Relics

“It is difficult to know with precision how things became as they have, to be able to say with some assurance that first it was this and then it led to that and the other, and now here we are. The moments slip through my fingers. Even as I recount them to myself, I can hear echoes of what I am suppressing, of something I’ve forgotten to remember, which then makes the telling so difficult when I don’t wish it to be. But it is possible to say something, and I have an urge to give this account, to give an accounting of the minor dramas I have witnessed and played a part in, and whose endings and beginnings stretch away from me. I don’t think it’s a noble urge. What I mean is, I don’t know a great truth which I ache to impart, nor have I lived an exemplary experience which will illuminate our conditions and our times. Though I have lived, I have lived. It is so different here that it seems as if one life has ended and I am now living another one. So perhaps I should say of myself that once I lived another life elsewhere, but now it is over. Yet I know that the earlier one teems and pulses in rude good health behind me and before me. I have time on my hands. I am in the hands of time, so I might as well account for myself. Sooner or later we have to attend to that.

Leave to your opinions their own quiet undisturbed development, which, like all progress, must come from deep within and cannot be pressed or hurried by anything. Everything is gestation and then bringing forth. To let each impression and each germ of a feeling come to completion wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one’s own intelligence, and await with deep humility and patience the birth-hour of a new clarity: that alone is living the artist’s life: in understanding as in creating.

There is here no measuring with time, no year matters, and ten years are nothing. Being an artist means, not reckoning and counting, but ripening like the tree which does not force its sap and stands confident in the storms of spring without the fear that after them may come no summer. It does come. But it comes only to the patient, who are there as though eternity lay before them, so unconcernedly still and wide. I learn it daily, learn it with pain to which I am grateful: patience is everything!

With the trivial even, with the insignificant (if it but happens out of love) we make a start, with work and with rest after it, with a silence or with a small solitary joy, with everything that we do alone, without supporters and participants, we begin him whom we shall not live to know, even as our forebears could not live to know us. And yet they, who are long gone, are in us, as predisposition, as burden upon our destiny, as blood that pulsates, and as gestures that rises up out of the depths of time.

Relics minutaea

“It is difficult to know with precision how things became as they have, to be able to say with some assurance that first it was this and then it led to that and the other, and now here we are. The moments slip through my fingers. Even as I recount them to myself, I can hear echoes of what I am suppressing, of something I’ve forgotten to remember, which then makes the telling so difficult when I don’t wish it to be. But it is possible to say something, and I have an urge to give this account, to give an accounting of the minor dramas I have witnessed and played a part in, and whose endings and beginnings stretch away from me. I don’t think it’s a noble urge. What I mean is, I don’t know a great truth which I ache to impart, nor have I lived an exemplary experience which will illuminate our conditions and our times. Though I have lived, I have lived. It is so different here that it seems as if one life has ended and I am now living another one. So perhaps I should say of myself that once I lived another life elsewhere, but now it is over. Yet I know that the earlier one teems and pulses in rude good health behind me and before me. I have time on my hands. I am in the hands of time, so I might as well account for myself. Sooner or later we have to attend to that.

Silences

“Though even after all the fading and furring, so many lines still remain, now seeming like even sparser fragments of the whole: a warm look in the eye when the face is lost, a smell that recalls a music whose melody is out of range, the memory of a room when the house or its location is forgotten, a field of pasture by the side of the road in the middle of a void. So time dismembers the images of our time. Or to put it in an archaeological way, it is as if the details of our lives have accumulated in layers, and now some layers have been displaced by the friction of other events, and bits of contingent pieces still remain, accidentally tumbled about.