I spent a good part of today
reading for my Heraclitus lecture. I
was reminded of his withdrawal from Ephesus, and, according to Diogenes, who
wrote one of the few biographical accounts we have from antiquity, he lived in
the forests and in the mountains, and lived on what he could gather there. What’s more, the famous anecdote, relayed by
Aristotle, of Heraclitus being visited by a group of strangers -- a story that organizes my chapter on
Heraclitus – can be read as indicating his having built some kind of hut in the
mountains. I had always imagined that
scene as unfolding on the outskirts of the city, but it seems plausible, and
much more interesting, to imagine it happening in a relatively remote hut that
Heraclitus had built for himself in the forest outside of Ephesus. And I
wonder if Heidegger, whose seminar on Heraclitus with Eugene Fink is included
in the material I am studying, might have had a bit of Heraclitus in him when
he took up in his Black Forest hut? And
what of Thoreau at Walden? Here is a pic of the wilderness outside of Ephesus.
Back to the legend…
“A great cloud of cool misty air
rolled down the western side of the mountain range, covering rock, tree and all
living beings like a damp blanket.
Zarathustra shivered, but did not awake.
‘Sing songs, make music, and rise with me brother. I am the ‘poet of space’ the child of ‘Sky
and Earth, these two who are good for everyone, and hold Order.’ You remain silent, like the broken gong that
once rang with pride and confidence.
While you sleep, your companions, your shadows, climb. They will reach the peak while you lay,
silent, reposed in this dormant state.
They will greet my arrival as I come rushing over the ridge for my
morning play, and chase the mist that shrouds you in its cold grip. You too will welcome me, but will find
yourself abandoned again, alone without companion. Too late will you rise, brother, if you do
not heed my calling. Listen, as your
companions call to my parents and abandon you for the power they have been
seeking. This will to power they have
concealed in their hiding by your side.
Listen!’
“A hymnal could be heard,
softly. Somewhere off in the distance of
the dreamscape a choir could be heard.
‘Sky
and earth,
you
mighty pair whose praises we have sung,
grant
us great fame and high sovereignty,
by
which we may extend our rule over the people for ever.
Give
us enormous force.’
“Zarathustra listened as the
voices, in unison, rose with crescendo and extended the final word, ‘Force!’,
so that it sounded like the clap of a mighty thunder. A streak of light flashed across the sky, and
a roll of thunder bounded in the forest.
Zarathustra slept on the glade, beside the river, and the din of the
rapids absorbed the roar from the clouds.
The wind rose from the valley, the hot air from the arid and barren
desert streaming upward, an offering to the gathering storm. Another flash of lightning, another crash of
thunder. ‘Force!’ The Sky and Earth embraced, and the rain fell
down upon the range and over the valley.
“Beneath the canopy of vine, limb,
and leaf, Zarathustra slept on. ‘Rest,
child, and prepare yourself, for tomorrow you rise to greet your brother. He is ‘the clever charioteer’ who speaks
through the oracle, and lights upon you, the wanderer, the seeker. It is said ‘With the power to make things
clear, he purifies the universe by magic.
From the dappled milk-cow and the bull with good seed, every day he
milks the milk that is his seed. Most
artful of the artful gods, he gave birth to the two world-halves, his parents,
that are good for everyone.’ His
lighting upon all who sing with freedom and make the world anew is the great
gift of his parents that he begets to all who welcome his arrival.
“Sky and Earth, we are, ‘wide and
roomy, strong and inexhaustible, are the father and mother who protect the
universe.’ Like two mighty limbs we
reach out. He is the warmth of our
nurturing embrace, the heart beating between us as we gather the world of
mortals. He will teach you to make
music, to gather in the company of friends, and dance upon the ground of peace,
within the air, clear, open, expanding.
The hidden harmony will come forth with your songs of gratitude. Plain-song shall you sing with the many you
will find, and together you will be unified, performing the freedom in your
peaceful gathering as you are sheltered from the wind and rain of the storm
that rages above you.’
“A flash lit up the darkness, and
the voices of the choirs cried out, now with desperation, as they had in the
forest the morning of Zarathustra’s departure, ‘Give us enormous force!’
(09/07/04 with some editorial changes)
3.0 (Saturday, Portland, ME) Audacious indeed! I couldn't imagine writing like that today. Talk about the confidence of conviction! I'm slightly embarrassed by the writing, but feel I'm off the kooky hook when it's noted that I'm borrowing from the "Rig Veda." Working with old and ancient texts has always been kind of liberating to me. It's as if they grant you a kind of freedom that you can't access in the present. I wonder if the freedom of sci-fi authors or even the magical realism writers is similar? The key to that writing is being part of an established discourse. But someone had to have initiated it?! H.G. Wells, Márquez, etc. Those are the real trail blazers, the originals, the ones inspired by the Muses. I like to think I'm inspired by a Muse when I'm writing, and at times it truly feels like that. I call it being "locked in" when I get into a groove and abandon myself to the writing, not second guessing what I'm typing. That was an important strategy for me this past summer. Whenever I felt a pause I would move past that feeling and keep writing, telling myself that the time for editing would arrive in the fall. Well, that time is about to arrive when I set out for MDI on Monday! I'll be reading and making small edits (correcting typos) Tues-Thursday. The goal is just that, to read carefully without editing, noting typos on the manuscript and making notes in the big Moleskine if there is anything substantial that jumps out at me. The other strategy I had this summer was to keep the expectations low/light, some weeks it was 900 words per day, other weeks it was only 500. The plan is to take the same approach with the editing. One thing is true, I experienced a lot of joy when I was writing this summer, and this made the whole process truly satisfying and I have a feeling it made for good work. The writing, especially the academic writing, that emerges out of "suffering" is never as good. Of course, the writing from the original OPM project was full of joy, but much of it was meant for publication, and wasn't written to be published. It was writing for the sake of writing! "LEARN" emerged from a general outline, and the first line came to me as I was walking to Hagedorn one morning, I think it was in April. "I teach in a circular building." I fairly certain I could back in this blog and find the day I composed that line. Or it's probably in one of my little notebooks. The point is that I was able to write within a structure AND experience the joy of following the narrative wherever it took me. A kind of method took hold: the use of fragments, which are a key to the whole piece.
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