i am this one walking beside me

juan ramon jimenez was born into a banker's family but left much of that world behind when he took up writing.
(otto freundlich 1924)

a powerful sense of self and selflessness is revealed in his poem "i am not i" . . . .

i am not i.
i am this one
walking beside me whom i do not see,
whom at times i manage to visit,
and whom at other times i forget;
the one who remains silent while i talk,
the one who forgives, sweet, when i hate,
the one who takes a walk when i am indoors,
the one who will remain standing when i die.

that takes flight in his expansive poem "full consciousness" . . . (paul klee "ancient sound")

you are carrying me, full consciousness, god that has desires,
all through the world.
here, in the third sea,
i almost hear your voice: your voice, the wind,
filling entirely all movements;
eternal colors and eternal lights,
sea colors and sea lights.

your voice of white fire
in the universe of water, the ship, the sky,
marking out the roads with delight,
engraving for me with a blazing light my firm orbit:
a black body
with the glowing diamond in its center.

an excellent and insightful overview and critique of juan's thinking and work can be found here. a beautiful meditation on his writing can be found here.

finding equilibrium

all night long listening to the winds wandering through the streets.
all night long listening to this house creaking and cracking.
all night long listening to the sound of my own thinking.

thinking about the place of work in my life.

sleep is not an option.

how to waken on my own terms?

i came across this image years ago - it's familiar to many who love impressionist art. entitled "a bar at the folies bergere" it is the work of edouard manet alternately reviled and revered for his depictions of nineteenth-century parisian life.



"suzon stands alone in a crowded room. the look on her face is detached, melancholy, distracted from her job serving at the bar in the vast crowded room reflected in the glass behind her. there is a locket around her neck that is a token of another life, a love a long way from this job.

this is an unusual portrait because it is of someone at work, and someone who to our eyes is defined by her work and is profoundly unhappy with it. she is alienated from her surroundings, as if there is a glass pane between her and everyone else in the room - the drinkers, chatters-up, lovers, liars, thieves and businessmen.

she has both hands firmly on the bar as if she needs to touch something solid, in case she should be carried away by the vortex of light and shapes reflected in the mirror.

there is no attempt to make the image cohere: there is, as contemporary critics pointed out, an inconsistency to the relationship between the reflections in the mirror and the real things.

the dislocation of suzon's world is deliberate. paris is a hall of mirrors where suzon floats helplessly, clinging to her bar."
(excerpted from an article by jonathon jones in the guardian)

it is this dislocation and incoherence that reaches out from the painting to echo once again the question that revolved in my head throughout the night. how can i make sense of my daily work in my life? what place and purpose does it hold in allowing me to develop both my inner and outer life?

an answer . . . .

"one’s career in life"

"what is truly useful is to be able to accept that one’s limitations in outer life can act as a hindrance to engaging in the search. it’s very hard to accept this, but i can tell you that this acceptance can give an extraordinary impulse for development to both the inner and the outer life.

as to the question of what kind of work to choose, there is no ready-made answer. it depends. a person should examine the situation and consider why he might decide to do this or that. but on the whole it can be said that we need a relationship with the outer world. we need to find something to do that we care about. we need to be appreciated, we need to feel useful, to feel that what we do has a value.

it is not an easy challenge in a society which is not made for this inner work, which doesn’t understand anything about it, where people spend all their energy on their careers. so how to manage?

those who really accept the challenge will have to find a way to their own equilibrium. they will have to discover how to obtain what they want and to keep enough time and energy and emotional freedom for their inner search. they will become wiser, more apt. and they will develop abilities which have been lying dormant in them.

but an individual who seeks to develop his life capacities must be sure to keep in his mind and in his feelings the reason for which he is doing this. he must not allow himself to be devoured by his efforts to improve his outer life. in this, he will also be better able to understand his fellow human beings, because he himself will always be feeling tempted by life, tempted to go further and further in that direction. and if he goes too far, life will swallow him up, because life is like that. it’s always pressing us to give more to it.

in anything we do, we must never forget our aim, our central, essential value: to return again and again to this inner presence which opens us to a broader dimension.

we see from all we have said that this work has to do with living, an art of living with oneself, with opposite tendencies—those of our automatism and those which will open us to another dimension and create a harmony, a balance, and a better functioning of the whole of our nature".

pauline de dampierre

a power stronger than itself

paul klee "insula dulcamara". 1938.

i have loved music for as long as i can remember . . . love, in the sense that i have been grateful for its presence as a reminder of the goodness that connects all and everything. the first time i was aware of the possibility that music didn't necessarily emanate from its players came with my listening to the music of keith jarrett. jarrett has observed that "his best performances were during the times where he had the least amount of preconception of what he was going to play at the next moment. an apocryphal account of one such performance had jarrett staring at the piano for several minutes without playing; as the audience grew increasingly uncomfortable, one member shouted to jarrett, "d sharp!", to which the pianist responded, "thank you!," and launched into an improvisation at speed."

it was something jarrett said, (and the exact words escape me) but its essence was that the real work of the musician is to get out of the way of the music.

extend that into the larger states of living and being. how do i get out of the way of the 'doing' of life and allow the 'being' to become.

robert fripp's aphorism "may we trust the inexpressible benevolence of the creative impulse" is revealed on a daily basis as i listen to music that (as fripp also points out) so needs to be heard that despite the extraordinary odds against its arriving, somehow manages to do so.

music and love are synonymous in my understanding . . . rabindranath tagore says that "love is the only reality and it is not a mere sentiment. it is the ultimate truth that lies at the heart of creation." it is from the heart of the creation that music flows without condition.