Metaphors on vision (1963)

ables the development of continuity and therefore an evolution upon language as we contemporarily know, it. All .contained within this book has died in the womb. I abort it to save the living organism, its origins ... itself a specimen .:. at best a museum piece ... of value only to the anatomical eyev There wavthen, something which is not— every split instant, and then some. Between MOVE MEANT then and now — a move meant, and now, and now, etc. And now then, and then, and then, ad infinitum — and then? How much human doubt does It take to beget the question mark? Yet if one uses it at each and every word step, does it finally ever mean anything? Yes. Every something when it'st>eginning implies its mark of quest begun, ,. becoming shield, gradually shunning, ply on ply for reign rain shed over hovel cover. Language languishes in its age, only poet fashioning, striking back-forward all of a wocd shuffle, and making, linguistic king's dome out of king doom, king dumb, or at \t . least be he only poet, makes', i.e., of his time, knowing in his writing there can be no civilization not rooted in civility, and knowing his being "decadent" is of his timeVhy way of "decay, "naturally, and feeling natural by way; of nature, and of his being searching out both the "born" and "produced" of that and the "past part.. .to be born" and either sentencing himself to be just so bourn or borne as a produce (intuitive of earthy, of ail earth, with room, womb, for the sand and the berg of Sandburg, the Frost of bobby, the Mase and the field of Masefield, or killing more, just originless "Trees, "or cut down and stacked to House mann, and so off and on for the last hundred year word rundown) or else he can sense "past part...to be born." and know his life is all^efore him, being back-for — less ward, and ward, less for, till ford, and then finally fore... again, with the gain implied, as Western — yet not to be then Western, but more what's imagined Eastern, but really what's just imagined and now then, by this one, unimaginable word wise, but rather envisioned. Or^/another way of saying some of the above: it took me three moves toward New York City and three away to recognize my own word relationship ~ to ward and a way, i.e., that it was not the Emerald City or anything like it/that it was not even City to me. Add to this a dozen or so other moves into and out of minor centers of incivility before I came to recognize that my visions were super impositions upon those cities and therefore to know and then to feel which of my moves was most meant, which would most sustain the internal ignition of those visions and what place meant most reception of their external ization, their comiqg out, as birth. What confused me most was "re" as before "naissance." It took a year's work in the commercial motion picture industry to make me really aware of what I'd always been awary of — Mad Ave's relationship to the Pope, both advertising Renaissance, cigarette smoke and soap bubbles being too much of a come down from flesh and blood to sustain even my ill usions — and to know now the transformation of re, or any, in its move to the other side of birth, to hold now, but not too preciously lest unjust gain enter too much in, to the envisionment of "born again"... and over, and over again, every split instant, ad infinitum — and then? A time for everything, questioning being path of least resistance in time of quest shunning only. Yet, either way —to ward or A (as in beginnings) ~ there is always implication of resistance, a psychological viscosity in humaness, proof positive or negative that every move is meant. What of proof negative, then the accident? The unknown, verbally, or unseen, visional ly, bend in path while one was bent on other purpose. As one can never know until after fact (as one never knows anger until incensed) un knowing sound-wise does imply in fact a positive. Purpose (pro poser) might as well read — to place for, or fore. Resolve: while one's path was bent on purpose, while will kept chance (to fall) in rhyme and balancing resistance. Take Re back far enough and you do get the Egyptian sun god, or scientifically, sterilly, enough and you get dvi -manganese. No, one must dance (per chance) with a word, to ward or a way, and in inter-relation to all words, passing from letter to lettering, understanding one's own Devi (dancing part-" ner) of deviate, or even oneself as deva (devine) in devastation. If one does then dance, recognizing the relationship of ac (cident) to ad and ic one does then come to know The Will less insistent (more re) and The Want a way (more in), a chance instead of accident, orK voiding the other in a void dance until all that's left (rather than right) is (rather than being) ... wanting (rather than wanted) ... a beginning (rather than a gaining) ... in (rather than on) ... time (rather than rhyme), etcj Or, to put it another way: we (wife and I) came to have faith less in accident than in chance (as in: to take a chance) and then finally in neither (a void), preferring prefer