23
" FORKED BRANCHES
We grew up on the same street,
You and me.
We went to the same schools,
Rode the same bus,
Had the same friends,
And even shared spaghetti
With each other's families.
And though our roots belong to
The same tree,
Our branches have grown
In different directions.
Our tree,
Now resembles a thousand
Other trees
In a sea of a trillion
Other trees
With parallel destinies
And similar dreams.
You cannot envy the branch
That grows bigger
From the same seed,
And you cannot
Blame it on the sun's direction.
But you still compare us,
As if we're still those two
Kids at the park
Slurping down slushies and
Eating ice cream.
Suzy Kassem, Rise Up and Salute the Sun (2010) "
― , Rise Up and Salute the Sun: The Writings of Suzy Kassem
24
" We grew up on the same street,
You and me.
We went to the same schools,
Rode the same bus,
Had the same friends,
And even shared spaghetti
With each other's families.
And though our roots belong to
The same tree,
Our branches have grown
In different directions.
Our tree,
Now resembles a thousand
Other trees
In a sea of a trillion
Other trees
With parallel destinies
And similar dreams.
You cannot envy the branch
That grows bigger
From the same seed,
And you cannot
Blame it on the sun's direction.
But you still compare us,
As if we're still those two
Kids at the park
Slurping down slushies and
Eating ice cream.
Suzy Kassem, Rise Up and Salute the Sun (2010) "
― , Rise Up and Salute the Sun: The Writings of Suzy Kassem
26
" Currently the best educated and the brightest minds of any nation are not among its elected, but among its public, and in much greater numbers.But even having a great number of the best and the brightest amongst us does not make us capable of installing a working version of direct democracy right away. People who claim that it does, may be there to voluntarily or involuntarily damage the credibility of direct democracy.Direct democracy needs a yet inexistent infrastructure to support the new mechanism that will render the public capable of constituting the experience necessary to domesticate direct democracy, without destabilizing our societies with needless haste, emotions and fractures. One way of doing it may be the constitution of a nation-wide, internet reliant hence fluid, non-political organism parallel but totally hermetic to our representative democracies, with a unique objective: creating the means, platforms and protocols necessary for the public and all the specialists it contains, to communicate horizontally.The public may decide to keep for the moment our representative democracies, but in parallel create an experimental version of direct democracy until we all acquire the necessary perspective and invent new working mechanisms of self-governance. Later the public may decide to have both representative and direct democracies sharing governance for a time, and experience first-hand the advantages and disadvantages of both systems before deciding where to go from there. "
27
" Life with Ilona was invariably lived on two levels, or rather in two simultaneous and parallel directions. On the one hand, your feet were always on the ground, you were always intelligently but not obsessively alert to what each day offered in response to the routine question of surviving. On the other hand, imagination and unbounded fantasy suggested a spontaneous and unexpected sequence of scenarios that were always aimed at the radical subversion of every law ever written or established. This was a permanent, organic, rigorous subversion that never permitted travel on the beaten path, the road preferred by most people, the traditional patterns that offer protection to those whom Ilona, without emphasis or pride but without any concessions either, would call " the others. "
31
" 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) "
33
" Respect the man of noble races other than your own, who carries out, in a different place, a combat parallel to yours -- to ours. He is your ally. He is our ally, be he at the other end of the world.Love all living things whose humble task is not opposed in any way to yours, to ours: men with simple hearts, honest, without vanity and malice, and all the animals, because they are beautiful, without exception and without exception indifferent to whatever " idea" there may be. Love them, and you will see the eternal in the glance of their eyes of jet, amber, or emerald. Love also the trees, the plants, the water that runs though the meadow and on to the sea without knowing where it goes; love the mountain, the desert, the forest, the immense sky, full of light or full of clouds; because all these exceed man and reveal the eternal to you. "
34
" The heron must be used to people, and yet it never lets you get too close. Draw parallel to it with the width of one of the marsh’s holding ponds between you, and it will duck its head, eyeing you with suspicion, then fly. I cannot approach the heron, certainly could never touch it; I can only look for it, entranced.This is how I understand the divine, and why I continue to seek it in the resolutely non-human world, with which we nonetheless recognize a numinous kinship. Sometimes, it will turn and lock eyes with you, lifting you out of yourself, changing everything. Other times, it will give you the side-eye and swoop away, leaving you longing for retreating beauty. You might not see it every single time you go looking, or where you expect to find it. No matter how common the experience, every time you stumble across mystery, or independent wild being, it is a surprise and a miracle. And every day, you can look." - Sara Amis, " A Daily Heron "
