At a certain moment, if you don’t decide to abandon a drawing in order to begin another, the looking involved in what you are measuring and summoning up changes.

At first you question the model (the seven irises) in order to discover lines, shapes, tones that you can trace on the paper. The drawing accumulates the answers. Also, of course, it accumulates corrections, after further questioning of the first answers. Drawing is correcting. I’m beginning now to use the Chinese papers; they turn the ink-lines into veins.

At a certain moment – if you’re lucky – the accumulation becomes an image – that’s to say it stops being a heap of signs and becomes a presence. Uncouth, but a presence. This is when your looking changes. You start questioning the presence as much as the model.

— John Berger, Bento’s Sketchbook

I’ve done most of my reading in English. I find English a far finer language than Spanish. For many reasons. Firstly, English is both a Germanic and a Latin language. Those two registers. For example, any idea you take, you have two words. Those words won’t mean exactly the same. For example, if I say ‘regal’, it’s not the exactly the same thing as saying ‘kingly. And if I say ‘fraternal’ it’s not the same thing as saying ‘brotherly’. Or ‘dark’ and ‘obscure’. You’ll recall the difference between the ‘Holy Spirit’ and the ‘Holy Ghost’, since ‘ghost’ is a fine, dark Saxon word, whereas ‘spirit’ is a light, Latin word. And there’s another reason, which is that of all languages, English is the most physical of all languages. You can do almost anything with prepositions.

— Borges, interview

Most filmmakers want to defeat time, to saddle it like an old horse, and it seems to these directors that on this old horse, within this huge, unlimited space, they can exist as they want, they can tame this horse using modern tricks of editing, but it’s an illusion.

— Alexander Sokurov

But now, like a whispering in dark streets,
rumors of God run through your dark blood.

— Rilke (tr. Barrows and Macy)

Sketch of a Sketch of the World

A man had to realize his life’s work, a work built like a house. He began by erecting a scaffold.

To build the scaffold, he needed new preparations and other scaffolds.

Many of these preparations and those other scaffolds required their own long retrogressions, all kinds of constructions and demanding efforts.

Efforts that consumed his days, while time flew by.

Time flew by; already one could see the approach of death, and the work still distant.

Yes, now, the man was farther from the scaffolding of the work than he had been from the work itself at the beginning… And yet he had spent his entire life in ceaseless efforts.

Death was near, time was of the essence.

Then the man found, without knowing it, or merely suspecting it, a word; perhaps the word even uttered itself; and from the paths that the man had taken, on its own, the work was accomplished.

Was it a house?

Some, later, would call it a house.

And that was the only house there has ever been.

— Ludwig Hohl (tr. M. Tweed)

The Book of a Monastic Life

The hour is striking so close above me,
so clear and sharp,
that all my senses ring with it.
I feel it now: there’s a power in me
to grasp and give shape to my world.

I know that nothing has ever been real
without my beholding it.
All becoming has needed me.
My looking ripens things
and they come toward me, to meet and be met.

*

I live my life in widening circles
that reach out across the world.
I may not complete this last one
but I give myself to it.

I circle around God, around the primordial tower.
I’ve been circling for thousands of years
and I still don’t know: am I a falcon,
a storm, or a great song?

I have many brothers in the South
who move, handsome in their vestments,
through cloister gardens.
The Madonnas they make are so human,
and I dream often of their Titians,
where God becomes an ardent flame.

But when I lean over the chasm of myself –
it seems
my God is dark
and like a web: a hundred roots
silently drinking.

This is the ferment I grow out of.

More I don’t know, because my branches
rest in deep silence, stirred only by the wind.

*

We must not portray you in king’s robes,
you drifting mist that brought forth the morning.

Once again from our old paintboxes
we take the same gold for scepter and crown
that has disguised you through the ages.

Piously we produce our images of you
till they stand around you like a thousand walls.
And when our hearts would simply open,
our fervent hands hide you.

*

I love the dark hours of my being.
My mind deepens into them.
There I can find, as in old letters,
the days of my life, already lived,
and held like a legend, and understood.

Then the knowing comes: I can open
to another life that’s wide and timeless.

So I am sometimes like a tree
rustling over a gravesite
and making real the dream
of the one its living roots
embrace:

a dream once lost
among sorrows and songs.

*

You, god, who live next door –

If at times, through the long night, I trouble you
with my urgent knocking –
this is why: I hear you breathe so seldom.
I know you’re all alone in that room.
If you should be thirsty, there’s no one
to get you a glass of water.
I wait listening, always. Just give me a sign!
I’m right here.

As it happens, the wall between us
is very thin. Why couldn’t a cry
from one of us
break it down?  It would crumble
easily,
it would barely make a sound.

*

If only for once it were still.
If the not quite right and the why this
could be muted, and the neighbor’s laughter,
and the static my senses make –
if all of it didn’t keep me from coming awake –

Then in one vast thousandfold thought
I could think you up to where thinking ends.

I could possess you,
even for the brevity of a smile,
to offer you
to all that lives,
in gladness.

— Rilke, from The Book of Hours (tr. Barrows and Macy)

I’m not living my own life… I feel refuted, abandoned, and above all threatened by a world ready to dissolve entire in such senseless disorder.

— Rilke, letter, 1917

Always more

The presence of things to us is never exhausted by meaning: a friend, the sea, the tree, the flower — all that present themselves to us — are always more than how we present them. Cezanne painted Mont Sainte-Victoire more than sixty times by several accounts, but never once did he think he had exhausted its showing, its manifestation.

— Richard Capobianco, Heidegger’s Way of Being

The still point

At the still point of the turning world, neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.

— T.S. Eliot

I am too alone in the world, but not alone enough
to make every hour holy.

— Rilke