55
" Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do.
There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert.
But the still life resides in absolute silence.
Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard.
But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver.
These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time.
Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented.
These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said? "
― Mark Doty , Still Life with Oysters and Lemon: On Objects and Intimacy
57
" On the flat expanse of pancake ice, War stood by the Pale Rider’s side. Though their forms did not touch, their shadows intertwined, black on black, in a smoky caress.“Knew you’d come,” Death said cheerfully.She smiled, and that slow motion of her lips hinted at many things. “The White Rider divided, and the world on the brink of destruction. How could I stay away?”“I could set my watch by you.”“You don’t have a watch.” Her smile broadened into a grin. “An hourglass, maybe . . .”“Please, not another joke about a scythe . . .”She mimed zipping her mouth shut.A pause, as they listened to the sounds of the boy healing and the man summoning doom.“I like him,” War said.Even though she hadn’t specified whether she meant the boy or the man, Death smiled and nodded. “Me too.”“You like everyone.”“Well, yes.”The two shared a quiet laugh, their voices mingling in perfect harmony.A longer pause, and then War asked, “What of Famine?”“What of her? She’s not mine. Not yet, anyway. She will be soon enough.”The Red Rider slid him a look. “That’s cold, even for you.”“Eh, just practical.” A shrug. “Everyone comes to me eventually. It’s the journey that makes it interesting.”“Such a people person!”He flashed her a grin. “My best quality.”“Oh,” said War, sliding her gloved hand into his pale one, “I can think of others that are better. "
60
" That's enough Susy, nuff, nuff.'
'No, no I just want to say this,' she gasped, on the brink of incoherence. 'His eyes, his face, it's not ugly, and I know if I go back that he'll come and get some more of me... Even when he has drained all I know and when he... God, God, he came at me, at my throat and even then, I couldn't stop him, didn't want to even when I felt his mouth...'
She reached to her throat, where her hands fluttered. Her eyes, clear and cornflower blue when they had been so serene a few minutes ago, were stark and tormented. Suddenly she buckled toward him from her propped position, sobbing. He caught her and she wept into his chest.
'And the worst thing... the worst thing... is that I want to see him again... Harry, he wanted me to take that cross off, and I did, and I've felt him wanting me now, even now, with blessed Jesus over my bed. "
― , Progeny of the Adder