Sunday, June 21, 2009
holed up in the back bedroom, windows flung open, tongue salt-swollen. i sweat through my jeans, sweat my way into a deep deep sleep. ten hours later, wake: cat pawing my face, phone ringing off the hook. hello? my sister with news of her engagement. you forgot to say congratulations. the phone rings and rings. i stagger down the hall to stand, half-naked, before the box fan, which sputters to a stop five minutes after i click on. out the window: a hunter’s moon. without harvest. even the insects exhausted. lawn still, a silence so great all hopelessness is shamed.
Tuesday, June 16, 2009
"As the strongest literary force Shakespeare caused Melville to approach tragedy in terms of drama. As the strongest social force
It was not difficult for Melville to reconcile the two. Because of his perception of
It has to do with size and how you value it. You can approach BIG
Or recognize that our power is simply QUANTITY. Without considering purpose. Easy too. That is so long as we continue to be INGENIOUS about machines, and have the resources.
Or you can take an attitude, the creative vantage. See her as OBJECT in MOTION, something to be shaped for use. It involves a first act of physics. You can observe POTENTIAL and VELOCITY separately, have to, to measure THE THING. You get approximate results. They are useable enough if you include the Uncertainty Principal, Heisenberg’s law that you learn the speed at the cost of exact knowledge of the energy and the energy at the loss of exact knowledge of the speed.
Melville did his job. He calculated, and cast Ahab. BIG, first of all. ENERGY, next. PURPOSE: lordship over nature. SPEED: of the brain. DIRECTION: vengeance. COST: the people, the crew.
Ahab is the FACT, the Crew the IDEA. The Crew is where what
--Charles Olson, Call Me Ishmael