He couldn't escape it. She'd begun re-calibrating his senses the moment she came through that library door. His peripheral vision was now trained for flashes of golden hair: his ears, trained for her melodic laugh. He found himself following the drifting scent of her soap and dusting powder, like a dog panting after the butcher's wife.
The smaller man said again, 'See the Buddha in everyone.'How different, I thought, that is from Brakhage, who says it is the artist's business to discover the particularity that distinguishes you from all others. Your virtue. Your vision that makes you separate from others. I remembered that he quoted Robert Duncan. 'Soul is not universal. It is a created-creative event.
“Why not let people differ about their answers to the great mysteries of the Universe? Let each seek one's own way to the highest, to one's own sense of supreme loyalty in life, one's ideal of life. Let each philosophy, each world-view bring forth its truth and beauty to a larger perspective, that people may grow in vision, stature and dedication.”
I never knew him. We both knew this place, apparently, this literal small backwater, looked at it long enough to memorize it, our years apart. How strange. And it's still loved, or its memory is (it must have changed a lot). Our visions coincided--'visions' is too serious a word--our looks, two looks: art 'copying from life' and life itself, life and the memory of it so compressed they've turned into each other. Which is which? Life and the memory of it cramped, dim, on a piece of Bristol board, dim, but how live, how touching in detail --the little that we get for free, the little of our earthly trust. Not much. About the size of our abidance along with theirs: the munching cows, the iris, crisp and shivering, the water still standing from spring freshets, the yet-to-be-dismantled elms, the geese.
The well from which we draw our love to give to other people, should never be only as deep as the well wherein resides the love we have already received in our lives. The cycle must be broken. The former well must be abandoned and we must create a love in our hearts for others, from the bricks and the mortar of our own visions. Our raw materials must come not only from what we received; but our raw materials must come from what we envision to create. From your desires and your visions— your bricks and mortar should materialize. And if your former well is completely empty and dry— so what— you don't owe it to your past, to the people who hurt you, to make that emptiness and that void, your place for drawing water from!
If you are a warrior, decency means that you are not cheating anybody at all. You are not even about to cheat anybody. There is a sense of straightforwardness and simplicity. With setting-sun vision, or vision based on cowardice, straightforwardness is always a problem. If people have some story or news to tell somebody else, first of all they are either excited or disappointed. Then they begin to figure out how to tell their news. They develop a plan, which leads them completely away from simply telling it. By the time a person hears the news, it is not news at all, but opinion. It becomes a message of some kind, rather than fresh, straightforward news. Decency is the absence of strategy. It is of utmost importance to realize that the warrior’s approach should be simple-minded sometimes, very simple and straightforward. That makes it very beautiful: you having nothing up your sleeve; therefore a sense of genuineness comes through. That is decency.
Although we should affirm the wonder and mystery of sexual intimacy and romantic attraction as God's good creations, we need to set these aesthetic enjoyments within the context of the Christian virtues of fidelity, self-sacrifice, and patience in suffering.Bringing this together, our pastoral approach should be double-edged, seeking to challenge our culture's worship of sexual desire and personal fulfillment while offering a different vision of human flourishing. Christian formative involves both RESISTANCE and REDIRECTION. But is is the redirection of our desires that enables our resistance of cultural idolatries. Failure to attend to the dynamics of our desires leads to inevitable self-deception regarding the 'freedom' of our actions. Especially within our sexual lives, our hearts must be truly captivated by the goodness of the Christian vision of life, so that our whole self is drawn toward it, or our commitment to live in tune with it will be brittle.
Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.
He was distracted by a brief surge of adrenaline as he remembered the girl’s blood-soaked body. Flesh separated and puckered, he had left her in such a manner that her sacrification would be remembered.The recollection aroused him. Death and sensuality combined to create a unique vision of purity and abhorrence. Though he had experienced doubts since beginning, he knew the mission he had been tasked with was necessary. It had given him a purity of purpose. These women needed to be punished, all in her name. And yet he felt guilt. Not enough to consume him, but enough to have it niggling away in the back of his mind like a parasite infecting his very soul.May God forgive me for the deeds I committed on Kelly, no heart no heart.
Lao Tze's vision is compatible with the Positive Paradigm of Change. In fact, placing the language of his passages into the levels of the Wheel serves to clarify his vision. The model is therefore shown here, along with its application to the subtitle: Common Sense. The right-brain compliment to the left-brain words of Passage One is also supplied below as a hint of what's possible.Einstein's warning, the basis of Rethinking Survival, could well have been spoken by a Chinese sage: 'Our task must be to free ourselves from the prison [of separatist thinking] by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty. . . We shall require a substantially new manner of thinking if mankind is to survive." Prominent themes which link Einstein with the Chinese yoga tradition include not only Compassion but also Unity and Survival. In addition, anticipating the Positive Paradigm, Lao Tze repeated alludes to a timeless center at life's hub encompassed by the surface rim of fluctuating events. 1. The Eternal is beyond words, undefinable and illusive, all-pervading yet mysterious.The timeless, though ungraspable, is the unfailing source of all experience.To transcend mortality, and attain sublime peace, turn inward, releasing desire and ambition.To manifest inner vision, accomplishing every goal in time, extend outward with passionate conviction.Unmanifest and manifest are two sides of a coin, seamlessly joined, though apparently opposite.Entering this paradox is the beginning of magic.