You've got to dig to dig it, you dig?
Discours de reception de Dany Laferriere, 28 mai 2015.
“C’est Legba qui m’a permis de retracer Hector Bianciotti disparu sous nos yeux ahuris durant l’été 2012. Legba, ce dieu du panthéon vaudou dont on voit la silhouette dans la plupart de mes romans. Sur l’épée que je porte aujourd’hui il est présent par son Vèvè, un dessin qui lui est associé. Ce Legba permet à un mortel de passer du monde visible au monde invisible, puis de revenir au monde visible. C’est donc le dieu des écrivains.”
Come out, come close.
Why hide? Why deceive?
You are me and I am you.
Why get mired in me’s and you’s?
We are light upon light—
and the glass light passes through.
Why muddy ourselves with a grudge?
Together, we are whole and complete.
[…]There’s one spirit in countless bodies,
one oil in countless almonds,
one meaning in countless words
uttered by countless tongues.
Shatter the jugs. The water is one.
Steeped in union, the heart remembers
a world beyond words.
Come out, come close., Jalal al-Din Rumi
The light gains edges and limbs; folds and opens.
Nobody has limitlessness
a universe of collision and drift
SH
Gordon Parks and Ralph Ellison: How a Man ‘Becomes Invisible’, John Edwin Mason, TIME, 2016.
““A Man Becomes Invisible,” which appeared in LIFE on Aug. 25, 1952, Parks interpreted Ellison’s recently published novel, Invisible Man, through images that were by turns surreal and nightmarish.”
Art Institute of Chicago, May 20–Aug 28, 2016.
It’s not peripheral and it’s not the centre; it’s not everything and it’s not nothing
Orbital, Samantha Harvey
Imagination, too, is old habit, assiduously maintained despite consequences.
Grand Tour: Poems, Elisa Gonzalez
Which stories do fields, gardens, forests, and deserts tell? How are they articulated in—and between—the extensive and intensive senses of articulation? In what ways are they distributed between muthos and logos? There is no one all-embracing answer to these questions because the answers are indexed to various plant communities, distinct vegetal milieus, or modes of inhabiting the middle. Plant communities are tangles of stories about interactions among plants; the collaborations and collisions of plants with bacteria, fungi, and animals; agriculture and permaculture; diets and habitats; and, less and less so, the wilderness.
The deserts that grow worldwide as a result of deforestation are the environments that best correspond to the arid abstraction of globality, inherited from the rarefication and dematerialization
of reason. It did not have to come to this: spirit could have been receptive to matter, feeling at home in the forest, while culture could have meant care for and cultivation of life.
… assuming that the plant’s self is not separated from the place of its growth, whatever it tells about that place is already a phyto-biographic narrative and, vice versa, the story of a plant about itself is a slowly developing narrative about its surroundings.
… keepsakes of my memories, the mnemonic centers of gravity that evoke the events and even the atmosphere of my life at the time
Michael Marder, A Philosophy of Stories Plants
Toni Morrison :
Sweet, crazy conversations full of half sentences, daydreams and misunderstandings more thrilling than understanding could ever be.
exchanged that danger for the relative safety of brutal work
home is memory and companions and/or friends who share the memory.
The implication being that this is all there is.
love in its desperate state … poorly veiled by his business ventures.
Valerian took very good care of the greenhouse for it was a nice place to talk to his ghosts in peace while he transplanted, fed, air-layered, rooted, watered, dried and thinned his plants.
imagined the blackness she was sinking into.
It was the name that called forth the true him.