Onomastic Fox

"By Way of Introduction' in which a surprising appearance puts the reader off track, given it is a cookbook that is being read:

Chester County — that glorious rolling countryside in Eastern Pennsylvania whose hills and valleys, woodlands and streams and quiet ponds, whose clover meadows and tilled fields and green pastures with nearby red barns and silos and herds, and whose stone farmhouses and spotless dairy buildings all show what the best traditions of farming and husbandry can mean — it is in Chester County, fox hunting country of the East, that Cooking and Cookery come into their own!
Out of the enumeration of countryside features pops the fox. !!

West Whiteland, Pennsylvania: St. Paul's Church, 1950. Compiled and edited by Virgina Penrose. Illustrated by Cécile Newbold Barnett. [Set up and printed by Princeton University Press]

The copy I have examined is inscribed in the same hand and the same ink there is a signature by Virginia Penrose and an address for a Mrs. Charles Penrose.

To Margaret Church
With every good
  Virginia Penrose
  July 15, 1954

Mrs Charles Penrose
"Hilltop Cottage"
West Chester RD 2

In consulting the list of contributors (identified by initials throughout), one discovers that "VP" is given as Mrs Charles Penrose and one would assume by the shared initials (and a little knowledge of the custom at the time on how to address married women) that this is the same person as Virginia Penrose, our compiler and editor and one so knowledgeable of fox hunting country.

And so for day 2403


I once sent a posting to Humanist about objects and electronic text editing and as the thread progressed I was reminded of a formulation from Owen Feltham: "Contemplation is necessary to generate an object, but action must propagate it."

The two ways (vita contemplativa and vita activa) bring to mind a statement by Jerome McGann in his essay "The Rationale of Hypertext"

To the imagination, the materialities of text (oral, written, printed, electronic) are incarnational not vehicular forms.
To be found in Electronic Text: Investigations in Theory and Method. Ed. Kathryn Sutherland. Oxford: Clarendon Press, 1997 (p. 19).

I am intrigued by the possibilities of recasting McGann's exclusionary dichotomy into a pair of allied pursuits (incarnation-contemplation and vehicle-action). The question takes on a hermeneutical hue: just where does the encounter between the horizon of the reader and the horizon of the author take place?

The answer may require a whole (social) renegotiation of what it means to contemplate versus to act upon a text. I suspect that the vexed question of the relations between powers of abstraction and embodied knowledge is at play.

The relations are not likely to be a one-way street. And this has bearing on what is involved in the telos of editing. I turn to Julia Flanders, "The Body Encoded: Questions of Gender and the Electronic Text" (which we find p. 129 in Electronic Text: Investigations in Theory and Method) for a recovery of a history of what were deemed the stakes in editing. She draws on Stephanie H. Jed Chaste Thinking: The Rape of Lucretia and the Birth of Humanism (1989) to trace and critique a spirit/flesh dichotomy at play in textual editing:
The organizing terms of this relationship revolve around a familiar binary of body and spirit: each physical text, the manuscript or printed book, is a particular concrete carrier of a universalized and disembodied textuality, the "text of the author" which may be fully represented in one physical object, in many, or in none at all. Within this schema the physical object, in a manner familiar to any student of neoclassical aesthetics, is subject to corruption and debasement, its very physicality and particularity drawing it towards the realm of the monstrous and the deviant. The task of the scholar and editor, then, is to discern the universal text within the various documents which instantiate it, and by patient study and labour produce a new — but also originary and authoritative — witness which perfectly transmits the "text of the author". In Jed's example, these texts are the foundational documents by which republican Florence was to construct a public ideology based on an assertion of lineage from ancient republican Rome (p. 75)
Of course the story does not stop here.

And so for day 2402


David Holbrook
"Me and the Animals"

I share my knee bones with the gnat,
My joints with ferrets, eyes with rat
I walk upright, alone, ungoverned, free:
Yet their occasional lust, fear, unease, walk with me
Always. All ways.
To be found in full in any of these (if tables of content are a guide)
  • Selected poems, 1961-1978
  • The Animal Anthology, edited by Diana Spearman
  • The New Poetry, edited by A. Alvarez
Yet to compare for any variance.

And so for day 2401

The Falcon, the Fish and the Heron

Denying oneself one's prey to not become prey in turn...

Then there are the bird fanciers shops, where they train and sell falcons, hawks and other birds of prey. One day in his Majesty's ante-room the Master of the Ceremonies told his Excellency that he himself saw a fine feat performed by a falcon, who seized a large fish in the air. He was flying at a heron who in the strife by instinct threw the fish which he had in his claw, into the falcon's face, and thus escaped the enemy's talons.
Anglipotrida by Horatio Basino
The Calendar of State Papers and Manuscripts Relating to English Affairs. Existing in the Archives and Collections of Venice, and in the Other Libraries of Northern Italy. Volume XV (1617-1619), Edited by Allen B. Hinds. (London, 1909)

This comes to me via a friend, Willard McCarty who kindly digitalized a sheaf of photocopies and brought my way the collection of observations about London processions and performances. His calligraphy adorns the bibliographic info:

And in providing permission to reproduce his handwriting, Willard provides a tale of its route to Berneval...
I am so glad you like the observations on English manners. You certainly have my blessing to reproduce my handwriting. Years ago, but many years after I had graduated from skimming the State Papers [in Toronto], I loaned the photocopied pages to my former head of department here [London]. He then moved house, and in the process these pages found their way into a box that remained unpacked all the years he then lived in the new house. It was only when he moved again, from London to Edinburgh, that the box was unpacked, the pages in question discovered and returned to me. Yesterday I scanned them in.

So, a long journey and a new transformation.
And yet such a short interval between friends.

And so for day 2400

A Twinkle

Samuel R. Delany
Historifying Marginal Practices
in Time and the Literary: Essays from the English Institute

Taking on one of the biographers of Hart Crane

As a gay man today I read this with a cold eye. As far as homosexuality not being a problem till Crane was twenty. I hear myself muttering: "A problem for whom?" Homsexuality was the greatest problem for me between the ages of ten and eighteen: once I started doing it, believe me, it became less problematic by whole orders of magnitude.

As far as Crane's contempt for effeminate men, (which Loveman repeats later in his Conversation and Susan Slater Brown declares in Robber Rocks), the only problem with it as a blanket statement is Loveman himself. I can't speak for Loveman's self-presentation at age 30 or 40 (the height of his friendship with Crane), but the single time I met him, with poet and critic Hunce Voelcker, when Loveman was on the far side of 70, he was a wonderfully warm and friendly old gentleman — who looked as if he were moments from flying off through the sun-shot leaves above Greenwich Avenue on twinkle-toed slippers. And Crane had felt nothing but affection for him.
Simply sparkling.

And so for day 2399


Juan Gabriel Váquez in Browse: The World in Bookshops edited by Henry Hitchings.

Reflections on chance:

A reader's life is, among other things, this tissue of opportune coincidences.
And so by luck we arrive.

And so for day 2398

Landscape Amid Crashing Waves

A new take on the sublime

John Adams notes to The Dharma at Big Sur
East Coast / West Coast: Some Musical Autobiography

Coming upon the California coast is a different experience altogether. Rather than gently yielding ground to the water the Western shelf drops off violently, often from dizzying heights, as it does at Big Sur, the stretch of coastal precipice midway between Santa Cruz and Santa Barbara. Here the current pounds and smashes the littoral in a slow, lazy rhythm of terrifying power. For a newcomer the first exposure produces a visceral effect of great emotional complexity. Many writers have tried to describe it directly, but Jack Kerouac did it best. In both his poetry and his novels he comes the closest to evoking my own sense of liberation and excitement, an ecstasy that is nevertheless tinged with that melancholy expressed in the first of Buddha's Four Noble Truths: "All life is sorrowful."
The music travels to you if you cannot be there. Be here.

And so for day 2397

Simple Forceful

From Cyrus Cassells, The Gospel According To Wild Indigo

she will never fear sale
or the bottom of the sea.
This ends a section. It sends the imagination to a space beyond the Middle Passage. The future tense and the negation operate like a promise. The assertion is strong. The partial rhyme sale/sea adds its own authority, or so I would like to claim. It does via an evocation of its homonym hint at a sail flapping in the wind — open to a new direction.

And so for day 2396

Once We Were Nomads

Margaret Atwood
Foreword to A Breath of Fresh Air: Celebrating Nature and School Gardens by Elsie Houghton

Describing the Post-War period after the Victory Gardens disappeared:

There was an undeniable emotional charge to throwing stuff out. Scrimping, saving and hoarding make a person feel poor — think of Scrooge, in A Christmas Carol — whereas dispensing largesse, whether in the form of a prize goose, as in Scrooge's case, or in the form of filling up your garbage can with junk you no longer want, makes you feel rich. Saving is heavy, discarding is light. Why do we feel this way? Once we were nomads, and nomads don't carry around grand pianos. They don't hoard food; instead they move to where food is. They leave a light footprint, as the green folk say. Well, it's a theory.

But we can't all be nomads any more. There isn't enough space left for that.
Not enough space and not enough grace. Just enough humour.

And so for day 2395

In Praise of Felines

Dedication to
Pellegrino Artusi
The Art of Eating Well
Translated from the Italian by Kyle M. Phillips III.

I dedicate this book to two of my best, most pure-hea[r]ted friends, Biancani and Sibillone.

To you, who keep me constant company without envy or resentment and are never bored; to you, who, when I was preparing theses dishes in the kitchen, would rub against my legs while holding your tails high and tremble with the desire to be the first to give me your opinions; to you, who, unlike your kind, cannot be called thieves, and if you are occasionally guilty of a slip, it was just the irresistible attraction you felt for a scrap of cheese or roast chicken that made you transgress; to you, who, with your friendship, offer an example of brotherly love to men, and, intent on grooming yourselves, do not turn your minds to sin.

Finally, to you, who often thrill me with your games and graceful leaps, and have never made me feel unloved.
Affirming meows. Whether from heat or heart.

And so for day 2394

Bon Mots and Fine Images

I wonder if I had been given as an adolescent a copy with such a cover

would I have developed such a love for aphorisms.

I had long ago passed it along. But I came upon it years later and picked it up for the nostalgia factor.

And found within the imaginative verve of illustrations providing narrative appeal to the aphorisms. Who knew that Voltaire's "Save me from my friends" would take the form of a duel about to unfold?

The title page truly describes this Hallmark Edition:
The French on Life and Love, Selected by Edward Lewis with frivolous illustrations in color by John Trotta.

And so for day 2393

A Set of Visual Puns

Wallace Edwards
Mixed Beasts

There is an appendix that gives a key made up of line drawings of some to the beasts to be found in the preceding colour illustrations. Here are a few drawn from the abecedarius order.

animal visual puns

Dandylion * Deer Mouse * Dragonfly * Fiddler Crab
Fly Ball * Fowl Ball * Fruit Bat * Horsefly

And so for day 2392

What is Heard

Will Young
on the album Echoes

The lyrics I have seen reproduce the long languorous pauses with line breaks and spacing. They bring into high relief the relation between waiting and thinking.

And it feels like jealousy
And it feels like I can't breathe
And I'm on, down on my knees
And it feels like jealousy.

I'm tired of waiting.

I'm tired of thinking.

And it feels like jealousy (hey)
And it feels like I can't breathe (I can't breathe)
And I'm on, down on my knees (oh)
And it feels like jealousy
Listen in at 1:89 there are more words with telling rests:
And all this
taking over
Right there after the tired of thinking and waiting, just before the iteration of the naming of jealousy. Could this be a case of Will Young: 'I forget lyrics and start making them up'? Improvisation that laid down the track?

And so for day 2391

From The View Towards

On the occasion of his turning 100, a piece appeared about Robert Blackburn, Chief Librarian, under whose leadership the card catalogue was converted to machine-readable form.

It ends with a fine sentiment:

His birthday wish? “Only that my work in all those covered-wagon days will continue to provide my successors with the flexibility and scope that are needed to command a great future.”
That is a classy legacy statement.

And so for day 2390

Gross Domestic Product: Its Limitations

First the examples of what's wrong:

If you were the GDP, your ideal citizen would be a compulsive gambler with cancer who's going through a drawn-out divorce that he copes with by popping fistfuls of Prozac and going berserk on Black Friday. Environmental pollution even does double duty: One company makes a mint by cutting corners while another is paid to clean up the mess. By contrast, a century-old tree doesn't count until you chop it down and sell it as lumber.
Now why (a wartime mentality):
To calculate the GDP, numerous data points have to be linked together and hundreds of wholly subjective choices made regarding what to count and what to ignore. In spite of this methodology, the GDP is never presented as anything less than hard science, whose fractional vacillations can make the difference between reelection and political annihilation. Yet this apparent precision is an illusion. The GDP is not a clearly defined object just waiting to measure an idea.

A great idea, admittedly. There's no denying that GDP came in very handy during wartime, when the enemy was at the gates and a country's very existence hinged on production, on churning out as many tanks, planes, bombs, and grenades as possible. During wartime, it's perfectly reasonable to borrow from the future. During wartime, it makes sense to pollute the environment and go into debt. It can even be preferable to neglect your family, put your children to work on a production line, sacrifice your free time, and forget everything that makes life worth living.

Indeed, during wartime, there's no metric quite as useful as the GDP.
Utopia for Realists: How We Can Build the Ideal World
Rutger Bregman

And so for day 2389

Marks and the Marked

The lines lifted out from their surroundings in the poem could be about cutting and self harm.

Your lacerations tell the losing game
You play against a sickness past your cure.
They are about a preacher's struggle and another type of damage:
What are we in the hands of the great God?
It was in vain you set up thorn and briar
In battle array against the fire
And treason crackling in your blood;
For the wild thorns grow tame
And will do nothing to oppose the flame;
Your lacerations tell the losing game
You play against a sickness past your cure.
How will the hands be strong? How will the heart endure?
Robert Lowell
"Mr. Edwards and the Spider"
The Kenyon Review, Winter 1946, Vol. VIII, No. 1

And so for day 2388

Viola Tricolor Memento

Browse: The World in Bookshops
Edited by Henry Hitchings

Reading in this collection "Bookshop Time" by Ali Smith, I was struck by this passage about what gets inserted and preserved between the pages of books

We leave ourselves in our books via this seeming detritus: cigarette cards with pictures of trees or wildlife; receipts for the chemist; opera or concert or theatre tickets; rail or tram or bus tickets from all the decades; photographs of places and long-gone dogs and cats and holidays; once even a photo of someone's Cortina. Now when I donate books to the shop I have a flick through to make sure that anything tucked into them isn't something I might mind losing.
A Cortina btw is a type of car.

A few days later I find in a copy of Bashō a delicate book marker fashioned as a mark of affection and love. On the one side is a pressed heart's ease patiently arranged and composed with parts from other plants to form a miniature herbarium specimen. On the other side is an inscription dated Valentine's Day 1987. The card is laminated and so protected. A perfect long lasting gift.

viola tricolour valentine


And so for day 2387

drawn line has more than one direction

a drawn line has more than one direction

or so we are informed by

Mark Truscott "There" Branches

How many lines

in this glimpse

of bare tree?


drawn, a line can

never really move

in just one direction.
It gets complicated from there.

There is a great cover image — a puzzle piece image of a tree. Reproduced in grayscale in the inside covers: once completed or solved and once inverted. Roots. Routes.

In lieu of damaging the spine of my copy of the book by being flattened on a scanner bed, here is the cover designed by Tree Abraham and the cover flipped.
cover branches flipped cover branches

Detail counts in this book. The first line stands alone on the first page: "A branch like a line like a branch" is taken up on the second page "Branch like a line like a branch"

And so for day 2386

Sensitivity to Setting

Jun'ichirō Tanizaki
In Praise of Shadows
Translated by Thomas J. Harper and Edward G. Seidensticker

On lacquer

First one coat...

And I realized then that only in dim half-light is the true beauty of Japanese lacquerware revealed. The rooms at the Waranjiya are about nine feet square, the size of a comfortable little tearoom, and the alcove pillars and ceilings glow with a faint smoky luster, dark even in the light of the lamp. But in the still dimmer light of the candle stand, as I gazed at the trays and bowls standing in the shadows cast by that flickering point of flame, I discovered in the gloss of this lacquerware a depth and richness like that of a still, dark pond, a beauty I had not before seen. It had not been mere chance, I realized that our ancestors, having discovered lacquer, had conceived such a fondness for objects finished in it.
Then another...
Sometimes a superb piece of black lacquerware, decorated perhaps with flecks of silver and gold — a box or a desk or a set of shelves — will seem to me unsettlingly garish and altogether vulgar. But render pitch black the void in which they stand, and light them not with the rays of the sun or electricity but rather a single lantern or candle: suddenly those garish objects turn somber, refined, dignified. Artisans of old, when they finished their works in lacquer and decorated them in sparkling patterns, must surely have had in mind dark rooms and sought to turn to good effect what feeble light there was. Their extravagant use of gold, too, I should imagine, came of understanding how it gleams forth from out of the darkness and reflects the lamplight.
... prose as carefully built up layer by layer as the objects it describes.

And so for day 2385

Subduing the Imperatives

Comparing what I heard with what I read, I became aware of two versions of the song. A snippet for comparison...

Melanie version Rolling Stones version
There's no time to lose I heard her say
You gotta catch your dreams before they run away
Dying all the time
Lose your dreams and you might lose your mind
Is life unkind

Goodbye, Ruby Tuesday
Who is gonna hang a name on you
And when you change with every new day
Still I'm gonna miss you
"There's no time to lose, " I heard her say
Catch your dreams before they slip away
Dying all the time
Lose your dreams and you will lose your mind
Ain't life unkind?

Goodbye Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I'm gonna miss you

Slight but impactful differences ... might ... will

And so for day 2384

Close-up on the Chocolate

Wallace Edwards

Truly captivating images of animals in action and simple verse that complements the images well. From which I have collected these bonbons...

chocolate close-up

chocolate close-up
There are also brushes dripping with paint that get repeated and fruit too.

And so for day 2383

Accepting Ursula's Point of View

Partition by way of modality...

I don't believe in Darwin's theory of evolution, I accept it. It isn't a matter of faith, but of evidence.

The whole undertaking of science is to deal, as well as it can, with reality. The reality of actual things and events in time is subject to doubt, to hypothesis, to proof and disproof to acceptance and rejection — not to belief or disbelief.

Belief has its proper and powerful existence in the domains of magic, religion, fear, and hope.
Ursula K. Le Guin "Belief in Belief" in No Time to Spare.

And so for day 2382

The View from the Theatre Box


In the space between meaninglessness of the present and the unknowable past is the entertainment of history. The artifice of history's words is to give historians, whoever they are - gossips, priests, academics - control over the past in a way participants could never control their present. Historians, again, whoever they are, are outsiders. They always make a drama out of what the participants experienced as one damn thing after another. Historians always see the past from a perspective the past could never have had. They are like meteorologists predicting yesterday's weather today. They get their certainties from consequences.
Greg Dening, "A Poetic for Histories" in Performances

And so for day 2381

A Story that Sticks

Sometimes email brings one the most marvellous of anecdotes.

Like this one in a message announcing a show at the Yumart Gallery

"Stuck" isn't in the exhibition. It's gone. I was having a difficult time in my studio; the floor was littered with scraps and cuttings but nothing came together. I decided to go home and on the streetcar I crossed my legs, looking out the window for even a shadow of inspiration. A young woman across from me looked at the sole of my shoe and laughed and pointed. I took off my shoe and looked at the sole: four small random scraps of sticky cuttings had arranged themselves in an interesting pattern around a small torn magazine image of Donald Trump. The word "Ick" covered most of his mouth; an eyeball was embedded in his bouffant; a torn newspaper headline about murder was underneath it all. I disembarked from the streetcar in the rain and walked carefully to preserve "Stuck". But it had disintegrated by the time I reached the studio. I had a good day, then.
Lee Lamothe, Toronto-based photomontage artist.

And so for day 2380

The Emergency of Breath

Finding that guilt is not a useful emotion, I learnt a long while ago to live by the mantra "No Blame No Shame" (or vice versa) as I neither wanted to be the cause of either in people I encountered nor carry either within myself. Imagine my delight in the listing offered in a poem by Roy Miki which rhymed in a very opposite direction signalling rantings that need to yield.

"No pain no gain." "No sin no grin." "No blame
no fame." The social goods are stacked. All bets
were off track as the announcer waived his voice
fee to expose his goods. You or i only wish the
rantings that blanket the public airwaves of
displeasure would yield the emergency of breath.
From Scoping (Also Pronounced Shopping) in Kits
in Open Text: Canadian Poetry and Poetics in the 21st Century Vol. 2 edited by Roger Farr (North Vancouver: CUE, 2009).

And so for day 2379


Northrop Frye
By Liberal Things
His address upon his installation as Principal of Victoria College, 1959

The university is not merely the group of institutions called universities, any more than the Church is merely the group of buildings called churches. Wherever there is respect for the artist's vision, the scientist's detachment, the teacher's learning and patience, the child's questioning, there the university is at work in the world.
What I love here is the push beyond a tricolour into a quadruple listing terminated by the fine sounding declaration which through the repetition of one word (there) reaches back to the beginning of the sentence to pick up the deictic and thus form in the mind a great solid arch.

And so for day 2378

Levity Amongst the Layers

I have been trawling through the literature on overlapping hierarchies and have repeatedly come across puns and other forms of humour. One of the outstanding examples comes from Steve deRose.

This model, originally named HORSE (Hierarchy-Obfuscating Really Spiffy Encoding) may seem wooden at first, but soon it comes to look quite natural. With its spartan syntax it should be attractive; but its name seems less so, and clearly a Muse meant us to rename this model

because of its heavy use of point events scattered throughout the text or data stream: click, clicks, clix.
The acronym in itself is funny but even more humorous given that it is part of an extended conceit playing with a name: "This approach, which after Troy [Griffiths] is called 'Trojan milestones'". And is redoubled by the allusive heading to this section: "Catching Hell'n Tagging".

From "Markup Overlap: A Review and a Horse" (2004)

And so for day 2377

At the Tail End, a Tale, not Tall

CBC Ideas
Vestigial Tale
An episode devoted to story telling.

At 49:00 minutes in of an hour show we are sent off with a story recounted by Aideen McBride.

I do it not justice except to say it involves a young man and an old woman and the welcome they receive when seeking hospitality and shelter each on their own. One of them figures "truth" and the other "story". McBride concludes her recounting with the observation that truth gains admittance accompanied by story.

And so for day 2376

Affectation or Affordance

Came across this practice in Jeremiah Tower Table Manners: How to Behave in the Modern World and Why Bother

Wrapped Lemons

Putting cheesecloth or cotton clothes on a lemon is not an affectation but, rather a highly practical courtesy, one that prevents digging for seeds in iced tea, or prevents squirting someone in the eye with lemon juice when all you are trying to do is flavor the fish. It also saves having to remember at formal occasions how to squeeze the half-lemon gracefully against the prongs of a fork.
Had to go search for a picture (basically a lemon cut in half at its equator and the cut end wrapped in muslin or cheese cloth).

wrapped lemons

And so for day 2375

Changes of State - States of Change

Edward Bryne
From "Délires"
In Open Text Volume 2 Canadian Poetry and Poetics in the 21st Century

Even successful snowmen must melt.
Subtle alliterations.

And so for day 2374

Flavour Listings

Where taste begins with names.


Strawberry, Earl Grey Tea
Spruce Mint
Cranberry, Ginger
Peppermint, Cheesecake
Rosemary, Orange
Sugar Plum Jelly
Cherry, Marzipan
Coffee, Cinnamon
Yuzu, Sake
Sherry, Milk Chocolate
Pistachio, Bergamot
Orange Blossom, Honey
Cinnamon, Brown Butter
Cherry, Vanilla
Raspberry Rose Fennel
Lime, Ginger, Black Pepper
Salted Caramel

Names for chocolate bonbons - Names for flights of imagination.

And so for day 2373

Disappearing Appearance

Untangling the myth from the fact to make a greater statement about not peering:

An ostrich does not bury its head in the sand; it lays its neck flat to the ground so as to appear from a distance like a mound of earth. That facts are innumerable is not the problem. That we tend to look elsewhere is.
"The Problem"
Noah Eli Gordon
From Is That the Sound of a Piano Coming from Several Houses Down?

And so for day 2372

Seating and Setting

Jeremiah Tower
Table Manners: How to Behave in the Modern World and Why Bother

SEATING PLAN: The arrangements should make well-mannered sparks. You don't have to invite couples and if you do, you don't have to seat them next to each other. They already see enough of each other. Put people next to one another who will enjoy that choice and create interest around the table. You can go mad trying to stick to the man-woman-man format when someone cancels at the last minute. Forget it. We live in a world of multitudes of fluid genders.
I like to juxtapose this with the opening advice of the next section: "Very little is about you at someone else's dinner party except your table manners."

And so for day 2371

Fiction Is No Firewall

If you have been reading to stay sane, think again.

And so we were strengthened, because belief, for beings like us, is the colostrum of existence. After Saachi left, the Ada sank even more into her books, by instinct, separating herself from this world and disappearing into others. She read everywhere: on the toilet, at the dining table, in the library before school assembly each morning. It is not clear how much saving these books were capable of.
Who is speaking? Ọgbanje

On the flyleaf of the dustjacket
We came from somewhere, everything does. When the transition is made from spirit to flesh, the gates are meant to be closed. It’s a kindness. It would be cruel not to. Perhaps the gods forgot – they can be absent-minded like that.
Akwaeke Emezi

And so for day 2370

And Nominated for Best Subtitle...

Ryan Fitzpatrick and Jonathan Ball have a long subtitle with a wonderfully tongue-in-cheek metadiscursive moment.

Why Poetry Sucks

An Anthology of Humorous Experimental Canadian
Poetry in English Written by Canadians for Canadians
(or American Bodysnatchers) in the Early Years of the
21st Century with an Overly Long and
Not That Clever Subtitle the Publisher Rightly Refused
to Put on the Cover
The cover does have a subtitle

cover poetry sucks
An Anthology of Humorous Experimental Canadian Poetry.

And so for day 2369

The Burial of Hunger

In a paragraph referencing culinary history from Apicius on the order of courses, Mario Pei presents a sentence containing and extending a long repeated pattern:

Once the arts of civilization are established, it seems normal to open the meal with food elements that stimulate the appetite, and to close it with foods of a cloying nature, which put the seal upon the tomb of departed hunger.
Mario Pei - Introduction to The Talisman Italian Cook Book by Ada Boni.

And so for day 2368

Three More Minute Pauses

Three more aphorisms lifted from their embedding in surreal non sequiturs.

Greg Evason
The Red Blind
Toronto: The Pink Dog Press, 1991

Swearing is justifiable when you are a walking dictionary.
A word like prostitution can confuse a lot of people.
Words are living breathing replicas.
Lexical commercials.

And so for day 2367

And You Shall Know Them By Their Plumbing

Jun'ichirō Tanizaki
In Praise of Shadows
Translated by Thomas J. Harper and Edward G. Seidensticker

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlour may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in mediation or gazing out at the garden.
Lighting. Noise levels. And so much can be accomplished by closing one's eyes and listening for the beat of one's heart. Whatever location we may be in. For whatever purpose.

And so for day 2366

Hooded Figures - Figured Hoods

I first came across a portion of the illustration by Wesley Bates in a Gaspereau Press catalogue.

In the background you see figures in capriotes injecting a distinctly Klansman motif for which one finds a textual basis in the Forward Foreword.
i hope I've played down Shylock's villainy, but played up the pro-Caucasian Christian Capitalist‡ (Apartheid-like) bias of the Venetian Republic.

‡This Trumpist "CCC" is the prelude to the KKK?
George Elliott Clarke. The Merchant of Venice (Retried).

And if you look carefully at the curtains above the throne you will see swastikas.

And so for day 2365

Sometimes Smallsongs

It happens. You enter a bookstore. Take a volume from the shelf. Browse. And are caught up by a passage.

Though the aiodoi are not of space and time, it is of space and time that they sing, and it is to the smallsongs of space and time they hear (for they hear all songs, always and everywhere) that they listen most closely . . . even though so many of the smallsongs are sad, or angry, or simply wrong.
There is an almost inconspicuous "to" in there which leads to the mis-construction of "to they hear" (odd but not entirely since to grant a hearing to is a kind of judicial procedure). As well the "hearing to" proceeds the listening following the distinction in English between hearing and listening. But if you re-read the passage the stray, little "to" comes into focus as "to that they listen". Most closely. Makes a pretty compositions "to that (hearing) they listen".

Frederik Pohl & Jack Williamson, The Singers of Time bought and brought home to read (almost aloud).

I love the invention of the word “smallsongs” – puts me in mind of all the little tunes we create and carry in our day to day lives.

By paying attention to how some people are listening, quality of their silence, the tenor of their questions, you ensure that others get heard.

And so for day 2364

The Body, Its Environment, Its Exercise

Northrop Frye captured something of the imprinting that happens when good models abound. And are taken up, bodily.

Now if we write in a way that we never speak, the first thing that disappears is the rhythm. It is hardly possible to give any spring or bounce to words unless they come out of our own bodies and are, like dancing or singing, an expression of physical as well as mental energy. The second thing that disappears is the color. It is hardly possible to use vivid language unless one is seeing the imagery of oneself: even abstract words, if they are genuinely possessed by the person using them, will still retain something of the concrete metaphor they originally had. The third thing that disappears is the sense of personality, which only a basis in personal speech can ever supply.
My emphasis
The Well-Tempered Critic

There is a neat twist here. By focalizing the passage through the plural "we" we gain multiple "bodies". Our Bodies Our Selves. Our Poems Our Lives.

And so for day 2363

Gone Fishing for Turnips

The conclusion of a posting to Humanist that muses on the differences of a going towards and the being open to a coming...

What do these esoteric modes of reading or translating have to do with humanities computing? They begin to offer a glimpse of labels for a set of attitudes towards the act of processing text. The tools of humanities computing are for hunting and gathering: the going out. They are also for fishing: waiting to see what shows up. In a sense the tools of humanities computing can be set like traps or weirs.

The distinction between hunting and fishing breaks down when you consider the use of duck blinds. The distinction between gathering and fishing becomes moot when you consider harvesting a salmon run. Still there is some merit, I believe, in pondering whether one's orientation is towards aiming for a target, assembling a resource, or waiting to see what the network might bring.

I do like the idea of casting a net... gutting the fish not so much — though those guts do make good fertilizer for the garden.
And the words themselves lead us to different relations to the ecosystem of words.

And so for day 2362

Function and Field and Group

Michel Foucault, The Archaeology of Knowledge
Translated by A.M. Sheridan Smith

On the notion of function (vs structure):

This is not the place to answer the general question of the statement, but the problem can be clarified: the statement is not the same kind of unit as the sentence, the proposition, or the speech act; it cannot be referred therefore to the same criteria; but neither is it the same kind of unit as a material object, with it limits and independence. In its way of being unique (neither entirely linguistic, nor exclusively material), it is indispensable if we want to say whether or not there is a sentence, proposition, or speech act; and whether the sentence is correct (or acceptable, or interpretable), whether the proposition is legitimate and well constructed, whether the speech act fulfils its requirements, and was in fact carried out. We must not seek in the statement a unit that is either long or short, strongly and weakly structured, but one that is caught up, like the others, in a logical, grammatical, locutory nexus. It is not so much one element among others, a division that can be located at a certain level of analysis, as a function that operates vertically in relation to these various units, and which enables one to say of a series of signs whether or not they are present in it. The statement is not therefore a structure (that is, a group of relations between variable elements, thus authorizing a possibly infinite number of concrete models); it is a function of existence that properly belongs to signs and on the basis of which one may then decide, through analysis or intuition, whether or not they 'make sense', according to what rule they follow one another or are juxtaposed, of what they are the sign, and what sort of act is carried out by their formation (oral or written). One should not be surprised, then, if one has failed to find structural criteria of unity for the statement; this is because it is not in itself a unit, but a function that cuts across a domain of structures and possible unities, and which reveals them, with concrete contents, in time and space.
Foucault on the archive
Between the language (langue) that defines the system of constructing possible sentences, and the corpus that passively collects the words that are spoken, the archive defines a particular level: that of a practice that causes a multiplicity of statements to emerge as so many regular events, as so many things to be dealt with and manipulated. It does not have the weight of tradition; and it does not constitute the library of all libraries, outside time and place; nor is it the welcoming oblivion that opens up to all new speech the operational field of its freedom; between tradition and oblivion, it reveals the rules of a practice that enables statements both to survive and to undergo regular modification. It is the general system of the formation and transformation of statements.
In a nutshell: "The a priori of positivities is not only the system of temporal dispersion, it is itself a transformable group."

And so for day 2361

Nitpicking "Picnic"

Hélène Matteau
Les mots de la faim et de la soif

Sets us to rights about the origin of pique-unique in case you thought it came from the English ...

[L]e pique-nique est un repas constitué de plusieurs plats dans lesquels on se sert un petit peu à la fois. Dans lesquels, donc, on... pique, on picore, des niques, c'est-à-dire de petites choses, de petits riens. On a dit que pique-nique avait été piqué à l'anglais. Or, c'est l'inverse, pick-nick étant plus jeune d'une bonne cinquantaine d'années.
I do like the image of picking at little morsels. Like the entries of a lexicon.

And so for day 2360

Pot, Pan, Skillet - Gas, Electric, Charcol

I always thought the cover was quite fetching with its photography by Anthony Denney depicting a cupboard well-stocked with pots and pans, copper, enamel, ceramic.

cover penguin elizabeth david french country cooking

I kept returning to a phrase that granted permission for substitution. (with in my mind the plethora of cooking gear and the whole opening section on batterie de cuisine). In the game-bird recipe for "Les Palombes à la Béarnaise" Elizabeth David with a note of reluctance concedes that something else might do as an appropriate bed:
Failing artichokes, a purée of broad beans or of Jerusalem artichokes or of celery will serve quite well.
I was initially captivated by the permutations that were possible. But upon further reflection it is the form that they assume that makes the passage memorable. It is all structured around an If-Then relation which lends the statement the indubitable air of a logical deduction. If none, then any of this. This concluding sentence with is enumeration takes flows in an opposite direction to the opening of the recipe where a variety of birds are described but only one method worthy.
The wild doves and the wood pigeons of the Landes and the Béarn are particularly delicious little birds. The ordinary pigeons which one buys in England are rather dull and dry, but cooked à la Béarnaise they can be excellent.
The poise is in the prose.

Elizabeth David French Country Cooking

And so for day 2359

Picking Up the Drop Off

Jericho Brown twists reader expectations in "I Have Just Picked Up a Man". First you believe this is a homoerotic hookup. Then the scene shifts to a dinner and one believes the speaker is committing an act of charity. But the bill of fare is "some poems". Then it just gets superbly weird since this is narrated in the first person the reader experiences split identification with both the reciter and the listener.

What is being read is not only the poems but also the man. The three final stanzas:

But either way, I'll read him
Some poems, glance at myself

In his eyes, and in the moments
Before I drop him anywhere

He wants to go
Neither of us will be alone.
We just might not be with each other.

The poem in question is to be found in Jericho Brown's Please and deserves to be anthologized widely. All those glanced moments pile up and deserve some outlets.

And so for day 2358

Magnifying Portions or Reading The Red Blind

I needed a magnifying glass because the weight of the typeface lent a blurring affect given the tight leading.

Some lines that take on a metatextual twist.
Them's the brakes. Care gives in to bebop pleasure.

Use a concept to pull the hat out of the rabbit.

Don't be a harness for your own dreams.
Greg Evason
The Red Blind
Toronto: The Pink Dog Press, 1991

True printing craftsmanship in producing a chapbook on the long end of 8 1/2 x 11 paper in one signature stapled in the middle. Book design by Kevin Connolly, the founder of Pink Dog Press.

And so for day 2357


Curononsky died in 1956. This bit comes from a volume edited by Jeni Wright published in English in 1989.

A menu, however, is not an abstract exercise. Its composition is based on whatever shopping has been done. A chef or a housewife with an eye for the quality of produce does not shop according to preconceived ideas, after first listing the ingredients needed for some arbitrarily chosen recipe. It is undoubtedly useful, however, to have some general plan in mind for the meal [...] All the great chefs and "cordons-blues" confirm that obvious advantage of "cuisine du marché" (cooking according to the market), which gives preference to seasonal or early produce and allows the best relationship between quality and price.
Curnonsky, Larousse Traditional French Cooking (1989, French 1987)

Chez Panisse was 18 years old in 1989 (poster by David Lance Goines)and had a similar sensibility.

And so for day 2356

Cartographies à la carte

Jennifer Moxley
"The Honest Cook's Insomnia

Brimful of good advice on not only cooking but also reading (by way of analogy).

Don't be smug about outdated foods.
Remember, even iceberg lettuce
was once thought elegant. However
much of an innovator you imagine
yourself to be, our time's tastes will
express themselves through you,
and cooks who come after will
scratch their heads. The 1970s was
mad for Swiss-style cheese fondue,
the 1980s for Italy's sun-dried tomatoes,
such reaching after European dash
looks rather quaint against
the current mania for Asian fusion.
You will always feel nostalgic
for your first exposure to revelatory
flavors. Though you later realize
that your "discovery" was part
of a culture-wide zeitgeist,
your memory will grant you
authorship rights and a pat on
the back for your "innate" good taste.
Taste, like experience, feels individual
but is more often than not shared.
Food is culture. Eating or cooking
will fill the soul with lasting nourishment.
Which whets the appetite and returns us to the opening: "It's best to start with desire."

Even the table of contents looks like a menu.

And so for day 2355

Connotations Constellations

If I were to create a thesaurus I would call it an "aurifodina".

A word-hoard gold mine that would contain this nugget "marcescent".

Leaves kept. Gilded.

Deterred feeding.


And so for day 2354

Writing and Intimations of Mortality

Robert Bringhurst
The Solid Form of Language: An Essay on Writing and Meaning
Gaspereau Press, 2004

The final section worth quoting in full with its carefully stacked repetitions of keywords:

A script is not a language — and the classification of scripts is as different from the classification of languages as the classification of clothes is from the classification of people. Writing, nevertheless, is many things, used by different people in many different ways. In itself, it is both less and more than language. More because it can develop into rich and varied forms of graphic art. Less because, much as we love it, it is not an inescapable part of the human experience or the perennial human condition. If language is lost, humanity is lost. If writing is lost, certain kinds of civilization and society are lost, but many other kinds remain — and there is no reason to think that those alternatives are inferior. Humans lived on the earth successfully — and so far as we know, quite happily — for a hundred thousand years without the benefit of writing. They have never lived, nor ever yet been happy, so far as we know, in the absence of language.
Script is extra. But such a vital vibrant extra.

And so for day 2353

Envisioning the Olfactory

The cover is by Prashant Miranda and appears as a close up partially covered by the title in one edition

but is more expansive in another edition available from the UK

Like two different states of the same perfume. Suitable for a book whose sections are divided into "Top notes, Middle notes and Dry down."

There is a deftness in the words and their positioning ... the image is allowed to waft before a piquant counter-tone is encountered. Take for instance the beginning and end of "Lessons from the First Anglo-Afghan War"
Yesterday, I could have given you
statistics crips with freshness
every detail, except for the camel
that carried the eau de cologne.
Ayesha Chatterjee
Bottles and Bones

And so for day 2352

Before the Painting: After the Event

It is a long poetic sequence dedicated to Monique Van Genderen. It is

       Feeling panicky about going on so long I show
this to Steve in draft form. "So this is your 9/11 poem?"
To be fair there is no description of the tone of the question. It is sandwiched with other material between a meditation on cravings and substitutes and some sharp remarks on the offensiveness of thinking about your looks.

From Section VII
when cravings come, and will not stand for
substitutes. I get them for seeing art, not virtually
but in person. Online your paintings lose their gloss
to become as flat as these words, which can't even
manage to dent the page or bump along the fingers.
I cannot recall the feeling I get when looking
at art I love. I must return to face it. To stand
before it. to feel its effect. Like the longing for a food
you cannot reproduce. The patty melt, for example,
From Section IV
       the late sixties and early seventies flipped
everything around. They banned the hats and gloves
once used to hide aged pates and liver spots,
exposing adults as the affronts they are to the illusion of
eternal youth. The Southern Californian sidewalks
swarm with the surgically altered, dressed like children
twenty-four seven in brightly colored clothes,
walking ads for corporate aestheticism
masquerading as personal taste. Here in New England
it is an offense to God to think about our looks.
Try it and winter—Protestantism's greatest ally—
will take you down a notch
What these snippets fail to convey is the sprawl which reminds one of the conversational-descriptive style of James Schuyler. Pages and pages later, you want to go back and begin the walk through all over again. Return to face it.

The Open Secret
Jennifer Moxley

And so for day 2351

Respect, Care, Cooking

Signe Johansen in the introduction to Solo: The Joy of Cooking for One cites Nigel Slater and provides good company for the cook.

Consider Solo: The Joy of Cooking for One as a sisterly companion, a book that celebrates those moments when you make the time to cook a simple dish for yourself. As Nigel Slater once wrote: 'Cooking for yourself is simply a matter of self-respect' — an act of kindness to yourself that nourishes both mind and body. So, rather than asking why you should bother cooking for yourself, try reframing your thinking: start with the assumption that looking after yourself is an essential act of kindness, and suddenly cooking a few simple dishes doesn't seem like such a chore.
Nigel's piece in The Guardian appears under the title "Table for one" with a subhead "Cooking for yourself isn't a chore - it's a licence to wallow in culinary desire".


And how a solo goes duo and even a trio — Nigel Slater references Delia Smith's One is Fun.

And so for day 2350

Vertical Virgule Veridical

On page 97 of Picture Theory by Nicole Brossard in the 1982 edition (Montréal, Éditions Nouvelle Optique, coll. « Fiction », 1982) there is an image at the corner of the page. It renders a 3D illusion as if behind the page there was a city, a grid of vertical structures. All at the invitation of the turn of a page...

Toutes étaient touchées ; mais les filles uniques qui s'étaient confondues à la verticalité

Pages later (p. 151) there is a reference to the fold in the paper
La cité calquée dans les plis du papier continu reconduisait l'émotion.
Translated by Barbara Godard
The city traced in the folds of continuous paper was bringing back emotion.
Jumping out of the book into other places/spaces in the oeuvre ... French Kiss: étreinte-exploration [English translation available in The Blue Books (Coach House Press, 2003)]
Red, I open my eyes: a state of mind. By day and by night a cirque ringed in red where centripetal and centrifugal forces make round Camomille and Lucy not just a motion of emotion but a vortex of desires: an ocean, 'a womb where death and life transmute one into the other.' And all this hidden in the cubicled spaces of a tall insalubrious box wedged between two similar blocks, lethal cubes. Tall building / kakémono, translation for verticality with drifting shadows and junks mooring by the shore, early-morning fantasy, a membrane, hovering fog woven in silk. Ideogramme to be deciphered, blacks and whites on over-toasted toast.
Kakemono - a Japanese unframed painting made on paper or silk and displayed as a wall hanging.

Brossard also uses a Japanese term in "Ma Continent" in Amantes which poses a challenge to the translator hoping to capture the play between French ma and Japanese ma *** Barbara Goddard translates in Lovhers this line as "detonation. (mâ)* it's a space/an hypothesis" with the note that "mâ" is Japanese for space and "ma" is a possessive pronoun of feminine gender in French.

Back to "kakemono"

Google translate draws on Oxford Dictionary to provide examples:
‘On awakening he found the figure on the kakemono seemed to be alive.’
‘A kakemono is intended to be displayed vertically as part of the interior decoration of a room.’
‘Rainbows and reptiles at the same time, the compositions rub against each other like kakemonos in a stormy wind.’
‘The same is true with his collection of kakemono, which are hung, along with other pictures, in some sort of rotation.’
‘Two kakemono hung in the library of the Ho-o-den, and one hung in Silsbee's dining room.’
Very suggestive -- was Brossard interested in a Japanese ghost story [The Kakemonon Ghost of Aki Province]? "On awakening he found the figure on the kakemono seemed to be alive."

Let us turn to some French vectors. The entry on Wikipédia for Kakemono references Tanizaki, Éloge de l'ombre
« Les reflets blanchâtres du papier, comme s'ils étaient impuissants à entamer les ténèbres épaisses du toko no ma, rebondissent en quelque sorte sur ces ténèbres, révélant un univers ambigu où l'ombre et la lumière se confondent. »
But the dates don't align the earliest version of Tanizaki's Praise of Shadows in French that I can find dates to 1978; French Kiss appeared in 1974.

Dead end? The passage in Brossard continues...
Une architecture urbaine reflétée sur la pupil-
le. Les cristaux s'échangent l'arc-en-ciel sur les gla-
ces longues luisantes des édifices. Points de jaillis-
sement. Des formes circulant autour de soi ainsi
que des arguments en faveur des ombres chinoises
plus décousues qu'un roman sans fil. Parasites trr,
ça ruse et et se poursuit comme une vaine liido
pigmentation sur la lu pupille.
One thinks of a typo for "libido" but one may be open to a play on the signifier.

French Kiss, p. 33 which in the English translation by Patricia Claxton p. 28 renders "Interference trrr, plays trick on trick like a ji-jiggling waterbed, a liido, crowded beach pigmentation through the pupils as re(a)d."

Claxton picks up the possible allusion to the Lido in Venice and goes further inserting a "waterbed" -- a "lit d'eau" -- into the text.

And she has done her homework...
Occasional typographical errors, have needed correcting in the translation process. Some of these have prompted recourse to the manuscript, which resides in Québec's Bibliothèque nationale along with the pages and pages of orderly notes from which the French text was constructed. One such correction arises from a contradiction between the book's first and second editions; both the manuscript and typescript vindicated the first, by Les Editions de l'homme [? 1974 Édition du jour], which give liido, as opposed libido in the Quinze edition [1980].
And so we build and so we turn.

And so we build a relay, a convergence... Brossard teaches us that texts reach down not like icebergs but like the glass and steel cubes of skyscrapers connected through their foundations into the grid of the city's infrastructure -- to the mass of social and cultural associations -- trusting that there is some sort of connection though indirect between Brossard and the tradition that Tanizaki conveys.

*** hypothesis - via late Latin from Greek hupothesis ‘foundation’, from hupo ‘under’ + thesis ‘placing’.

To which notes, I, paying attention to space, add "spacean" pertaining to voyager through foundations. Also "space/an".

And so for day 2349

Bone Perches

pulls at the gut and pokes at the brain

I came to the poetry of Kristin Chang via the appearance of "Letter From My Grandmother in Tsingtao" in Poetry Daily which republished the piece from Adroit Journal Issue 26.


One particular image from the poem struck me, seared itself into my consciousness: "I taught you to butcher / a bird & convert its bones / into perches". There is of course a very visceral dimension to evoking bones and butchering. But there is also a cerebralness in the notion of use value signalled by the perches, one is poised like the words on a line, not sure for how long. Rest my weary bones.

Details: that's Kristin not Kirstin

And so for day 2348

No Place for Dullness

Edward W. Said
Humanism and Democratic Criticism

p. 11 drawing on Vico

For my purposes here, the core of humanism is the secular notion that the historical world is made by men and women, and not by God, and that it can be understood rationally according to the principle formulated by Vico in New Science, that we can really know things according to the way they were made. His formula is known as the verum/factum equation, which is to say that as human beings in history we know what we make, or rather, to know is to know how a thing is made, to see it from the point of view of its human maker. Hence Vico's notion also of sapienza poetica, historical knowledge based on the human being's capacity to make knowledge, as opposed to absorbing it passively, reactively, and dully.
p. 111 quoting at length Auerbach
With the eclipse of the divine that is presaged in Dante's poem, a new order slowly begins to assert itself, and so the second half of Mimesis painstakingly traces the growth of historicism, a multiperspectival, dynamic, and holistic way of representing history and reality. Let me quote him at length on the subject:
Basically, the way in which we view human life and society is the same whether we are concerned with things of the past or things of the present. A change in our manner of viewing history will of necessity soon be transferred to our manner of viewing current conditions. When people realize that epochs and societies are not to be judged in terms of a pattern concept of what is desirable absolutely speaking but rather in every case in terms of their own premises; when people reckon among such premises not only natural factors like climate and soil but also the intellectual and historical factors; when, in other words, they come to develop a sense of historical dynamics, of the incomparability of historical phenomena and of their constant inner mobility; when they come to appreciate the vital unity of individual epochs, so that each epoch appears as a whole whose character is reflected in each of its manifestations; when, finally, they accept the conviction that the meaning of events cannot be grasped in abstract and general forms of cognition and that the material needed to understand it must not be sought exclusively in the upper strata of society and in major political events but also in art, economy, material and intellectual culture, in the depths of the workaday world and its men and women, because it is only there that one can grasp what is unique, what is animated by inner forces, and what, in both a more concrete and a more profound sense, is universally valid: then it is to be expected that those insights will also be transferred to the present and that, in consequence, the present too will be seen as incomparable and unique, as animated by inner forces and in a constant state of development; in other words, as a piece of history whose everyday depths and total inner structure lay claim to our interest both in their origins and in the direction taken by their development.
I turn to the cover and the ticket stub used as a book marker with the clever inversion of the usual "Admit One" — into the very democratic "Admit All".

Admit Vico. Admit Auerbach. Admit You.

And so for day 2347

The Return

Garden Lore of Ancient Athens (1963)
Excavations of the Athenian Agora Picture Books No. 8
American School of Classical Studies at Athens

I am captivated by the story of the origin of the Corinthian order of columns in the section devoted to "Poetic Weeds".
Also tall, but mauve white, is the spire of the acanthus (bear's foot) which rises from a calyx of large foliate leaves. In Greece the spinosus grows wild, in Italy the more common type is the mollis; both species were cultivated in Greece. A sculptor of fifth-century Athens, Kallimachos, once saw an acanthus growing over a basket that had been set on the grave of a Corinthian girl by her devoted nurse. Struck by the rich plasticity of the curling leaves, he created the column capital that is still called 'Corinthian'.
The tale's source is Vitruvius.

And so for day 2346

The Turn

Sunil Gupta in conversation with Saleem Kidwai in Gupta's Queer, (Munich: Prestel Verlag, 2011)

SK: What about gay politics in NY?

SG: It had become purely gay. It was 1976, post-Stonewall and before AIDS. Everything was about hedonism and that was great. It was like the whole liberationist sexual politics had come to life. Everybody appeared to be practicing it.

SK: As documented in the film we saw.

SG: yeah, Gay Sex in the 70s. All of which I observed but was personally less involve in. Maybe I was using the camera to satisfy my curiosity.

SK: Yes, it was so much in your face, which was a shock for me three months out of Delhi. You didn't have to go to a gay bar. Gay men everywhere — in the bank and in grocery stores. They had created this sub-culture which you caught in your pictures of Christopher Street — all those men with neat moustaches and in tight jeans.

SG: It was very white.

SK: Yes, but there was also a black gay presence.

SG: But that was very little of it. It was hardly there at that time.

SK: Well there were man black men in the bars.

SG: Yes, that's true. But I didn't really encounter any personally. None or hardly any. I guess, in retrospect, New York had more absolute numbers of people of colour and the end result was more segregation. I didn't know then but I realize now that they were doing their own thing in a different place. But we never saw them. I think Indians by and large, and I was no exception, got assimilated into what we saw as the mainstream white culture. by doing the photography courses and not the business school I became even more cut off from immigrant culture.

SK: Which was all white?

SG: Which was largely white.

SK: But that changed, which was a new beginning.

And so for day 2345


Comparing interests, interesting comparison

Drawn from Microsoft Office thesaurus

system of government
civil service

Variant spelling leads to adjacent semantic space.

And a quick peek at Roget's International Thesaurus Third Edition which has the one spelling:



And so for day 2344


From Wordsworth Tintern Abbey poem

These plots of cottage-ground, these orchard-tufts
Emily Dickinson #321
Then quiver down, with tufts of tune -
Both I take it looking down upon the scene; both caught by the sight of the tough stuff ...

And so for day 2343

Companionship: Between Wading and Plunging

Molly Peacock
The Best Canadian Poetry in English 2008

She points out a concern to reach and embrace:

What I see, from poets from diverse backgrounds, provinces, ages and personal categories, is a unity, a core, something identifiable as a gesture in Canadian poetry itself, not in the poets' backgrounds or personalities, but in the poems they produce, poems that presume a kind of companionship with their readers and assume their readers's willingness to undertake a tandem adventure.
And she goes on to offer an analogy to swimming
Think of this volume as a swimming pool. Poet and reader go in together. Finally they hit the place where their feet leave the bottom and then they swim, experiencing something they both know is over their heads. That is what poetry is trying to stay afloat in a element in which you might sink, and which is surely over your head.
In our imaginations, diversity is reintroduced: back stroke, breast stroke, butterfly.

And so for day 2342

At the Meeting of Three Faculties

Lorne Pierce An Editor's Creed
(Toronto: Ryerson Press, 1960)

In the fourth and last section "Respect for the decencies, the individual, the intangibles" appears an anecdote who's theme is considerably enlarged:

At the reception following Convocation at one of our universities, a small cluster gathered. They represented the Arts, Science and Divinity faculties. One of the Science professors asked me what one word stood out in all my reading, I replied that, if I had to choose one word, and not a phrase or a sentence, I would choose the word wonder. Does not wonder lie at the core of the arts and letters, of science and invention, and even of philosophy and religion? It is compounded of reverence and imagination, and every man must find the essence of it for himself. When found he will know it, for, confronted with it, he will instinctively uncover the head and bow the knee. It is the one great thing, beyond price and worthy of all honour.

It seems to me that this is where the publisher most truly joins hands with the university and with religion, for all three hope to set a lighted candle in the window of the world agains darkness and despair. A passionate interest in the world and insatiable curiosity about it — this the Greeks called wonder. Wonder is the threshold to fundamental feelings and ideas about ourselves, about the world around us, and about our destiny as individuals and as a race. It is the one sure way by which our sensibilities may be extended and enlarged.
Wonder remains a key operative word and concept.

The extension of reverence may take on less the trappings of veneration and yet remain a pause inflected by awe.

To inquire about the source of this awe, it is worthwhile to return to the beginning of the creed. To organize his talk, Pierce recalls setting down what Egerton Ryerson stood for
He hoped to build a covered bridge between East and West; between French and English; between Catholic and Protestant; between the learned and the unlearned.

He insisted upon respect for the decencies — all of them; respect for the value and dignity of the individual, and a man's right to be heard; respect for the intangibles — the things that money cannot buy.
Today we would for Protestant-Catholic think of Christian-Muslim, for French-English think of Indigenous-settler reconciliation, for East-West the sea-to-sea-to-sea invocation that reminds us of Arctic sovereignty threatened by climate change.

Still the word "decency" is fitting to cover the altered bridgings.

Respect: to look back at. With a regard of reverence. With a sense of wonder.

And so for day 2341

Seared & Cauterized

Jack Kornfield
A Path With Heart

Sometimes when the demons are most difficult, we can use a variety of temporary practices that function to dispel them and act as antidotes. For desire, one traditional antidote is to reflect on the brevity of life, on the fleeting nature of outer satisfactions, and on death. For anger, an antidote is the cultivation of thoughts of loving-kindness and an initial degree of forgiveness. For sleepiness, an antidote is to arouse energy through steady posture, visualization, inspiration, breath. For restlessness, an antidote is to bring concentration through inner techniques of calming and relaxation. And for doubt, an antidote is faith and inspiration gained through reading or discussion with someone wise. However, the most important practice is our naming and acknowledging these demons, expanding our capacity to be free in their midst. Applying antidotes is like using Band-Aids, while awareness opens and heals the wound itself.
The brand name leads me to contemplate alternatives: dressing, bandage, plaster. And the French translations as pansement and its Middle French homophone pensement. The Thinking Wound. Like a pharmakon. A name. A brand.

And so for day 2340

Poetry After Freud

A. Alvarez
The New Poetry

The introductory essay outlines a set of negative feedbacks operating in British poetry in reaction to the work of T.S. Eliot. This is what it concludes:

What poetry needs, in brief, is a new seriousness. I would define this seriousness simply as the poet's ability and willingness to face the full range of his experience with his full intelligence; not to take the easy exits of either the conventional response or choking incoherence. Believe in it or not, psychology has left its mark on poetry. First, the writer can no longer deny with any assurance the fears and desires he does not wish to face; he knows obscurely that they are there, however skilfully he manages to elude them. Second, having acknowledged their existence, he is no longer absolved from the need to use all his intelligence and skill to make poetic sense of them. Since Freud, the late Romantic dichotomy between emotion and intelligence has become totally meaningless.
I may venture to surmise that emotion and intelligence are connected by feedback loops.

And so for day 2339

Scientism of the Dismal Science

Notice how the mention of "worldly philosophers" (and I am assuming an allusion to Robert L. Heilbroner's book) triggers a contemplation of the consequences of resisting hegemonic discourse.

Fellow economists, as you can imagine, get very angry with me when I tell them that we face a choice: we can keep pretending we are scientists, like astrologers do, or admit that we are more like philosophers, who will never know the meaning of life for sure, no matter how wisely and rationally they argue. But were we to confess that we are at best worldly philosophers, it is unlikely we would continue to be so handsomely rewarded by the ruling class of a market society whose legitimacy we provide by pretending to be scientists.
From the epilogue to Talking to My Daughter About The Economy Or, How Capitalism Works — and How It Fails by Yanis Varoufakis.

And so for day 2338

Social Prescriptions and Protopia

The Royal Ontario Museum reports on social prescriptions in action

About Social Prescriptions

Social prescriptions are a means for healthcare, community, and social service professionals to refer people to non-clinical and non-medical services that, along with existing treatments, can be a therapeutic tool for improving health and well-being.

In Ontario, the Ministry of Health and Long-Term Care funded a one-year pilot project with The Alliance for Healthier Communities in September 2018. This program offers social prescriptions in 11 community health centres to address the growing problems of loneliness and social isolation, particularly among older adults. The ROM will be collaborating with the Alliance throughout the year to better understand the impact of museums on health and well-being. Research resulting from this collaboration will help inform the ROM Social Prescription Program as it evolves.
This encounter with the notion of "social prescriptions" in a message from the ROM made me wonder about "digital social prescriptions." What would they look like?

I'm slowly making my way through Kevin Kelly's The Inevitable: Understanding the 12 Technological Forces That Will Shape Our Future. This material is way better than his previous work. I remember being put off on his hive mind riffs. This seems more measured and asks the reader to be attentive to the bits of the future that are already here and he clears away any tension between utopia and dystopia by coining the term "protopia."
[N]either dystopia nor utopia is our destination. Rather, technology is take us to protopia. More accurately, we have already arrived in protopia.

Protopia is a state of becoming rather than a destination. It is a process. In the protopian mode, things are better today than they were yesterday, although only a little better. It is incremental improvement or mild progress. The "pro" in protopian stems from the notions of process and progress. The subtle progress is not dramatic, not exciting. It is easy to miss because a protopia generates almost as many new problems as new benefits.
Sounds as if he is inspired by Eastern philosophy. Perfect prescription to balance out unchecked teleological inclinations.

And so for day 2337

Frag Meant Meat


Not What the Siren Sang But What the Frag Ment (for Margaret Alison)

From the 7 ¼ floppy record borders included in the box bp, published in February 1967 by Coach House Press (Toronto, Ontario).

Appeared in

Konfessions of an Elizabethan Fan Dancer

Konfessions of an Elizabethan Fan Dancer is Nichol's very first book. Originally published in England by Bob Cobbing in 1967, and then in Canada in 1973 by Nelson Ball's Weed/Flower Press

New edition with introduction and notes by Nelson Ball, Coach House Press, 2004

A pdf copy of the 1969 second edition made from the copy housed at the University of Victoria Library is available through the bpNichol archive


Note how the Title Lines align.
The first stanza is built up out of anagrams.
leaf    autumn    sky
flea    umantu    kys
"umantu" looks like "ubuntu" https://en.wikipedia.org/wiki/Ubuntu_philosophy — a trick of a sky kiss

And so for day 2336


bill bissett
what fuckan theory: a study uv language

so yu dont need th sentence
yu dont need correct spelling
yu dont need correct grammar
yu dont need th margin
yu dont need regulation use of capital nd low case etc
yu dont need sense or skill
yu dont need this
what dew yu need
What the transcription doesn't show is the broken "d" throughout.

The deontological beckons to the ontological — the broken "d"
so yu -ont nee- th sentence
yu -ont nee- correct spelling
yu -ont nee- correct grammar
yu -ont nee- th margin
yu -ont nee- regulation use of capital n- low case etc
yu -ont nee- sense or skill
yu -ont nee- this
what -ew yu nee-
Moral: language is the basis of morality — this sense and skill beyon

And so for day 2335

Kindness - Organization - Resistance

He seems to have a bug-a-boo about online relationships...

Christopher Hedges
America, The Farewell Tour

We have a brilliant peroration close to the end of the CBC Ideas show he quotes from his book and this is what he says about the topic of resistance at 52.07

Those who fight against cultural malice [...] have discovered that life is measured by infinitesimal and often unacknowledged acts of solidarity and kindness. These acts of kindness like the nearly invisible strands of a spider's web spin outward to connect our atomized and alienated souls to others. This belief held although we may never see empirical proof is profoundly transformative. But know this, when these acts are carried out on behalf of the oppressed and the demonized, when compassion defines the core of our lives, when we understand that justice is a manifestation of love, we are marginalized and condemned by our sociopathic elites. Those who resist effectively in the years ahead may not be able to stem economic decline, the mounting political dysfunction, the collapse of empire and the ecological disasters but they will draw from acts of kindness and the kindness of others, the strength and courage to endure. It will be from these relationships, ones formed the way all genuine relationships form, face to face, rather than electronically, that radical organizations will rise from the ashes to resist.

Intrigued I went to the book (aided by an index where the term "kindness" appears — no entry for "electronic"). I noticed that the aside is starker in the book (my transcribing commas here are dashes there)
But they will draw from acts of kindness, and the kindness of others, the strength and courage to endure. It will be from these relationships — ones formed the way all genuine relationships form: face to face, rather than electronically — that radical organizations will rise from the ashes to resist.

p. 22
Political rhetoric has been replaced by the crude obscenities of reality television, the deformed and stunted communication on Twitter, professional wrestling, and the daytime shows in which couples discover if their husband or wife is having an affair. [...] These electronic hallucinations [...] have replaced reality.
p. 39
Pireaus was filled with taverns and brothels. [...] Pireaus was where elaborate spectacles and bawdy entertainment diverted the population from the sober vocation of citizenship. It was what the arena was to ancient Rome, what electronic screens and huge sporting events and concerts are to modernity.
p. 40
These distorted images of reality — our array of electronic images were beyond Plato's imagination — provoked irrational desires. It was a visionless life.
p. 83
Many people, especially young people, sit far too long in front of screens seeking friendship, romance, affirmation, hope, and emotional support. This futile attempt to ache a human connection electronically, a connection vital to our emotional and psychological well-being, especially in a society that condemns so many to the margins, exacerbates the alienation, loneliness, and despair that make opioids attractive.
p. 217
This is more about mood modulation. Affect modulation. Using technologies to dampen anxieties and exit the world. We don't just see it in Las Vegas. We see it in the subways every morning. The rise of all of these screen-based technologies and the little games that we've all become so absorbed in. What gamblers articulate in a desire to really lose a sense of self. They lose time, space, money value, and a sense of being in the world.
p. 232
The disparity between the glittering world that people watch and the bleak world they inhabit creates a collective schizophrenia. It manifests itself in diseases of despair — suicides, addictions, mass shootings, hate crimes, and depression. We are to blame for our own misfortune.

Hope means rejecting the thirst for public adulation. It means turning away from the maniacal self-creation of a persona that defines social media. It means searching for something else — a life of meaning, purpose, and, ultimately, dignity.
pp. 250-251
"We have to listen to people unlike ourselves," [Michael] Gecan said, observing that this will be achieved not through the Internet but through face-to-face relationships. "And once we've built a relationship we can agitate them and be willing to be agitated by them."


The corporate state, he said, has learned how to manipulate protests and render them impotent. He dismissed as meaningless political theater the boutique activism in which demonstrators coordinate and even choreograph protests with the police. Activists spend a few hours, maybe a night, in jail are "credentialized" as dissidents. Pecan called these "fake arrests." "Everyone looks like they've had an action," he said. "They haven't." [...] "There things have to be happening in great organizations: people have to be relation, people have to be learning, people have to be acting," he said.
pp. 308-30
There is no shortage of artists, intellectuals, and writers, from Martin Buber and George Orwell to James Baldwin, who warned us that this dystopian era was fast approaching. But in our Disneyfied world of intoxicating endless images, cult of the self and willful illiteracy, we did not listen. We will pay for our negligence.
Cult of the self / care of the self

When I first heard the kindness passage on CBC, it seemed to me that Hedges's demonizing of electronic communication was a tick that betrayed a return of the repressed. Having read the whole book I would suggest that it is a form of nostalgia. In his railing against magical thinking, Hedges risks missing the thinking that does occur online.

That said, the socialist programme he summarizes (pp. 304-305), is set in the context of constant struggle:
There will be a never-ending battle of ideas, those spun out by the elites to justify their privilege and power and the radical theorists who will expose the ideas as tools of repression and hold up an alternative.

We cannot pick and choose whom among the oppressed it is convenient to support. We must stand with all the oppressed or none of the oppressed. This is a global fight for life against corporate tyranny. We will win only when we see the struggle of working people in Greece, Spain, and Egypt as our own struggle. This will mean a huge reordering of our world, one that turns away from the primacy of profit to full employment and unionized workplaces, inexpensive and modernized mass transit, especially in impoverished communities, universal single-payer health care and banning for-profit health care corporations. The minimum wage must be at least $15 an hour and a weekly income of $500 provided to the unemployed, the disabled, stay-at-home parents, the elderly, and those unable to work. Anti-union laws, like the Taft-Hartley Act, and trade agreements such as NAFTA, will be abolished. All Americans will be granted a pension in old age. A parent will receive two years of paid maternity leave, as well as shorter work weeks with no loss inlay and benefits. The Patriot Act and Section 1021 of the National Defence Authorization Act, which permits the military to be used to crush domestic unrest, as well as government spying on citizens, will end. Mass incarceration will be dismantled. Global warming will become a national and global emergency. We will divert our energy and resources to saving the planet through public investment in renewable energy and end our reliance on fossil fuels. Public utilities, including railroads, energy companies, [internet providers?], the arms industry, and banks, will be nationalized. Government funding for the arts, education, and public broadcasting will create places where creativity, self-expression, and voice of dissent can be heard and seen. We will terminate our nuclear weapons programs and build a nuclear-free world. We will demilitarize our police, meaning that police will no longe carry weapons when they patrol our streets but instead, as in Great Britain, rely on specialized armed units that have to be authorized case by case to use lethal force. There will be training and rehabilitation programs for the poor and those in our prisons, along with the abolition of the death penalty. We will grant full citizenship to undocumented workers. There will be a moratorium on foreclosures and bank repossessions. Education will be free from day care to university. All student debt will be forgiven. Mental health care, especially for those now caged in our prisons, will be available. Our empire will be dismantled. Our soldiers and marines will come home.

The week and the vulnerable, especially children, will no longer be sacrificed on the altars of profit and the needs of empire. The measure of a successful society will not be the GDP or the highs of the stock market but human rights. Children will never go to be hungry. They will live in safety and security, be nurtured and educated, and grow up to fulfill their potential.
Opportunities for a genuine care of the self: both face-to-face and through computer-mediated communication. Not either-or.

And so for day 2334