchief from his pocket].) Greetings ["parents"?] and congratulations to Kenyon's graduating class of 2005. There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says "Morning, boys. How's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes "What the hell is water?"

This is a standard requirement of US commencement speeches, the deployment of didactic little parable-ish stories. The story ["thing"] turns out to be one of the better, less bullshitty conventions of the genre, but if you're worried that I plan to present myself here as the wise, older fish explaining what water is to you younger fish, please don't be. I am not the wise old fish. The point of the fish story is merely that the most obvious, important realities are often the ones that are hardest to see and talk about. Stated as an English sentence, of course, this is just a banal platitude, but the fact is that in the day to day trenches of adult existence, banal platitudes can have a life or death importance, or so I wish to suggest to you on this dry and lovely morning.


Of course the main requirement of speeches like this is that I'm supposed to talk about your liberal arts education's meaning, to try to explain why the degree you are about to receive has actual human value instead of just a material payoff. So let's talk about the single most pervasive cliché in the commencement speech genre, which is that a liberal arts education is not so much about filling you up with knowledge as it is about "teaching you how to think". If you're like me as a student, you've never liked hearing this, and you tend to feel a bit insulted by the claim that you needed anybody to teach you how to think, since the fact that you even got admitted to a college this good seems like proof that you already know how to think. But I'm going to posit to you that the liberal arts cliché turns out not to be insulting at all, because the really significant education in thinking that we're supposed to get in a place like this isn't really about the capacity to think, but rather about the choice of what to think about. If your total freedom of choice regarding what to think about seems too obvious to waste time discussing, I'd ask you to think about fish and water, and to bracket for just a few minutes your scepticism about the value of the totally obvious.


Here's another didactic little story. There are these two guys sitting together in a bar in the remote Alaskan wilderness. One of the guys is religious, the other is an atheist, and the two are arguing about the existence of God with that special intensity that comes after about the fourth beer. And the atheist says: "Look, it's not like I don't have actual reasons for not believing in God. It's not like I haven't ever experimented with the whole God and prayer thing. Just last month I got caught away from the camp in that terrible blizzard, and I was totally lost and I couldn't see a thing, and it was 50 below, and so I tried it: I fell to my knees in the snow and cried out 'Oh, God, if there is a God, I'm lost in this blizzard, and I'm gonna die if you don't help me.'" And now, in the bar, the religious guy looks at the atheist all puzzled. "Well then you must believe now," he says, "After all, here you are, alive." The atheist just rolls his eyes. "No, man, all that was was a couple Eskimos happened to come wandering by and showed me the way back to camp."


It's easy to run this story through kind of a standard liberal arts analysis: the exact same experience can mean two totally different things to two different people, given those people's two different belief templates and two different ways of constructing meaning from experience. Because we prize tolerance and diversity of belief, nowhere in our liberal arts analysis do we want to claim that one guy's interpretation is true and the other guy's is false or bad. Which is fine, except we also never end up talking about just where these individual templates and beliefs come from. Meaning, where they come from INSIDE the two guys. As if a person's most basic orientation toward the world, and the meaning of his experience were somehow just hard-wired, like height or shoe-size; or automatically absorbed from the culture, like language. As if how we construct meaning were not actually a matter of personal, intentional choice. Plus, there's the whole matter of arrogance. The nonreligious guy is so totally certain in his dismissal of the possibility that the passing Eskimos had anything to do with his prayer for help. True, there are plenty of religious people who seem arrogant and certain of their own interpretations, too. They're probably even more repulsive than atheists, at least to most of us. But religious dogmatists' problem is exactly the same as the story's unbeliever: blind certainty, a close-mindedness that amounts to an imprisonment so total that the prisoner doesn't even know he's locked up.


The point here is that I think this is one part of what teaching me how to think is really supposed to mean. To be just a little less arrogant. To have just a little critical awareness about myself and my certainties. Because a huge percentage of the stuff that I tend to be automatically certain of is, it turns out, totally wrong and deluded. I have learned this the hard way, as I predict you graduates will, too.


Here is just one example of the total wrongness of something I tend to be automatically sure of: everything in my own immediate experience supports my deep belief that I am the absolute centre of the universe; the realest, most vivid and important person in existence. We rarely think about this sort of natural, basic self-centredness because it's so socially repulsive. But it's pretty much the same for all of us. It is our default setting, hard-wired into our boards at birth. Think about it: there is no experience you have had that you are not the absolute centre of. The world as you experience it is there in front of YOU or behind YOU, to the left or right of YOU, on YOUR TV or YOUR monitor. And so on. Other people's thoughts and feelings have to be communicated to you somehow, but your own are so immediate, urgent, real.


Please don't worry that I'm getting ready to lecture you about compassion or other-directedness or all the so-called virtues. This is not a matter of virtue. It's a matter of my choosing to do the work of somehow altering or getting free of my natural, hard-wired default setting which is to be deeply and literally self-centered and to see and interpret everything through this lens of self. People who can adjust their natural default setting this way are often described as being "well-adjusted", which I suggest to you is not an accidental term.


Given the triumphant academic setting here, an obvious question is how much of this work of adjusting our default setting involves actual knowledge or intellect. This question gets very tricky. Probably the most dangerous thing about an academic education--least in my own case--is that it enables my tendency to over-intellectualise stuff, to get lost in abstract argument inside my head, instead of simply paying attention to what is going on right in front of me, paying attention to what is going on inside me.


As I'm sure you guys know by now, it is extremely difficult to stay alert and attentive, instead of getting hypnotised by the constant monologue inside your own head (may be happening right now). Twenty years after my own graduation, I have come gradually to understand that the liberal arts cliché about teaching you how to think is actually shorthand for a much deeper, more serious idea: learning how to think really means learning how to exercise some control over how and what you think. It means being conscious and aware enough to choose what you pay attention to and to choose how you construct meaning from experience. Because if you cannot exercise this kind of choice in adult life, you will be totally hosed. Think of the old cliché about "the mind being an excellent servant but a terrible master".


This, like many clichés, so lame and unexciting on the surface, actually expresses a great and terrible truth. It is not the least bit coincidental that adults who commit suicide with firearms almost always shoot themselves in: the head. They shoot the terrible master. And the truth is that most of these suicides are actually dead long before they pull the trigger.


And I submit that this is what the real, no bullshit value of your liberal arts education is supposed to be about: how to keep from going through your comfortable, prosperous, respectable adult life dead, unconscious, a slave to your head and to your natural default setting of being uniquely, completely, imperially alone day in and day out. That may sound like hyperbole, or abstract nonsense. Let's get concrete. The plain fact is that you graduating seniors do not yet have any clue what "day in day out" really means. There happen to be whole, large parts of adult American life that nobody talks about in commencement speeches. One such part involves boredom, routine and petty frustration. The parents and older folks here will know all too well what I'm talking about.


By way of example, let's say it's an average adult day, and you get up in the morning, go to your challenging, white-collar, college-graduate job, and you work hard for eight or ten hours, and at the end of the day you're tired and somewhat stressed and all you want is to go home and have a good supper and maybe unwind for an hour, and then hit the sack early because, of course, you have to get up the next day and do it all again. But then you remember there's no food at home. You haven't had time to shop this week because of your challenging job, and so now after work you have to get in your car and drive to the supermarket. It's the end of the work day and the traffic is apt to be: very bad. So getting to the store takes way longer than it should, and when you finally get there, the supermarket is very crowded, because of course it's the time of day when all the other people with jobs also try to squeeze in some grocery shopping. And the store is hideously lit and infused with soul-killing muzak or corporate pop and it's pretty much the last place you want to be but you can't just get in and quickly out; you have to wander all over the huge, over-lit store's confusing aisles to find the stuff you want and you have to manoeuvre your junky cart through all these other tired, hurried people with carts (et cetera, et cetera, cutting stuff out because this is a long ceremony) and eventually you get all your supper supplies, except now it turns out there aren't enough check-out lanes open even though it's the end-of-the-day rush. So the checkout line is incredibly long, which is stupid and infuriating. But you can't take your frustration out on the frantic lady working the register, who is overworked at a job whose daily tedium and meaninglessness surpasses the imagination of any of us here at a prestigious college.


But anyway, you finally get to the checkout line's front, and you pay for your food, and you get told to "Have a nice day" in a voice that is the absolute voice of death. Then you have to take your creepy, flimsy, plastic bags of groceries in your cart with the one crazy wheel that pulls maddeningly to the left, all the way out through the crowded, bumpy, littery parking lot, and then you have to drive all the way home through slow, heavy, SUV-intensive, rush-hour traffic, et cetera et cetera.


Everyone here has done this, of course. But it hasn't yet been part of you graduates' actual life routine, day after week after month after year.


But it will be. And many more dreary, annoying, seemingly meaningless routines besides. But that is not the point. The point is that petty, frustrating crap like this is exactly where the work of choosing is gonna come in. Because the traffic jams and crowded aisles and long checkout lines give me time to think, and if I don't make a conscious decision about how to think and what to pay attention to, I'm gonna be pissed and miserable every time I have to shop. Because my natural default setting is the certainty that situations like this are really all about me. About MY hungriness and MY fatigue and MY desire to just get home, and it's going to seem for all the world like everybody else is just in my way. And who are all these people in my way? And look at how repulsive most of them are, and how stupid and cow-like and dead-eyed and nonhuman they seem in the checkout line, or at how annoying and rude it is that people are talking loudly on cell phones in the middle of the line. And look at how deeply and personally unfair this is.


Or, of course, if I'm in a more socially conscious liberal arts form of my default setting, I can spend time in the end-of-the-day traffic being disgusted about all the huge, stupid, lane-blocking SUV's and Hummers and V-12 pickup trucks, burning their wasteful, selfish, 40-gallon tanks of gas, and I can dwell on the fact that the patriotic or religious bumper-stickers always seem to be on the biggest, most disgustingly selfish vehicles, driven by the ugliest [responding here to loud applause] (this is an example of how NOT to think, though) most disgustingly selfish vehicles, driven by the ugliest, most inconsiderate and aggressive drivers. And I can think about how our children's children will despise us for wasting all the future's fuel, and probably screwing up the climate, and how spoiled and stupid and selfish and disgusting we all are, and how modern consumer society just sucks, and so forth and so on.


You get the idea.


If I choose to think this way in a store and on the freeway, fine. Lots of us do. Except thinking this way tends to be so easy and automatic that it doesn't have to be a choice. It is my natural default setting. It's the automatic way that I experience the boring, frustrating, crowded parts of adult life when I'm operating on the automatic, unconscious belief that I am the centre of the world, and that my immediate needs and feelings are what should determine the world's priorities.


The thing is that, of course, there are totally different ways to think about these kinds of situations. In this traffic, all these vehicles stopped and idling in my way, it's not impossible that some of these people in SUV's have been in horrible auto accidents in the past, and now find driving so terrifying that their therapist has all but ordered them to get a huge, heavy SUV so they can feel safe enough to drive. Or that the Hummer that just cut me off is maybe being driven by a father whose little child is hurt or sick in the seat next to him, and he's trying to get this kid to the hospital, and he's in a bigger, more legitimate hurry than I am: it is actually I who am in HIS way.


Or I can choose to force myself to consider the likelihood that everyone else in the supermarket's checkout line is just as bored and frustrated as I am, and that some of these people probably have harder, more tedious and painful lives than I do.


Again, please don't think that I'm giving you moral advice, or that I'm saying you are supposed to think this way, or that anyone expects you to just automatically do it. Because it's hard. It takes will and effort, and if you are like me, some days you won't be able to do it, or you just flat out won't want to.


But most days, if you're aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-up lady who just screamed at her kid in the checkout line. Maybe she's not usually like this. Maybe she's been up three straight nights holding the hand of a husband who is dying of bone cancer. Or maybe this very lady is the low-wage clerk at the motor vehicle department, who just yesterday helped your spouse resolve a horrific, infuriating, red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it's also not impossible. It just depends what you want to consider. If you're automatically sure that you know what reality is, and you are operating on your default setting, then you, like me, probably won't consider possibilities that aren't annoying and miserable. But if you really learn how to pay attention, then you will know there are other options. It will actually be within your power to experience a crowded, hot, slow, consumer-hell type situation as not only meaningful, but sacred, on fire with the same force that made the stars: love, fellowship, the mystical oneness of all things deep down.


Not that that mystical stuff is necessarily true. The only thing that's capital-T True is that you get to decide how you're gonna try to see it.


This, I submit, is the freedom of a real education, of learning how to be well-adjusted. You get to consciously decide what has meaning and what doesn't. You get to decide what to worship.


Because here's something else that's weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship--be it JC or Allah, be it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles--is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It's the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. On one level, we all know this stuff already. It's been codified as myths, proverbs, clichés, epigrams, parables; the skeleton of every great story. The whole trick is keeping the truth up front in daily consciousness.


Worship power, you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. But the insidious thing about these forms of worship is not that they're evil or sinful, it's that they're unconscious. They are default settings.


They're the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that's what you're doing.


And the so-called real world will not discourage you from operating on your default settings, because the so-called real world of men and money and power hums merrily along in a pool of fear and anger and frustration and craving and worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom all to be lords of our tiny skull-sized kingdoms, alone at the centre of all creation. This kind of freedom has much to recommend it. But of course there are all different kinds of freedom, and the kind that is most precious you will not hear much talk about much in the great outside world of wanting and achieving.... The really important kind of freedom involves attention and awareness and discipline, and being able truly to care about other people and to sacrifice for them over and over in myriad petty, unsexy ways every day.


That is real freedom. That is being educated, and understanding how to think. The alternative is unconsciousness, the default setting, the rat race, the constant gnawing sense of having had, and lost, some infinite thing.


I know that this stuff probably doesn't sound fun and breezy or grandly inspirational the way a commencement speech is supposed to sound. What it is, as far as I can see, is the capital-T Truth, with a whole lot of rhetorical niceties stripped away. You are, of course, free to think of it whatever you wish. But please don't just dismiss it as just some finger-wagging Dr Laura sermon. None of this stuff is really about morality or religion or dogma or big fancy questions of life after death.


The capital-T Truth is about life BEFORE death.


It is about the real value of a real education, which has almost nothing to do with knowledge, and everything to do with simple awareness; awareness of what is so real and essential, so hidden in plain sight all around us, all the time, that we have to keep reminding ourselves over and over:


"This is water."


"This is water."


It is unimaginably hard to do this, to stay conscious and alive in the adult world day in and day out. Which means yet another grand cliché turns out to be true: your education really IS the job of a lifetime. And it commences: now.


I wish you way more than luck."


David Foster Wallace




Wednesday, April 17, 2013

Antonio Porchia - The Master of Aphorisms


At first glance, it's quite strange that Hippocrates, the famous Greek physician of the 5th century BC, is somehow considered to be the father of the "aphorism". That is probably because, according to the Oxford dictionary, the term "aphorism" seems to have evolved from "a concise statement of a scientific principle, typically by a classical author" to "a pithy observation which contains a general truth" in the modern sense of the word. In all cultures, one can find great writers of this so called "wisdom literature". At its most basic form, an aphorism is just a witty statement sometimes evident and maybe just too easy to have some intrinsic value. At its best though, an aphorism transcends the narrow confines of a subjective "clever" observation, forcing the reader to reconsider the meaning of common words. Revealing a kind of universal truth and often venturing into almost haiku poetry. Welcome to the world of Antonio Porchia. 

Antonio Porchia was born in 1886 in the Calabria region of Italy but very young moved to Argentina settling in Buenos Aires from where he never departed until his death in 1968. He was a simple man who wrote one, and only one, small book called "Voces" in 1943.     

This book contained his "distilled" thoughts in the form of one or two sentence aphorisms. It is quite remarkable how this simple man who lived alone managed to tap such a source of infinite depth in form and substance.

Jorge Luis Borges had this to say of Porchia's aphorisms: "... In Porchia's aphorisms, the reader feels the immediate presence of man and his destiny. The aphorisms included in "Voces" lead much further than their written text. They are not an end but a beginning. They don't strive to create an impression. One can assume that the writer wrote them for himself, without knowing that that he was creating for others the image of a lonely man, who sees things with clarity and is conscious of the unique mystery of every moment."

Here are a few examples of Antonio Porchia's aphorisms as found translated in english from the highly recommended Argentinian site on Antonio and his work.

http://www.antonioporchia.com.ar/

Some of Antonio Porchia's aphorisms

"Man goes nowhere. Everything comes to man, like tomorrow."

"One lives in the hope of becoming a memory."

"You’ll find the distance that separates you from them, by joining them."

"What we pay for with our lives is never costly."

"Nothing ends without breaking, because everything is endless."

"I’ve come to be a step away from everything. And here I stay, away from everything, by a step."

"The less you think you are, the more you bear. And if you think you’re nothing, you bear everything."

"I’ve abandoned the beggarly need to live. I live without it."

"One who says the truth says hardly anything."

"The chains that bind us most are the chains we’ve broken."

"Sometimes what I want and what I don’t want make so many concessions
to each other that they end up looking alike."

"If we didn’t lose anything during life, we would lose life without anything."

"My voice tells me: “That’s how it all is.”
And the echo of my voice tells me: “That’s how you are.”

"Shadows: some hide, others reveal."

"Men and things rise, fall, move away, approach. Everything is a comedy of distances."

"Sometimes, at night, I turn on a light so as not to see."

"You have nothing and you would give me a world. I owe you a world."

Tuesday, April 2, 2013

Το Θείο Τραγί του Γιάννη Σκαρίμπα




Το Θείο Τραγί του Γιάννη Σκαρίμπα γράφτηκε γύρω στα 1931 και δημοσιεύτηκε στις αρχές του 1933. Πρόκειται για ένα μοναδικό κείμενο στην ελληνική πεζογραφία στο βαθμό που εισάγει στοιχεία που έχουν τις καταβολές τους στους καταραμένους Γάλλους ποιητές του 19ου αιώνα (Baudelaire, Comte de Lautréamont, Arthur Rimbaud) προϊδεάζοντας θέματα και ιδέες που θα απασχολήσουν πολύ αργότερα την γενιά και το κίνημα των Beats της δεκαετίας του 50 και θα βρούν πρόσφορο έδαφος να δοκιμαστούν στην πράξη μέσω των επαναστάσεων και της φιλοσοφικής σκέψης της δεκαετίας του 60.

Η ανατρεπτική ιδέα του Σκαρίμπα να δημιουργήσει έναν αντι-ήρωα ο οποίος στρέφεται συνειδητά ενάντια σε κάθε αντίληψη καθωσπρεπισμού και ψεύτικης ηθικής, έναν στην κυριολεξία "ακοινώνητο" άνθρωπο που πληρώνει με το ίδιο νόμισμα κάθε έκφανση του σαθρού κοινωνικού, πολιτικού και θρησκευτικού συστήματος, φέρνει έντονα στο νου ποιήματα και κείμενα του Μπωντλαίρ, "Τα άσματα του Μαλντορόρ" του Λωτρεαμόν ή το "Μια Εποχή στην Κόλαση" του Ρεμπώ. Ίδια είναι η λύσσα, το φτύσιμο όλων των δήθεν αξιών, το κάψιμο όλων των αρχών αλλά και ίδιος ο ποιητικός οίστρος και η άγρια ομορφιά και εκρηκτικότητα του λόγου. Τίποτα δεν θα γίνει δεκτό επειδή, σώνει και καλά, έτσι πρέπει να είναι ή επειδή έτσι λένε οι κανόνες. Ούτε καν οι φυσικοί νόμοι. Ακόμη και ο ίδιος ο λόγος του Σκαρίμπα "έχει σηκώσει μπαϊράκι" και φαντάζει ευθύς, άφοβος και τελικά ποιητικά μοντέρνος μέσα στην αναρχία του, την επανάληψη και την συντακτική, γραμματική αλλά ακόμα και ορθογραφική του τρέλλα.     

Τέλος μέσα από το κείμενο του Σκαρίμπα βλέπουμε να βγαίνει πέρα από το άναρχο πνεύμα της επανάστασης και η αγωνία της φιλοσοφίας του Υπαρξισμού για την οποία θα μιλήσουν πολύ αργότερα, μεταξύ άλλων, ο Σαρτρ και ο Καμύ. 

Χαρακτηριστικό είναι αυτό το απόσπασμα από την αρχή του δευτέρου κεφαλαίου:

  "Είπαμε - ένας αέρας φυσούσε.
         Η δημοσιά φιδοσέρνονταν ατέλειωτη - σαν μιά αιωνιότη - στον κάμπο.  Εβούιζαν οι καλαμιές, κρύο έκανε.
   Κι αυτός προχωρούσε.
         Ήταν παραδομένος στο δρόμο του, σαν ο στραβός στο αιώνιο σκοτάδι· επήγαινε - όλο επήγαινε - σαν μια ψυχή μες' την ερημία του χρόνου.
          Τον είχαν παρεξηγήσει οι ανθρώποι· η σκόνη τον είχε κάμει ολόασπρο, κι ο δρόμος - αχ θεέ μου - ο δρόμος ποτέ δε θα τέλειωνε. Δεν αιστάνονταν τίποτε· μήτε χαρά μήτε λύπη· αδιάφορος ήτανε κ' ήσυχος· γιατί; μήπως δεν ήταν η δημιουργία στη θέση της; ή μην είχε αντίρηση για το νόμο της έλξης; η σιωπή τον εγνώριζε, οι νύχτες τον ξέραν· ήταν της ερημιάς αυτός άνθος...
          Ο κόσμος αργά· τα πράγματα αφημένα στο πάει τους· να δημιουργούνται οι ορίζοντες· να γεννιέται - μούλος - ο χρόνος· οι τόποι, οι εποχές να πηγαίνουνε. Ξέρετε πως περπατάνε στη γη; να, πηγαίνουν· τίποτ' άλλο· πηγαίνουν σε προυπαντάνε τα όρια σε ακολουθάν πίσω οι δρόμοι - οι πολιτείες - σου τραγουδάνε βαθιά. Έχει ένα χτύπο το χάος· έχει ένα σφυγμό το κενό· και μόνο οι ώρες σωπαίνουν· και μόνο οι καιροί δε μιλούν. Η αιωνιότη σε κοιτάζει και σκέφτεται· τα πλάτη, οι απόστασες, είναι αφιερωμένα στο βάδι σου· αναθυμιάζει μ' ευλάβεια κατ' απ' το βήμα σου η γη.
          Έτσι πάνε· όλο ίσα και ντρίτα· άκρη άκρη στις σιδεροτροχιές, στα ποτάμια, άκρη-άκρη στους ωραίους γιαλούς· πάντα δημοσιά κι όλο κάμπο· δεν ανεβοκατεβαίνουν τα βήματα, δεν πάνε οι στράτες λοξά· για σένα δεξά ή ζερβά να διαβαίνουν τα όρη, να εξελίσσονται οι θάλασσες· ή καμπύλη, ή ευθεία, αλλά τι καμπύλη; Όση η γη. Και τι ευθεία; Όσο ατέρμονη είναι η πλήξη των όρνιων και το τέρμα των τραίνων που κουβαλάν το χιονιά... κι ο κόσμος αργά· η αιωνιότη πιστώνει. Η φυγόκεντρη δύναμη ας είναι ένα παραμύθι των κύκλων, και μόνο μια ψείρα νάσαι συ στις στροφές· έτσι· έτσι όπως πάνε οι δρόμοι μονάχοι τους έτσι όπως στέκουν τα βράχια.
Και αυτός προχωρούσε..."

Αν ο Jack Kerouac είχε διαβάσει Σκαρίμπα δεν θα είχε νιώσει τη ανάγκη να γράψει το "On the road" το 1951. Το Θείο Τραγί τα είχε ήδη πει όλα, 30 χρόνια πριν και σε ελάχιστες σελίδες. Άλλη μια τρανή απόδειξη στο απόσπασμα που ακολουθεί:

"       ...Τ' απογιοματάκι μπάινει ένας ζήτουλας: μπρε του λέω, πώς σε λένε, πουθ' έρχεσαι; Από πάνω μου κάνει και μου δείχνει αόριστα· διακονεύω ψωμάκι· έτσι ο θεός να σχωράει τους θαμμένους σου, δεν κάνεις αφεντικό μ' ένα έλεος;
           Τον λυπήθηκα· αχ πως πόνεσε η καρδιά μου του δόλιου· σκέφτηκα πως η ίδια μοίρα μας ένωνε· περιπλάνώμενες είμαστε δύο ψιχούλες κ' οι δυό μας· σπουργιτάκια των δρόμων· να, δύο κακόμοιρα πλάσματα. Όλοι οι άνθρωποι είναι καταγραμμένοι και ήσυχοι· βρίσκονται καταχωρημένοι κανονικά στα βιβλία, με ημερομηνίες και ονόματα. Έχουνε κ' ένα αμετάβλητο νούμερο: τον αριθμό του μητρώου τους· είναι τα ονόματά τους μακρότατα: Γεώργιος Καντακουζηνός, του Ιωάννου και Ελένης· μην ψάχνει άδικα και τους βρίσκει η αιωνιότη, φτάνουν απ' το χωριό ως το έθνος· νομός, επαρχία, δήμος, κοινότης· κ' έπειτα οι θρησκείες και τ' άλλα· σίγουρα πράματα· η αλήθεια ολόσωμη με υπογραφή και σφραγίδα· όχι τρίχες.
            Ενώ εμείς όλο από πάνω ερχόμαστε και δείχνουμ' αόριστα. Είναι τα πιστοποιητικά μας αμφίβολα, είναι οι δρόμοι μας γρίφοι· άγραφη είναι η ληξιαρχική μας σελίδα· άγραφη αφού δεν μας γνώρισε και μήτε την ξέρουμε. Την αξιοπρέπεια, την τιμή, το δικαίωμα, τα κάνουμε μείς λαθρεμπόριο γιατ' είν' μονοπωλημένα τα είδη τους· κυκλοφορούν, χωρίς τα ένσημά τους στα χέρια μας τ'απαγορευμένα αυτά πράγματα. Τάχουν αυτοί κάμει φίρμα τους· τα βάζουν και στα εμπορικά τους ταμπέλα. Ο Θεός: είδος οικόσημο· η αρετή· σπεσιαλιτέ - ειδικότης... Μα ποιός θα μπόραε να ψήσει αντάμα τους κάστανα. Σας λέω μήτ' ο διάολος. Τουλάιστο ο διάολος - ο αγαθός αυτός άφρονας - σου ζητάει μοναχά τη ψυχή σου και σ' αφήνει όλα τ' άλλα: Το δικαίωμα της ζωής, την απόλαυση, τον έρωτα της γυνάικας, το γέλιο. Σε συντρέχει μάλιστα να τ' αποχτήσεις μπρε μάτια μ'. Πού τέτοιος φίλος! μια ψυχούλα στην έχω χαλάλι του. Ενώ αυτοί - άβυσσος αυτουνών το ιμάτιο - αυτοί όλα τα θέλουν, θέλουν και την ψυχή και το σώμα. Σου υπόσχονται και τη βασιλεία των ουρανών, μα σου χτυπάνε μαέστρικα τη βασιλεία της Γης μας. Ο «περί δικαίου των κώδικας» μόνο για δικαιοσύνη δεν γράφει. Ο «Οίκος» των προμηθεύει μόνο άστεγους, και η φιλανθρωπία τους «Αμαρτωλών Σωτηρίες»... Αμαρτιών μας τα πλήθη... εμείς... ενώ αυτοί συγγράφουν Βοκκάκιο στα γόνατα των κοριτσιών των δικών μας!... Σας λέω είν' εξαίσιοι!
             Να, για δαύτο γυρίζουμε. Είμαστε της ζωής μεις οι μούργοι κ' ειν' οι άλλοι κορόιδα μας. Εμείς καλλιεργούμε μόνο από έρωτα προς την ελευθερία το ψέμα - ένα ψέμα όλο ποίηση, μιάν αναποδιά όλην οίστρο - ενώ αυτοί είναι αυτόδουλοί του και σκλάβοι του. Η συμφωνία τους είναι ν'αλληλοκλέβουνται έντιμα, ενώ η κλεψιά είναι άτιμη. Είν' η συνθήκη τους τίμια με σήμα κατατεθέν της το ψέμα. Τί μπρίο! Τί μπρίο! Πώς διάολο συσχετίζουν τα άσχετα; Πώς μπρε μάτια μ' συμβιβάζουν τα άκρα; Είναι όλοι τους «τίμιοι» κατά τον πιό άτιμο τρόπο!... Πού να τους παραβγούμε εμείς οι κακόμοιροι σ' αυτή τους την ανομία τη νόμιμη, σ' αυτή την πεπειραμένη αρετή τους. Είναι πολύ πεζεβένηδες...
             Να, γι' αυτό γκιζιρνάμε. Μήτε σπείρουμε, μήτε θερίζουμε γιατί για μας είναι τα χούματα μπρούτζινα και νικέλινη η γη μας. Τα Έθνη, οι πολιτείες, οι τόποι, δεν έχουνε σύνορα στον δικό μας χάρτη και τα δυό ημισφαίρια μας πέφτουνε λίγα. Η ζωή μας δεν ανέχεται όρια. Εμείς ένα σύνορο ξέρουμε: της ζωής και του θανάτου· μια πατρίδα γνωρίζουμε: των σολών μας το πάτι. Είμαστε μείς οι πολίτες του άπειρου, κ' έχουμε κ' εμείς μια σφραγίδα: τον πάτο μας. Μ' αυτήν σφραγίζουμε μεις τα πιστοποιητικά της τιμής των..."   

Είναι πραγματικά δύσκολο με δύο μικρά αποσπάσματα και κάποια πεζά λόγια να μπορέσει κανείς να παρουσιάσει έστω και σχηματικά αυτές τις ηλεκτρισμένες εκατό σελίδες του Σκαρίμπα που αποτελούν το "Θείο Τραγί". Αφήστε στην άκρη λοιπόν ότι άλλο διαβάζετε και πιάστε στα χέρια σας αυτό το βιβλίο. Ή όπως θα έλεγε και αυτό το εξαίσιο τέρας, ο Γιάννης, ο πρωταγωνιστής της ιστορίας, ...μην αφήσετε άλλο να ξεχουρδίζετ' ο χρόνος. Γκιζιρνάτε ντεεε...

Το βιβλίο "Το Θείο Τραγί" του Γιάννη Σκαρίμπα κυκλοφορεί από τις εκδόσεις Νεφέλη

Monday, March 25, 2013

"...You can clap now" - Vic Chesnutt performing "Everything I say"


Some concerts can be life changing experiences. The venue is right, the artist and the audience straight away create a bond, the music flows and you feel you are about to witness something magical, something unique. It doesn't happen so often, to get all the parameters right, but when it does you feel it. From the first seconds.   

I am not going to say a lot about the late Vic Chesnutt. Paralysed at the age of 18 he discovered that he could still play some simple guitar in the wheelchair to accompany his beautifully written songs. He released 17 albums during his short career and even though he was not so well known to the wider public, he influenced musicians from around the world who mention him as their prime source of creative inspiration. Michael Stipe of R.E.M. produced his first two albums but Vic Chesnutt was never meant for mainstream success.  
        
Filmed for the music series "the neighbors dog", this concert took place in the living room of a Canadian house. There is no stage, no extravagant light show and no distance separating the audience from Vic and his musician friends who included members from Godspeed You Black Emperor and Thee Silver Mt. Zion. There is nowhere to hide in a setting like this. It's raw. Bryan Carroll (from All Music Guide) described Vic Chesnutt's music as a "skewed, refracted version of Americana that is haunting, funny, poignant, and occasionally mystical, usually all at once". The song "Everything I say" as performed in this crisp and beautifully filmed extract is a perfect confirmation of that statement. Chesnutt cracks a joke at the beginning and then starts playing as if there was no tomorrow. An electrifying performance where everything is balancing on the turn of each note. From a silent strum of the guitar to the distorted "wall of sound" attack, there is such a release of musical energy that the feeling you get is one of almost mystical exhilaration. 

In classical music concerts, a knowledgeable audience will wait for the final note to become inaudible and then still refrain from clapping and cheering as the last feeble vibrations of the musical wave are absorbed in silence. The same reverence can be witnessed in the audience's reaction at the end of this song. There is a long pause and Vic releases the tension with a simple "you can clap now". 

This show would be one of Vic Chesnutt's last performances caught on film.

Thursday, March 21, 2013

"End" - A poem by Jorie Graham


As soon as I bought Jorie Graham's new poetry collection entitled "PLACE", I leafed through the book looking for a quick entry point. A poem that would stand out from the rest, a quick gratification reference, a turning of a phrase that would drag me in, chain my eye to the page.

From one poem to the other I drifted, looking for familiarity in presentation, looking for hooks in the titles, the phrasing, the opening lines. I soon realised that I would have to dig deeper to unearth the treasure chest. I found myself skipping pages, unable to penetrate the strange form, syntax and ideas contained in the poems. No less than five or six times did I put the book down and returned, only to be denied access once again. Then, one fine morning, the "sound and vision" of the poem "End" progressively revealed itself  and there I was balancing the shifting emphasis from fragment to fragment and back. It all came together and the last words of the poem, I feel, really leave an indelible mark on the reader. What can that be other than the sign of great poetry in the making?  

In a very interesting interview by Thomas Gardner for the magazine "the Paris review", Jorie Graham is asked if she feels she is asking too much from the reader... This is what she says:

"...I do worry considerably about a reader’s patience—how much mental or emotional space they have in their life in this crushingly full world to give to the reading of a poem. Many of today’s readers prefer fast poems with stated conclusions, partly because they can fit them into their day. Who can blame them? They have precious little time. They want the Cliff Notes to the overwhelmingly huge novel. Of course, it is poetry’s job to try to provide the very opposite—to recomplicate the oversimplified thing. This doesn’t require going on at length—lord knows some of the more complex acts of human awareness occur in Basho. At any rate, it’s not hard to see where the shortened attention span has gotten us, the desire for speed, for the quick rush or take or fix . . .

INTERVIEWER

Some of that is the impact of technology.

GRAHAM

Yes, don’t you think? For example, when you have a split tv screen giving you main news (images), secondary news in text (often war facts), weather, stock reports, and even an “update” in the corner, on sports, how is a person—let alone one in a democracy and therefore responsible for clear-headed choice—supposed to feel any of the information she’s gathering? One is reduced to simply scanning the information for its factual content. The emotive content, unless reported to one or rhetorically painted onto it, is gone from the experience. It seems almost in the way. And yet it’s in the overtones of the facts, in the emotive overtones, that much of the real information lies. None of this can be separated out from contemporary poetics. The “multitasking” asked of us by the CNN screen is precisely geared to dissociating our sensibilities. It forces us to “not feel” in the very act of “collecting information.” But what value does information unstained by emotive content have, except a fundamental genius for manipulating dissociated human souls? Why, you can frighten them to the point of inhumanity. You can get them to close their eyes and let you commit murder in their name..."

  End


(November 21, 2010)

End of autumn. Deep fog. There are chains in it, and sounds of

                                                   hinges. No that was

                                                   birds. A bird and a

                                                   gate. There are

swingings of the gate that sound like stringed

                                                   instruments from

                                                   some other

                                                   culture. Also a

hammering which is held

                                                   in the fog

                                                   and held. Or it is continuing to

                                                   hammer. I hear the blows.

Each is distant so it seems it should not repeat. It repeats. What is being hammered

                                                   in. Fog all over the

                                                   field. The sounds of

                                                   boots

on soil in groups those

                                                   thuds but then it is

                                                   cattle I

                                                   think. The sound of the hinge the swinging chain it won’t

go away. But it is just the farmer at work. He must be putting out

                                                   feed. Fog. Play at

                                                   freedom now it says, look, all is
                            
                                                   blank. Come to the

                                                   front, it is

                                                   your stage it

                                                   says, the sound of the clinking of links of

chain, I think it is someone making the chain – that is the hammering – the thuds – making

their own chain. But no, it is the gate and the herd is let in again, then

                                                   out. I can hear

the mouths eating, dozens maybe hundreds, and the breathing in and out as they

                                                   chew. And the

                                                   chain, for now I am alive I think into the hammering

thudding clinking swinging of metal hinge – of hinge – and also think maybe this is

winter now – first day of. Fog and a not knowing of. Of what. What is inner

                                                   experience I think being

                                                   shut out. I look. A gate swings again and a rustling

                                                   nearby. All is

nearby and invisible. The clinking a chinking of someone making nails. The sounds of a crowd

meaning to be silent, all their breathing. Having been told not to move and to be

                                                   silent. Then having been told to

                                                   move and be

                                                   silent. The crowd is in there. All the breaths they are trying

                                                   to hold in, make

inaudible. And scraping as of metal on metal, and dragging as of a heavy thing. But it is a field

out there. My neighbour has his herd on it. When I walk away from the

                                                   window it’s a violin I

                                                   hear over the

                                                   chewing out of tune torn string but once it made

                                                   music it might still make

                                                   music if I become a new way of

                                                   listening, in which

                                                   above all,

                                                   nothing, I know nothing, now there are moans

out there such as a man accused and tossed away by his fellow beings, an aloneless, and

                                                   listen, it is blank but in it is an

appeal, a ruined one, reduced, listen: in

                                                   there this

                                                   animal

                                                   dying slowly

                                                   in eternity its

                                                   trap.

Tuesday, March 5, 2013

The Alchemy of Light by dandyPunk - A Projection mapping live project



Imagine the possibilities for artistic expression if one could harness the light, project it, make a mould out of it, cut it up, split it, use it to wrap up objects, and intervene in the shadow play. The artist that goes by the name "a dandyPunk" has done just that. In a short video clip which includes some of the highlights of a live project mapping performance, dandyPunk creates a modern work of art mixing different media and techniques to great effect. Being an acrobat and having participated with the Cirque du Soleil troupe gives dandyPunk the edge especially in the way he handles the timing of the performance. But in the end it's all about imagination and creativity and these he seems to have in abundance.      


Take a walk on the wild side by visiting the site of an imagineer in exile...
The site of dandyPunk