is it wise, or is it nothing at all?

.よ所からはさぞ此島を月見哉
yoso kara wa sazo kono shima wo tsukimi kana

elsewhere, no doubt
someone's viewing this island
this moon

issa

how many moon stories would you tell
if you told all of your moon stories?
have you watched its flirtations?
has it laid balm to your loneliness?

has it been prominent in your arts?
un chien andelou? moonstruck?
is it a symbol, or are you?
was it your only light?

HUNGER MOON

The last full moon of February
stalks the fields;
barbed wire casts a shadow.
Rising slowly,
a beam moved toward the west
stealthily changing position

until now, in the small hours,
across the snow
it advances on my pillow
to wake me,
not rudely like the sun
but with the cocked gun
of silence.

I am alone in a vast room
where a vain woman once slept.
The moon,
in pale buckskins, crouches
on guard beside her bed.

Slowly the light wanes,
the snow will melt
and all the fences thrum
in the spring breeze
but not until that sleeper, trapped
in my body, turns and turns.

Jane Cooper

from The Flashboat: Poems Collected and Reclaimed.
Copyright © 2000 by Jane Cooper.

think of everyone watching
as you do tonight.

the new math

we've already looked at dow's moment of epiphany, the realization that what he had been looking for was the book of hokusai prints right there in his hands. let's look a little closer:

dow has now met ernest fenollosa, and is studying with him at any possibility.

"In May, Fenollosa, with a certain flair he had for the dramatic, opened a door and showed Dow two magnificent screens by Okio. Dow looked at them in silence for a space and then exclaimed, 'Why can't I do that?' (The subject was a pine covered with snow.)

To this question Fenollosa replied, 'You can do it if you dare, but you don't dare.'

Dow instantly replied, 'I will dare!'

This pleased the Orientalist and he exclaimed, 'You will, you will, and I dare you to do it.'"

clearly, this was a moment of discovery for dow, of synthesis and excitement. he began seeing in a new way, one that, from his own perspective, returned to the basics in art, what all cultures had at some time done, the essential line, with everything extraneous removed.

the clarity of his vision was such that he went on to formulate, and to develop ways of teaching these insights to others, work that some say became more important than making art itself. he is credited for having changed the way art is regarded and taught in this country radically, and his methods were the staple of american art education for many years.

•

okay -- so we have a moment of person discovery, life-altering, piercing and pervasive. so.... um.... -- what about all these other guys??! was it worldwide epiphany-itis?

i went to the jung pages and apparently the descriptive phrase i wanted to use, 'collective unconscious,' doesn't actually mean what i have always taken it to mean, so that won't work, unless i am allowed to redefine (or expand its definitions) the concept to what i always thought it meant and what fits in rather well here, namely that there is some mysterious (until science figures it out) connection of every human's mind that rises and falls with the tide and explains how one idea can occur in many places at the same time.

spontaneous combustion?

wasn't this the stuff of impressionism, anyway? the release of detail in pursuit of truth?

artists throughout the west were paring down, simplifying, following ideas they had imbibed from the japanese prints; did each and every one of them feel themselves to be a solitary traveler?

it's such an interesting phenomenon-- i wish i knew the name for it.

when things change, we each want to name it, to own it, and to think we know the reason why.