Vanishing point

When I took art history in college, I was struck by the notion that there could be such a thing as laws of perspective. It seemed bogus to me, but I couldn’t quite figure out why. The rather sudden dominance of the perspective of a single viewer is one of those things historians use to divide Medieval from Renaissance – a rather bogus exercise in itself, shaped as it is by our desire to see history from the perspective of progress, all lines converging on some indefinable point in the near future. These days, the ideology of progress involves a constant invoking of the vague term development, which etymologically implies a stripping down, a reduction. History follows two tracks: one for us, the developed nations, and another for those slow pokes who need to be more like us – the developing world. In a feat of intellectual prestidigitation we have substituted ourselves for the vanishing point. Poof!

But what I was going to say before I got sidetracked is that the “discovery” of the Laws of Perspective is like the “discovery” of the wheel. Each unique application represents not a context-free achievement of some unitary position in time and space, but simply an invention. Have we yet come anywhere near exhausting the uses for wheels? What sorts of wheels might remain to be discovered, obscured by our blind arrogance as “discoverers”? We Westerners are given to marvel that the civilizations of the New World, so otherwise “advanced” – i.e. like us – were without the wheel. But that’s absurd. Wheels are everywhere! It would be more accurate to say that the profound reverence of New World civilizations for cyclic patterns in time and nature made the exploitation of wheels for quotidian purposes virtually unthinkable.

In a similar manner, East Asian cultures have always evinced a deep sensitivity to the problems and rewards of perspective – far deeper than in the West, where the truth was almost always sought through a metaphysics of oneness: a first principle, an efficient cause, a logos. For Chinese thinkers, whether of a Daoist, Confucian or Buddhist bent, truth was highly contingent and relational, and the sage was someone who mastered the art of shifting perspectives. A strong distinction between subject and object never emerged. As Roger T. Ames and David L. Hall put it in the introduction to their philosophical translation of the Daodejing,

The field of experience is always construed from one perspective or another. There is no view from nowhere, no external perspective, no decontextualized vantage point. We are all in the soup. The intrinsic, constitutive relations that obtain among all things make them reflexive and mutually implicating, residing together within the flux and the flow.

This description of the metaphysics of philosophical Daoism also captures quite accurately the Daoist-influenced mindset of the traditional East Asian landscape painter. The artist’s goal was not so much to develop an individual creative vision as to merge with, or become enveloped by, the larger creative flow. Thus the (to us) strange perspectives in a traditional Chinese landscape painting: the buildings that get larger as they get farther way from the viewer, a horizon that curves up rather than down. Often, the near distance is obscured by mist or clouds, as if to emphasize the challenge that heaven-and-earth everywhere present to the self-centered, discriminating vision. A landscape is something the viewer must walk into to fully appreciate. Therefore, there must be multiple vanishing points as one’s perspective continually changes position.

But in modern times we have, in theory, this thing called a vanishing point. Does it exist in fact? Who knows! Given the limits of ordinary vision and atmospheric haze, one reaches the point of diminishing returns much sooner. What really interests me, though, is how different kinds of seeing can shape what we see. For example, I wear the same boots, the same jeans, the same quilted shirt day after day without paying much heed to the need for maintenance, much less variety. Each year I think, “This pair of boots” – or whatever – “will last forever!” But of course a year later I’m saying the same thing about a new pair. I could definitely benefit from more regularly taking the long view about such things, instead of living always day to day. It’s almost paradoxical, isn’t it? By ignoring vanishing points, I may actually hasten the inevitable disintegration of things within my sphere of experience.

Once I met an ex-Marine Special Forces guy on Greyhound who told me that he wore the same pair of boots for twelve years, through mountains and jungles and several changes of the soles. His secret was simple: he oiled them down every night before going to sleep, he said. But over the course of a year, wouldn’t one spend enough on leather treatment products to buy a new pair of boots? To say nothing of the labor. But that wasn’t the point, I gathered. He disassembled and oiled his gun every night, too: an unchanging verity in an otherwise chaotic world. “I have seen things you wouldn’t believe. Nobody does. It doesn’t fit with what people think they know about this country,” he said when the discussion moved to U.S. policies in Columbia.

And speaking of vanishing points, I’ve looked through telescopic sights and pulled the trigger myself on occasion. It’s always such a surprise when one makes a clean miss and the animal doesn’t even react to the sound. Your ears are ringing, your arms are shaking with adrenaline and the damn thing is still feeding placidly a hundred feet away. It’s more fun to shoot beer cans – after first emptying them, of course. They lie where they fall – no unsightly flailing about – and the holes are nice and clean. You think you’ll feel this good forever. I mean, at some level you realize it’s only a temporary high, but it seems as if it ought to be possible to prolong it almost indefinitely, given the right drug or yoga-induced trigger. You strenuously ignore the sad and simple fact that heights and depths are solely a matter of perspective.

What I’m saying here, in a nutshell, is that there are two ways of looking at things: one that makes them appear smaller than oneself, and another that makes them appear larger and richer. One reduces, the other builds up or makes whole. Why should we have to see things as larger than they perhaps really are in order to see them accurately? Simply to correct for the limitations of our own points-of-view. As my father explained once, meeting someone half-way to resolve some difference tends to fail, because there’s almost inevitably some gap between what you and the other person each perceive as being half-way. For a true meeting in the middle, each party must be a little generous in their estimate. The heart needs to practice hospitality, to open up to multiple perspectives and possibilities.

*

Fairly superfluous afterthought. I don’t stand with those who want to see all beings merge into some kind of amorphous whole or godhead, and thus to arrive at some very limited idea of peace. To me, that’s another form of reductionism, as violent in its violation of the integrity of individual beings as any other. Just as without gravity a bullet could not reach its target, without vanishing points, without some inclination – however gradual – toward nullity, there could be no space for anything. If the analogy between seeing and shooting seems overly concrete, perhaps that’s because shooting has its origin in a very literalized form of seeing. (Remembering what the Bible says about the dangers of being overly literal: “The letter killeth, the spirit giveth life.”) Violence and sorcery err in their attempt to foreshorten distances, to claim universal applicability for one vision, to foreclose on what must appear to the eye of an artist or a lover as the most radical Opening.

* * *

For those who haven’t noticed, my dad has been updating his Peaceful Societies website with two new articles or reviews every Thursday morning. Recent additions include Piaroa Homegardens Provide Focus for Socializing; Batek Persuaded to Abandon Nomadic Lifestyle; Inuit Hunters Share Meat, But Not as Exchanges; and Reformers Win Tahitian Elections But Deadlock Remains. Today began Part I of a new series of articles, Violence Threatens the Peaceful Societies of North India, focusing on the armed Naxalite revolt of rural India, which has been virtually unreported in the West.

Cibola 49

This entry is part 48 of 119 in the series Cibola

 

Reader (7)

While Westerners might see the battle between night and day as a battle for
dominance, Native Americans see the battle itself as a striving for homeostasis.
KATHRYN GABRIEL
Gambler Way

For indeed, the enemy,
Even though he was without value . . .
Yet he was a water being;
He was a seed being.
* * * *
Though in his life
he was a person given to falsehood,
He has become one to foretell
How the world will be,
How the days will be.
ZUNI INFORMANT OF RUTH L. BUNZEL
“Prayers of the Scalp Dance,” Word Priest’s speech

Artemis

From Robert Pogue Harrison, Forests: The Shadow of Civilization (University of Chicago Press, 1992):

“Her name in Greek is Artemis. She is one of the oldest, most enigmatic of Greek deities. Her worship goes back to the Pre-Hellenic period, but even in historical times she was widely worshipped as a fertility goddess in Asia Minor, her cult being based at Ephesus. From that city has come down to us the famous marble statue that depicts her standing upright with arms extending outward from the elbows. A congeries of wild animals stare out from her gown and headdress, while her front side is weighed down by multiple bulbs that suggest a proliferation of female breasts.

“For a long time no one thought to doubt that these bulbs were breasts symbolizing the goddess’s superabundant fertility, but then someone looked closer and remarked on their strange lack of plastic realism. In short, a group of Austrian archaeologists recently confirmed that these protrusions do not represent breasts after all but rather the testicles of bulls. The fact is corroborated by evidence uncovered at Ephesus which indicates that on her festival days Artemis’s priests would castrate several bulls, string the scrotums together, and then place the gruesome garlands around a wooden image of the goddess, which her votives would then follow in an ecstatic procession from her sacred altar to the center of the city….

“Her virginal aspect deserves greater emphasis, for in ancient times forests were by no means always virgin or beyond the bounds of human domestication….Silviculture is an ancient practice, but our goddess had nothing to do with it. She belonged to those dark and inaccessible regions where wild animals enjoyed sanctuary from all human disturbance except that of the most intrepid hunters.

“Like her domain, the goddess too was remote and inaccessible. She refused to be seen by man or woman. Even her most ardent priestesses and votives did not set eyes on her. The story of Hippolytus, son of Theseus, confirms this. So total was the youth’s devotion to Artemis that he went so far as to spurn the power of Aphrodite, who in revenge devised a cruel fate for him at the hands of his stepmother Phaedra. In Euripedes’ Hippolytus the young hunter brings Artemis flowers from a wild meadow where no human except himself could enter, and where he was granted the extraordinary privilege of hearing the goddess’s voice. But even he could not set eyes on her. ‘True I may only hear,’ says Hippolytus, ‘I may not see God face to face.'”

Cibola 48

This entry is part 47 of 119 in the series Cibola

 

Marcos 2 (conclusion)

A raven circling the next valley
glides back, & spiraling low, folds
one wing & rolls,
turning on its axis
like a slow black windmill. Then
with a few powerful strokes
rejoining the current, floats back
up over the ridge, the stony ravines
echoing with its hoarse cries.

A hurried conference takes place
among the few dozen escorts native
to this portion of the route.
Marcos hears laughter & the hum
of bowstrings being stretched.
They leave at a trot, the raven croaking
from somewhere far upslope.
A herd of deer in the next valley
says one of the Mexicans–or so
they think
. But Marcos remembers Elijah,

& knowing from his own childhood
enough about the strange ways of ravens–
far more, in fact, than these
jaded aristocrats–has perfect faith in Providence.
Oh taste & see,
he recites from the Psalter,
his nostrils already flaring in anticipation,
tongue gingerly testing wind-cracked lips.
__________

Marcos remembers Elijah: The prophet Elijah was famously fed by ravens in the wilderness. See 1 Kings 17:3-6

O taste and see: Psalm 34:8, “O taste and see that the Lord is good.” Cf. Ps. 19:10 and 119:103; Deut. 32:13; Songs 4:11; Matt. 3:4; etc. The reference in each case is not to an act of theophagy, but to the internalization of the divine Torah/Word. Revelation 10:10 gives this an especially literal – and unusually ambiguous – spin: “And I took the little book out of the angel’s hand, and ate it up; and it was in my mouth sweet as honey: and as soon as I had eaten it, my belly was bitter.”

We can presume that Marcos has read Cabeza de Vaca’s account, and thus is aware, at some level, of the extreme reverence that Indians in this region feel toward deer – the sacrificial animal par excellance. Later Jesuit missionaries in northwest New Spain seem to have been fairly tolerant toward what we might call the cult of the sacred venison heart, taking it to be a divinely inspired intuition of the role of Christ. The deer dancer occupies a central position in the ceremonial life of the otherwise Catholic Yaqui; for the un-Christianized Huichol, Deer is part of a sacred trinity that also includes Maize and Peyote.

Whatever you do, don’t eat the rosebush

[Image of hungry juniper eaten by ImageShack]

Is there a via negativa for writers? Mark Twain: “Writing is easy. All you have to do is cross out the wrong words.” Jamaica Kincaid: “What I don’t write is as important as what I write.” And best of all, Anaís Nin: “The role of a writer is not to say what we can all say, but what we are unable to say.”

*

A possibly mis-remembered and not altogether memorable incident from a few years back.

“X’s poems certainly are . . . well-crafted,” I said, trying to think of something nice to say about a local academic poet who, I secretly felt, had very little to say.

“Well, we are all in pursuit of excellence!” said Y, semi-facetiously.

I wasn’t sure if she meant all local poets, or just those associated with the MFA program. “Not me,” I lied. “I just want to get laid!”

The woman at the next table – another writing instructor – choked on her coffee.

*

Sometimes when I’m feeling blue, I like to try saying “dude” in the voices of Great American Poets of the 20th Century, as preserved by the Library of Congress Recording Laboratory. Just imagining Edna St. Vincent Millay saying “dude” brightens my mood considerably.

*

Writers are always giving each other all kinds of swell advice. To wit: Get it down. Good advice for someone with a large pill to swallow. Of course, nothing says you can’t take it as a suppository.

Get it down. Then beat it senseless.

Show, don’t tell. Look but don’t touch. Put your hands up where I can see them.

Keep a journal. Write every day. Do you realize how much fuel is needed for the complete incineration of a corpse?

Write as if your life depended on it, not as if you’re a pathetic loser who can’t figure out a real way to make a living.

There is no one, right way to write a poem. But there are many, many wrong ways. So let’s talk about them instead.

No ideas but in things. This brick, for example, gives me several ideas, most of them bad.

No ideas but in things. No discovery but in dissection.

Write for yourself. Or, failing that, write for your colleagues across the hall. You know, the ones who are all into critical theory. Don’t you want them to dig you?

Be sure to subscribe to at least some of the magazines you submit to, so they can continue to serve vital communities of ambitious writers, their spouses, and a couple hundred academic libraries.

Public readings of your own poetry are a great way to reach a wider audience, most members of which probably wish you’d shut the fuck up so the bartender can turn the game back on.

Try to cultivate awareness. Pay attention to everything around you. Then discover just how difficult that is for someone with a writer’s ego. Cultivate irony instead.

Learn goddamn grammar, people.

Write what you know: nothing. You know nothing, puny mortal! Turn yourself into a word processor for the gods.

O.K., so write what you don’t know. “If you wrote from experience, you’d get maybe one book, maybe three poems. Writers write from empathy” (Nikki Giovanni). And a few writers even do research!

Make it new. Or at least scrape the mold off before you serve it.

Make it new. Old is bad!

Make it new. Blog.

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My friend the Sylph wonders, “At what point does water in a bottle become bottled water?”

Cibola 47

This entry is part 46 of 119 in the series Cibola

 

Marcos 2 (cont’d)

Abruptly he feels a motion in his chest,
as if something had just been thrown
open: some secret opening, the gate
to a neglected millrace. Wheels
creaking to life in floury darkness.

Eyes closed, the friar becomes
intensely aware of the ground
beneath his knees: How miraculous
that it should BE,
should last,
should bear us up!
The untold riches that lie
right under our feet–where they belong.
And the Kingdom:
at hand, almost . . .

Thank you, Lord. Thank you.
I believe.
And I choose to alter nothing!
Make me the first or the last: in You
they are one & the same.
Whether this road leads to Jerusalem
or to Nineveh . . .

And joyfully Marcos realizes
all ways are clear: his Luck lies
unveiled–a Salome,
an Abishag–within this new
mansion of the mind.
But I will have no one before
You.

His guides seeing
his lips move, fall silent,
respecting as always the power
of unpronounced words. How
manifold are thy works
he whispers,
gazing through the solemn faces
& out over the thorn scrub,
the ocean of heat.

__________

Salome: According to the Gospel of Mark, one of the three women (with Mary Magdalene and Mary the mother of Jesus) who watched the crucifixion and anointed Jesus’ body for burial.

Abishag: The virgin given to King David in his old age, to sleep chastely beside him and keep him warm. See 1 Kings 1.

How manifold are thy works: Psalm 104:24 – “O Lord, how manifold are thy works! In wisdom hast thou made them all: the earth is full of thy riches.”