First, a threshold. Questions about the roots of things tend to call common sense from the jury box to the witness stand. Being may be what knowing apprehends, but answer: can you point to an essence outside knowing? Yes or no.
No further questions, Your Honor.
Recess. Outside, cellophane angels drop into boxes. Here are the signs. We’ll attach them like armor, with the same duct tape used to silence those objecting to being objects of study.
Bells again, wait. We were at a threshold, trying to begin––what, though? And were we calling it? I’ve lost––the engine’s speed has thrown me back again, and as for the thread I meant to follow, before the angels and the tape, where now?
Considering various mediums, and the interfaces between seen and unseen.
Every medium has its own personality. Paper is delicate so everything gets a dreamy fluid quality, light dissolving over the landscape. On paper you can see the smudge of erasure, the changes, the trial and error. Consider the difference between this and something like film, or film-less photos, those bodies of pixellated light in captivity.
With photographs everything looks like something that a crazed nostalgic is trying to freeze outside of time. Oil on canvas: longings laid bare, to hold what will not be held. The time spent anyway, squinting.
A bedside book in childhood: Lives of the Saints, dog-eared at Joan of Arc, because of the way she didn’t flinch, that insistently, cross-dressing soul. I think her gift was less that she heard a voice all day long telling her what to do, but that she listened.
Now it’s art books, too heavy to lift with one hand, propped open across a chest and half-waking dreams of Blake’s Jacob’s Ladder, all the near-transparent souls climbing doggedly into blinding light, none looking as though they have any idea what it may be, but there it is waiting, anyway, pouring over and through their bodies and their steps in a luminous column and you get the sense that they’re climbing forever like a white-knuckled novena, World Without End.
Joan was burned at the stake for three reasons: one, she wore pants; two, she wore them into battle; three, what she said about the voice she heard, even after it was clear what would happen if she didn’t retract. There was a line between what you could see and may not see. She crossed.
Before he painted Jacob’s Ladder, William Blake was getting regularly arrested for bar fights, and after he painted his opus, he died, as the legend goes, amid visions of angels. What did he see in them, I wonder, and how was it different from the eternities he saw in hours, the heavens in his wildflowers, or the worlds he found in grains of sand?
A want to hold it all in an instant, the forever dream against countless suggestions that seeing something is almost always very different than seeing everything, and the end of the world something different than the end of every known part.