83
" Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.”The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back.A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth’s surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life. "
84
" Peter Brown, that great historian of early Christianity, has given the most cogent explanation for the arising of the cult of the saints in the late Roman world. He explains that the emphasis of early Christian preaching on judgment, on the human need for redemption from sin, brought to the minds of common people — among whom Christianity was early successful — their social and political condition. Having strictly limited powers to remedy any injustice they might suffer, or to clear themselves of any charges of wrongdoing, they turned, when they could, to their social betters in hope of aid. If a local patrician could befriend them — could be, at least for a time, their patron — then they had a chance, at least, of receiving justice or at least escaping punishment. “It is this hope of amnesty,” Brown writes, “that pushed the saint to the foreground as patronus. For patronage and friendship derived their appeal from a proven ability to render malleable seemingly inexorable processes, and to bridge with the warm breath of personal acquaintance the great distances of the late-Roman social world. In a world so sternly organized around sin and justice, patrocimium [patronage] and amicitia [friendship] provided a much-needed language of amnesty.”
As this cult became more and more deeply entrenched in the Christian life, it made sense for there to be, not just feast days for individual saints, but a day on which everyone’s indebtedness to the whole company of saints — gathered around the throne of God, pleading on our behalf — could be properly acknowledged. After all, we do not know who all the saints are: no doubt men and women of great holiness escaped the notice of their peers, but are known to God. They deserve our thanks, even if we cannot thank them by name. So the logic went: and a general celebration of the saints seems to have begun as early as the fourth century, though it would only be four hundred years later that Pope Gregory III would designate the first day of November as the Feast of All Saints. "
― Alan Jacobs , Original Sin: A Cultural History
85
" He remembered an old tale which his father was fond of telling him—the story of Eos Amherawdur (the Emperor Nightingale). Very long ago, the story began, the greatest and the finest court in all the realms of faery was the court of the Emperor Eos, who was above all the kings of the Tylwydd Têg, as the Emperor of Rome is head over all the kings of the earth. So that even Gwyn ap Nudd, whom they now call lord over all the fair folk of the Isle of Britain, was but the man of Eos, and no splendour such as his was ever seen in all the regions of enchantment and faery. Eos had his court in a vast forest, called Wentwood, in the deepest depths of the green-wood between Caerwent and Caermaen, which is also called the City of the Legions; though some men say that we should rather name it the city of the Waterfloods. Here, then, was the Palace of Eos, built of the finest stones after the Roman manner, and within it were the most glorious chambers that eye has ever seen, and there was no end to the number of them, for they could not be counted. For the stones of the palace being immortal, they were at the pleasure of the Emperor. If he had willed, all the hosts of the world could stand in his greatest hall, and, if he had willed, not so much as an ant could enter into it, since it could not be discerned. But on common days they spread the Emperor's banquet in nine great halls, each nine times larger than any that are in the lands of the men of Normandi. And Sir Caw was the seneschal who marshalled the feast; and if you would count those under his command—go, count the drops of water that are in the Uske River. But if you would learn the splendour of this castle it is an easy matter, for Eos hung the walls of it with Dawn and Sunset. He lit it with the sun and moon. There was a well in it called Ocean. And nine churches of twisted boughs were set apart in which Eos might hear Mass; and when his clerks sang before him all the jewels rose shining out of the earth, and all the stars bent shining down from heaven, so enchanting was the melody. Then was great bliss in all the regions of the fair folk. But Eos was grieved because mortal ears could not hear nor comprehend the enchantment of their song. What, then, did he do? Nothing less than this. He divested himself of all his glories and of his kingdom, and transformed himself into the shape of a little brown bird, and went flying about the woods, desirous of teaching men the sweetness of the faery melody. And all the other birds said: " This is a contemptible stranger." The eagle found him not even worthy to be a prey; the raven and the magpie called him simpleton; the pheasant asked where he had got that ugly livery; the lark wondered why he hid himself in the darkness of the wood; the peacock would not suffer his name to be uttered. In short never was anyone so despised as was Eos by all the chorus of the birds. But wise men heard that song from the faery regions and listened all night beneath the bough, and these were the first who were bards in the Isle of Britain. "
89
" From an essay on early reading by Robert Pinsky:My favorite reading for many years was the " Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality.I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of " being a writer" --a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--" much darker than the last wood" :[S]he reached the wood: It looked very cool and shady. " Well, at any rate it's a great comfort," she said as she stepped under the trees, " after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. " I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. " What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name (" I know it begins with L!" ), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, " What do you call yourself?" Alice returns the question, the creature replies, " I'll tell you, if you'll come a little further on . . . . I can't remember here" .The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. " I'm a Fawn!" it cried out in a voice of delight. " And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed.In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out.What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words.From " Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions) "
90
" Science uses the Red Shift to measure deep cosmic distances. But how to measure deep historic time? How about—the Saffron Shift.
If history itself had a color, it is . . . like wood or bark, or living forest floor.
Assigning hues to time periods, the sum total of history is saffron-brown—but the chromatic arc starts from blinding white (prehistory) to sun-yellow (Ancient Greece), then deepening to pale wood tones (Dark Ages) and finally exploding like an infinite chord into a full brown palette that includes mahoganies, siennas (Middle Ages), oak, sandalwood (the Renaissance), cherry, maple (Age of Reason), and near-black old woods (Industrial Revolution) for which there may not be names.
As time approaches our own, the wood-brown palette fades to a weird glassy colorlessness, goes black-and-white for a brief span as you think of photographs of your grandparents, and then again fades until we get a clear medium that is the color of the world.
And the present moment is perfectly transparent.
It's only as you start looking into the future, that the colors start returning. The glass is turning silvery with a murky haze, and there is blue somewhere in the distance . . . "
― Vera Nazarian , The Perpetual Calendar of Inspiration
92
" One could not see the Greek, the Celt, the Roman, the man of the Renaissance, not even the Victorian on a white face, for Western civilisation had moved too fast to leave any telltale signs of the past on the European skin. She thought: the white face is without history: too familiar, too unremarkable – always modern. But a look at an Indian face sends the mind travelling back a thousand years. The Olmec, the Maya, the Toltec, the Mexica were still there in the coppery skin, the prominent nose, the high cheekbones, the epicanthic fold, the brown eyes staring back from the deep well of time. "
― Panos Karnezis , The Fugitives
