Best Poems From
(04/23/52 - xxxx)
Kahlo-Christ Conjunctions - Sacrificed Flesh, Broken Bread, Emmaus Vision
[The curious or, better, interested reader may view the images alluded to in this essay at this website: http: //falconwarren.blogspot.com/2011/01/kahlo-christ-conjunctions-sacrificed.html]
As with love, also the bellows.
Calavera*, the Future stands
hand to mouth, fingers to forehead
unfolding before still instatic shapes.
Hold desperately to frames before
these quaking perceptions.
She could not stop there,
had to flare out, dry paint,
and the dryer flesh peel down
to bone, a sexless esqueleto**,
skull no longer mustached,
a calavera, nothing more,
curved calcium reliant forever
upon canvas, what is congealed
there to fan and burn,
a 'cauda pavonis'***.
- the author, from the text below
***Peacock's Tail (an image in alchemy) .
'Poetry such as this attempts not just a new syntax of the word. Its revolution is aimed at the syntax of the mind itself. Its structuring of experience is purposive, not dreamlike. We are dealing with a self-induced, or naturally or mysteriously come by, creative state from which two of the most fundamental human activities diverge, the aesthetic and the mystic act. The creative matrix is the same in both, and it is that state of being that is most peculiarly and characteristically human, as the resulting aesthetic and mystic experience is the purist form of human act. There is a great deal of overlapping, today especially, when art is all the religion most people have and when they demand of it experiences that few people of the past demanded of religion....A visionary poem is not a vision. The religious experience is necessitated and ultimate.' - Kenneth Rexroth, World Outside the Window, the Selected Essays of Kenneth Rexroth, pg.255-256
Rexroth's words are pertinent to the images used in this essay, Kahlo's painting above is visionary, Grunewald's are religious, and several photos are both, and all are 'aimed at the syntax of the mind itself.. Its restructuring of experience is purposive, not dreamlike.' The images included in this essay, which is more a prose poem than regular prose, are meant to convey equally or more, at least as as much as, the words in their incantatory formations which may induce entrance into 'imaginal' spaces where word and image meet in a practical magic, inspire a felt understanding and perhaps gain a view or actual entrance into what ecstatic poet, Rainer Maria Rilke, calls 'the Greater Relation.'
I've decided to publish this piece-in-progress as it unwinds in spirals 'aimed at the syntax of the mind itself...its restructuring of experience' with the understanding that it may later appear in greatly altered form. In a real sense this writing writes itself; I try to heed, copy, then hone to the bone what might be wanting to be sung, for what is below, and often what I write, is more akin to music, a vocal/verbal lilt beyond a particular solid tilt of view of a world absolute, static logos.
Heraclitus noted thousands of years ago, 'All is flux.'
To this I would only add, and perhaps this is what all of my writing amounts to,
'All is reflux.'
Many who know me know that I am passionate about Mexico, my love for the land, the people, the history and culture. Mexico embodies an ongoingly dramatic and profound conflict of body and soul in land and people. There, both pre-Christian religion and Catholic Christianity still strive with each other, traumatically rumble and stumble together a vibrant mix of dynamic images and energies, literal active volcanoes and temblores (earthquakes) add concrete umphasis to what noble telluric forces are seeking to be expressed in manifest people and geography; both the old (pre-Columbian) and the new (to the continent Christian) religions with their tectonic gods and cosmologies enamored/riveted to Star-and-Sky with their calculable notions, mathematics greater than ourselves, abstractions of once solid exigencies greater still, are compensations for blood-, earth-, carbon-, metal- deities. Incorporating the Sky, an edible notion, the more potent sacraments of plants - fungus, febrile root, vine, leaf, pulp, spore, entire chemical choirs of angels gather in a chew or brew, a puff and spew, fiber and fever swallows which lead to being swallowed by raw Existence unmasked revealing infinity forever turning in upon itself, an Uroboric Fractal to which we are not inclined in spite of religious wars to give ourselves consciously, utterly. Given this parity of storming exacting deities, revealed in their own inexorable mathematics calculated in plucked hearts and heads rolled, it is no wonder that the imagery and message of Christianity would strongly resonate in Aztecan and other indigenous psyches of Mexico.
Enter Frieda Kahlo, code in part for me, of Mexico and the maelstrom of the Twentieth century, of modernism, of vibrant culture and of passionate human suffering and creativity. Kahlo's paintings partake of this iconoclastic encounter of catastrophic theologies formed around and within the mouths/bellies of gods of trauma seeking to relieve that trauma by blood requirements either enacted ritually/symbolically in religious rituals or in literal violence acted out in unconscious identity with these instinctual gods, usually both; Carl Jung once said that 'god is a most shocking problem...god is a trauma.'
Each viewing of a Kahlo painting is a viewing of her life, body and soul, its alluded metal serpents, cyclopic hulking male tyros (Rivera, Trotsky, to name only two) , volcanic, engorged Titans of Malinche, chingares (goring ones as the bull gores hungrily) swallowed, too, hoping both to remain and to break free of Her, the Great Saurian Mother, Plumed Serpent, Quetzalcoatl, inherited deities extracting from Kahlo and Mexico literal blood, for paint is blood, too, gashes in brush strokes she could never quite conceal/congeal (and thus her paintings turn hemorrhage to good purposes) , becoming herself the clot, her flesh an unwitting tattoo of existence's beautiful and terrible forms. A life with needles, stitched, she pitched repeatedly into the long throat of the Alimentary Great Mother, Uruboros tail in mouth, recreating Her self by hard passages, throat to anus to birth canal and cave, galactic center point waiting perhaps at the other (no) end, carbon jesters, angels teeming on Quetzal quill tips, twinkling fires in the pitch, sometimes called stars, or ravens, black heralds of colors yet to brilliantly come.
Her chosen medium of paint scores the story of soul wrenched from the body in a terrible accident, personal FATE of archetypal proportions lending images to a human century soon to be overly wed to, dependent upon, and controlled by its machines, the soul's uneasy return to a life on earth, mechanics of body, mechanics of the Twentieth century god, Pragmatics, fed by workers' blood, soul's body's become none other than alchemy's 'Cauda Pavonis', the peacock's tail, or the peacock itself, enduring a magnificent ecstasy/agony, an 'in between' phase in which many colors appear, splendid iridescence, midway point, a false conclusion, merely a digestion of polarities of the black and white flaring in brilliant tints upon glinting metal gears, upon human workers glistening sweat - all light is a glancing blow - to be further transformed not only into spiritual tinctures but into spinal ones as well in which she dips brushes, fingertips in finality no longer lingering; she pours salt into what is left of a self, a wound imaged, lived, no longer intuited, recognized as sacred for a scar is not an idol but a deity hard won.
Kahlo's images are soul trying to scry the 'tragic side of life', the careening streetcar of the Future repeatedly crashing into the always pedestrian bus of Now, forever-world yet changed by the same themes such are archetypes extending at least for a life span which envisions, enlarge, into the next few centuries.
As with love, also the bellows.
Try as I may to render Kahlo as noun and verb, as event still venting from grave mouths such are canvases, my attempts fail to distill, to come to terms with what happened to her at 16 years of age, piercing metal violated flesh newly woman, which turned her into something completely utterly astonished, livid and unforgiving pain burning her to vapor yet still each canvas she is ever falling back within the cruel alchemical vas, glass splinters into unrelenting nerves, encased steel plated Virgin taking a cyclops for lover.
Love inherent in Kahlo's work is all the more Love amidst the ruins disguised as progress. Kahlo's Christ-self in thorn necklace, hummingbird in shape of the Cross, at times her eyebrows, is the 'more real' to me than any I have been so far tendered but for Grunewald's painting of the Isenheim Christ (imaged just below) for the sanatorium altarpiece, a diseased Christ on the Cross covered with syphilitic sores showing 'the strange beauty shining through the disgust and unbearable pain of disease' (text from the back cover of Evil, Sexuality, and Disease in Grunewald's Body of Christ, by Eugene Monick) . I now run from any 'offering' of Deity which drives me further away from my humanity, all of it, by which no god or gods are deposed but, rather, exposed in the fleeing to be all the more gathered, and all the more weathered, endured.
I dwell more in Kahlo's world and long to someday live in her Mexico which to diminishing degree still exists, which does not refuse the comfort of iron nor of Grace, always a surprise, placed and displaced at once in the scarring conjunction of flesh and spirit, human/divine images prominent in Christianity, a dismembered and devoured Christ as only incarnation allows, insistent autonomy arguing autonomy, rough acceptance, Grunewald's unique One, especially the One with shades appealing eternity, beheld for a sickly yet shining, fractured and much, much loved, begotten world.
Christianity, not the Christ, exchanged images for words, images within them breaking to openness into and beyond that mortal sign bursting still into the still more open 'Word' which, too, in spite of Churchly preventions and stops, breaks free of doctrine-adequately-flavored but seeks perhaps secretly to be undone, 'the bells, I say, the bells break down their towers' (Hart Crane, 'The Broken Tower') .
In reaction to images and imaginations leaping out of the word/Word, breaking free even within the Church, 'heresies' so called, the Official Church poured concrete into molds (and pouring more still) , congregations hardened to prevent further conjugations of Imagination within the Words, the Magisterial Delirium of Word/God ensnared - 'once reified deified' - yet insists upon only those sanctioned shapes, and in so doing much of its soul and body wanders, strays, lost in the exchange of image/imagination for said concretions, un-altared sentences weathering in now acid rains. Granted, logos, word, needed to be cultivated in order to extend human consciousness into the past 2000 years, but words and Word ARE images in abstract, compacted, myriad 'angels of the face' (a phrase in Shi'ite (mystical) Islam for the appearance of that 'Other, Truer World' revealed in myriad manifest 'faces/images' apparently eternally unfolding in space and time): all these it is supposed was/is compressed into a Word, 'the Word made flesh which dwelt', and dwells still, 'among us' donning disguises, for eyes, even God's, want to see newly through the darkening glass that always optically teases Imagination from it's coyness.
Still, such timidity ends in engorged blood, meat requirements, rendering vaporous sublimity too thin for fingers, why forks were invented. If modernity, it's forks and faxes, returns anything of value to us stretching into denial which is all our futurity, it is the return of images, high heels or flats, official and unofficial, which return us in turn to our official and unofficial selves, limping shod or un-, ens-not-Ens (being-not-Being) as we are chafe to particular part-selves multiply-imaged as they want or dream to be -Who are we?
Frieda with her Twentieth century stifles a yawn and 'stuffs the universe into her eyes' (a line from a poem by zen poet, Shinkichi Takahashi) .
My words here are not intended, nor are they able, to exclude what Word-oriented, revealed religions of 'the Book' have brought to us and advanced, but now, next 2000 years, the creative struggle will be to conjoin meaningfully polygamous images of psyche into compressions (es-pressions, as in espresso) and ex-pressions (pressed out) by and with word and Word which have tendencies toward monotheism, one true meaning only, which results therefore, can't be avoided, into a heavy-handedness in terms of a perceived/derived one and only Absolute. Ironically, the Arabs discovery of always heavy Zero which, to me, is the only Absolute of merit, gave birth to a multiplicity, diverse, perverse, all the more irascible yet embraceable, maddeningly erasable, while growing arms beyond counting, the better to carry the unforgiving densities.
Count them, or try we must, for congenital compulsions such are calcifications, spirit, soul, life in the body are gripped in the teeth of the world; beatific, we perceive ourselves to be in the image of deity. Still, we can believe we are 'safe'within these calcified discerners of 'absolutes', o here is the 'burning bush', or we can risk the profligate ramble which is consciousness, a fire still burning, an intuition in each person that there is more here than meets the eye or thigh or deities as imaged. We all look, or try, beneath the skin of things - under what is presented, or within it - for that half-guessed/hinted at and/or 'felt sense' that there is MORE beyond the barred nerve, more and other-than the shock of a chrome bumper-bent world careening, aware that within all is here a Presence, all images and words assuming that Presence - Arabian gift of the non-alloyed Zero unmeasured by mass, a better name for god depending on thermal history's twisting vector, ghostly mirage, if any are to be had - the base in spite of or within the Metallic Matrix of the blacksmith heart hammering verdigris ventricles into shape, Newton's grave conjugations, living time solidified, hardened, stiffening Presence into dilute renderings of base metal, chaste Frieda, her canvases chasing plutonium wire unaware, bears the blunt end of Presence at the end of the Aeon of the Fishes still barely beyond Bronze Age's just sharpened edges corroded, pre-Christian Mexico preferring obsidian ones hammered, chipped, scraped upon hard flint; Frieda, volcano born, turns into conjugal vessel, Quetzal plume conjoined to Serpent skin rebirthing extensions of crash, a returning God, boat and horse delivered from the red beard of the bloated sea confronting yet one more deity requiring blood.
Viewing Kahlo's paintings, which she came to embody, and they her, even those images and words sought which seek expression upon human tongue in human eye, still seek to deny or decry that Presence, Dark Night in broad day, all appearance, a drift beyond meaning, only a swaying bus careening yet again, repeating collision of the Virgin's hymen, amniotic Host forever a Lover divided yet again, Crepuscular Christi, all this in Kahlo, revered now a cult for she is Woman Christ multipli-imaged Suffering One with breasts, concealed antlered uterus wincing at anviled annunciations verified only in wavering beliefs such are weeping statues and surreal apparitions strung out on coniunctio, the Gethsemani Girl seen, no longer concealed at all or hidden in plain sight, Christ-o-form agony, isolate angry, raging, bereft human confusion, 'despised and rejected' in the meanness within ourselves destined to see our deities through to the end though beyond capacity to smell necrosis, to see the exit wounds of soul coagulating disguised as skin, muscle, sinew.
But it is we who are seen and thus the imperative mercy and compassion, o endlessly, endlessly, for existence as it is and the miracle of that Shining Stranger encountered on all our Emmaus road all the more Real-ing. Lest the bread be broken by that Stranger our eyes cannot see, cannot taste the Thou in existence extending Himself, or Herself as Kahlo-Christ, into our reaching hands and mouths to take, eat all of it. We take when we can see it, what is offered by that Shining Stranger who returns us to that 'Thou dimension', all our suffering then contained, held, though never satisfactorily explained so easily reduced to formulaic glibness as so much theology does to this day.
The Shining Stranger knows a rod rammed in - o touch his hands and feet, his bleeding side - and knows Miraculous Dimensions within the apparently real, discovers that very self to be a Miraculous Dimension, an experience, not a Word, nor an image, for both words and images do stumble punch drunk on the once was new Wine and word, those paper scraps unnoticed, unseen, unread, unheeded, or if heeded are only ITs, objects devoid of meaning, and not Thous, just one more 'drunk singng in a midnight choir (Leonard Cohen) '.
Emmaus is the road I walk. I pray still. I do not balk at strangers encountered there, shining or not. When words are put to 'Thou' purposes as the Shining Stranger did at the camp's cook-fire on the Emmaus road then at some point, when bread is broken eyes are opened, a whole loaf now rent into edible pieces rendering wholeness mouth by mouth, once teased ears suddenly recognize sense in sounding voice, that Meaning Itself is before them, feeding, teaching, reaching to touch our own wounded hands and feet, the bleeding sides. All is changed and yet we are returned to life again, as it is, but now having heard, seen and tasted, ever 'Christ-haunted' for such Grace lingers in aftertaste yet a foretaste, o Gloria, to say the least; even this lingering grace a feast, a proffered shining hand remaindering our own shine, dim in comparison but loved all the more by 'the Face', It's 'angels' shining.
Christ the Bread, also the Confounding Stone upon which all our glibness breaks.
This breaking tells. We are not unloved by that, that Rod and Presence Who knows and partakes of what Kahlo's images, as did her life as lived, portray. No blame. Only awareness of the stain which is existence, exquisite as the burial cloths of the One Rammed to a tree, suffering Divine Paternity, Kahlo arriving on the threshold of the bus which has just, yet again, circulatio, stopped at her stop to carry her forward into Legend.
Love, When You Biting Tear The Ear Of My Hearing Bear Me Then
This poem is for four poets, among many others, but have
profoundly influenced my worldview, selfview, and voice:
for four poets - Robert Duncan,
Jack Spicer, Robin Blaser, and
Grandfather Walt Whitman
Where is that Spirit which living blamelessly
Yet dared to kiss the smitten mouth of his own century?
- Oscar Wilde, from 'Humanitad'
Love, when you biting tear the ear of my hearing
bear me then upon a steel altar by hammers tongued.
Estranged men hard slam their bodies upon
what Shine's there, flares each punch metal
to metal reinventing the last century or the
one before - this man and this other now into
Man/Woman-forged-new-culture, allow simple
hand in hand, no demand/punish upon any 'Other',
no price in-breath or out but allow public all
possibilities of once hidden worlds.
Knotted muscle, nerved cord, by heart and heat
implore/defy no sky nor pliant dirt deny but cloy,
hand in hand require only dissolution of the Old
Masters tyranny by Numbers insistent upon reduction,
odd waters trail calcinations/calculations-bodies
born of even water into mists, continuously reft
from Given, riven from Dream, such freed from
virtual into literal placenta and spleen, striven
history reshaped redeems a value once consigned to
Hell-realms confining dark thoughts to matter.
But only one
Does not it all bear
the familiar arc say,
of just-dawn color,
mauve-play at the liminal
curve where sky beseeches
bounded space to give
its shapeless-nest a
Cause, a nape conformed/
convex from Orbis what
has been scored by breath
pressed upon it?
Who then falsely may decree
any matted clot, spark-charged,
blood engorged, may not body-charge
ahead and into 'other' merge so
must be flung expurged behind
neglected Moon or plunged through
the bruised ring of abjected Space?
Hear me now
Give form to
now dust me (I am)
Here me how
LOVERS JUMP TO DEATH FROM BURNING BUILDING
From late night collapse of limes
rum lovers leap to death in each others arms.
Upon the sill they lean resigned,
dead calm revolving in a yellow light.
Neither fright nor anger nor drunken joy
calls them to this moment but habit.
Each morning settles something and so
they resolve half asleep in the window to
disturb the air. With thickened tongues
they obediently fall bidden by fire
hidden in all alarms.
Madly Singing For The Mountain
for Andy Linton & Philip Whalen
...arrived via email this morning while I was reading Madly Singing In The Mountains, An Appreciation and Anthology of Arthur Waley. Waley did more than any other single man to introduce Chinese and Japanese literature to the Western reader. His translations were the first of Asian poems that I read in my youth, taking them with me always on the mountain trail, do so still when in Mexico where one can honestly sit beside a well, hear the desert mountains hum, near up to that poem/place and remember those old poets who waited months and years to hear from a fellow friend and poet via tattered letters born by foot and horse over mountain ranges through all kinds of weather...
Email, there's no time or travel in all that, so one has to conjure travel, the endurance, and will to keep moving, in other ways, so this arrives from afar in the morning wind chill through the Autumn window:
XL. 'Into my heart an air that kills...'
by A. E. Housman (1859-1936)
Into my heart an air that kills
From yon far country blows:
What are those blue remembered hills,
What spires, what farms are those?
That is the land of lost content,
I see it shining plain,
The happy highways where I went
And cannot come again.
Dear A. you haint sent me the Housman poem before but I am glad that you did...certainly sums up the inner weather and appoints one the always present task of contentment even if inner and outer matters are not in balance (if ever) (I gave up on balance long time ago...I rather see-saw, jee and haw, one ass at a time, testing each step for sure-footed-ness enough) ...
...time for you to get to those blue remembered hills and their equivalent within, the rough land therein to roam, find perhaps a view for a home, or rock, or glen, or stream and on and on...Taoism (not the kow tow and such but much there is indeed to bow to...funny and right that nature makes an old man naturally bow (and I'm bending more everyday, old knees can still pray despite my conscious will to curse) , bends him forward in advancing age bowing all the time in or out of mind) makes so very much sense to me in my old(er) age why I crave now some land beneath me, trees, hills, and a sky which is not quadrangled and tangled with wires and contrails, and a well would be nice and a porch and a nearby trail and a door without a lock for who would want to keep wandering spirits out, call in the fox and see what mischief is brought...and there keep humans far away/absent which may make my bitter heart the fonder for the fools that others and myself be and have been...nature's been the better friend so far (and books) , and you and others few who don't vex me much nor seem to be vexed by my past pissery and now growing, finally, curmudgeonly-leewardly-ness and cuss.
Remember this that I wrote when in the Blue Ridge much vexed by many and myself and reading via Waley that old fool and wise wiseacre Li Bao/Li Po? I'd been much in my cups and could not sleep inside that night so slept on the back porch hung over the stream flowing beneath, its good and non-judgmental company, lulled enough of me to slumber beneath the hard lumber of that old porch...woke up with the Waley book opened to Li Po's poem 'Alone And Drinking Under the Moon' (there was no moon that porch night) , managed to focus in the dawn light and read it again...then grabbed pencil and wrote:
Of Li Po Waking The Morning After (Cerca 1979)
'Let me be forever drunk and never come to reason!
Sober men of olden days and sages are forgotten,
And only the great drinkers are famous for all time.' - Li Po
'We share life's joys when sober.
Drunk, each goes a separate way.' - Li Po
Waking up among these frail green things,
by the stream I hear the hornets singing.
I do not fear them but I fear the sting
of light as day creeps into my shade.
I have read of sad and joyful things
under last night's moon and now I weep
for the Immortals fading from light
to light with their pockets of pine bark
and resin to chew, their wine of sorrow
to drink in their, and my, sorrowful season.
I am homesick for the earth as
these old poets knew it,
a thin veil of mountains,
winter birds pecking at suet,
some girls dancing, and a wife,
some young sons to pull the reeds up
fishing and weeping for my exposed
wino bones while I sit, drunk, pronouncing
upon the deeds of state. Pitiable.
Let there be leaving taking and coming to,
drinking and drinking again,
playing fool to the wisdom of the ages,
remarking at those unkind sages
who always smack their lips for war.
Give me again the hilltop cave,
the pilgrim come to call at the door.
Fires I will then light for this age.
Who comes to me in this season for reason
besides the bee and the mite, the winding gourd?
I have sat here in one spot so long
I begin to lose my sight. Look!
The stream is growing a beard in the daylight!
No word can bring back the Immortals but for wino joys.
There is a blight upon our time. I have been faithful to it
tipping my cup. The present is sufficient but I admit
I am ready to go. My time has come.
Leave the world to the scoundrels!
Now, olding up and bending low, I can truly shout,
Leave the world to the scoundrels!
and seek a lost contentment which, truth be told, I have never found but for moments which are good enough for me then and now...
Get a hike in this weekend, the leaves are bright there I'm sure, the air there breathable and pure unlike here...lucky you can have mountains so close at foot, a dooryard away there you are forwarding into pines...city bound and nigh unto penniless I will bow to the leaves within and keep inside today...too bright out there for my hellish mind...will read instead, of the Tao (a new book from Bloomsbury) and wrestle with a poem or two...get the ubiquitous pot of beans to a slow boil clogged with bacon, 'redolent' with garlic (just a fun thing to write) , and then get to the toil I love best (once the cornbread is in the oven) , poems, and wander the stacks awhile, my trails, find an old anthology I woke up craving, remnant of a dream, something Greek and of Argos, so want some Ritsos and Cavafy to match the mood since I can't get to any woods or Aegean...
Lastly, old friend, of old Ezra - the braggart bagged and penned then sent back to his chosen exile truly an exile from the inside out - one of his last Cantos writ, says he (from where he inwardly lived) , from Hell, seeking forgiveness, redemption, pray/plead his life work (of braying with footnotes a fractured Dantean ditty) (for all his cursed insanity and bigotry) that it/he (removing his hat and bending low) moved the cultural wheel goodly forward.:
What thou lovest well remains,
the rest is dross
What thou lovst well shall not be reft from thee
What thou lovst well is thy true heritage
Whose world, or mine or theirs
or is it of none?
First came the seen, then thus the palpable
Elysium, though it were in the halls of hell,
What thou lovest well is thy true heritage
What thou lovst well shall not be reft from thee
The ants a centaur in his dragon world.
Pull down thy vanity, it is not man
Made courage, or made order, or made grace,
Pull down thy vanity, I say pull down.
Learn of the green world what can be thy place
In scaled invention or true artistry,
Pull down thy vanity,
Paquin pull down!
The green casque has outdone your elegance.
Master thyself, then others shall thee bear
Pull down thy vanity
Thou art a beaten dog beneath the hail,
A swollen magpie in a fitful sun,
Half black half white
Nor knowstou wing from tail
Pull down thy vanity
How mean thy hates
Fostered in falsity,
Pull down thy vanity,
Rather to destroy, niggard in charity,
Pull down thy vanity,
I say pull down.
But to have done instead of not doing
This is not vanity
To have, with decency, knocked
That a Blunt should open
To have gathered from the air a live tradition
or from a fine old eye the unconquered flame
this is not vanity.
Here error is all in the not done,
all in the diffidence that faltered...
The final verse, Canto 120, was published posthumously. This is the entire Canto 120:
I have tried to write Paradise
Do not move
let the wind speak
that is paradise
Let the Gods forgive what I
Let those I love try to forgive
what I have made.
Will call in the horseman and his short-legged horse, roll up this scroll, tie it tight with good cord, wrap it secure in chamois, pay the restless postman his due, his room, his board, and 'mail' this to you over the ranges, that ocean, to that high place 3 days by foot, Chidisan, mighty dragon, allowing your weight.
We are all a scandal. Enjoy that fact.
Kow towing toward the West (though you are in the Far East) where you are just watching the sun come up...keep an eye for the horseman moving your way,