better.by.far

Pa leans above the bed in the twilight, his humped silhouette partaking of that owl-like quality of awry-feathered, disgruntled outrage within which lurks a wisdom too profound or too inert for even thought.

Hemingway's influences...

2 Houses and rooms are full of perfumes, the shelves are crowded with perfumes, I breathe the fragrance myself and know it and like it, The distillation would intoxicate me also, but I shall not let it. The atmosphere is not a perfume, it has no taste of the distillation, it is odorless, It is for my mouth forever, I am in love with it, I will go to the bank by the wood and become undisguised and naked, I am mad for it to be in contact with me. The smoke of my own breath, Echoes, ripples, buzz'd whispers, love-root, silk-thread, crotch and vine, My respiration and inspiration, the beating of my heart, the passing of blood and air through my lungs, The sniff of green leaves and dry leaves, and of the shore and dark-color'd sea-rocks, and of hay in the barn, The sound of the belch'd words of my voice loos'd to the eddies of the wind, A few light kisses, a few embraces, a reaching around of arms, The play of shine and shade on the trees as the supple boughs wag, The delight alone or in the rush of the streets, or along the fields and hill-sides, The feeling of health, the full-noon trill, the song of me rising from bed and meeting the sun. Have you reckon'd a thousand acres much? have you reckon'd the earth much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, (there are millions of suns left,) You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.

I am thy father's spirit, Doom'd for a certain term to walk the night, And for the day confined to fast in fires, Till the foul crimes done in my days of nature Are burnt and purged away. But that I am forbid To tell the secrets of my prison-house, I could a tale unfold whose lightest word Would harrow up thy soul, freeze thy young blood, Make thy two eyes, like stars, start from their spheres, Thy knotted and combined locks to part And each particular hair to stand on end, Like quills upon the fretful porpentine: But this eternal blazon must not be To ears of flesh and blood. List, list, O, list! If thou didst ever thy dear father love--

Then there was the smell of heather crushed and the roughness of the bent stalks under her head and the sun bright on her closed eyes and all his life he would remember the curve of her throat with her head pushed back into the heather roots and her lips that moved smally and by themselves and the fluttering of the lashes on the eyes tight closed against the sun and against everything, and for her everything was red, orange, gold-red from the sun on the closed eyes, and it all was that color, all of it, the filling, the possessing, the having, all of that color, all in a blindness of that color. For him it was a dark passage which led to nowhere, then to nowhere, then again to nowhere, once again to nowhere, always and forever to nowhere, heavy on the elbows in the earth to nowhere, dark, never any end to nowhere, hung on all time always to unknowing nowhere, this time and again for always to nowhere, now not to be borne once again always and to nowhere, now beyond all bearing up, up, up and into nowhere, suddenly, scaldingly, holdingly all nowhere gone and time absolutely still and they were both there, time having stopped and he felt the earth move out and away from under them.

Short is devotion

Art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects 'unfamiliar', to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important.