Some koi live for two hundred years
| October 6, 2011 | 
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by Hannah VanderHart
The holy outweighs the weight of unholiness, which I sometimes doubt is an actual substance and come to think of it, I often side with Aquinas: evil (now we are slightly changing subjects) is an absence of existence, no, that is wrong, evil is a failure to exist like the eye, have you seen the eye when it fails, when sight fails it is failing to exist.
How do you know you even know the essence of a single fly? I know you are bored if I threaten to call the planet holy but there you have it, I’m beginning to think the divide I have seen flickering sometimes flickering like two roads was a structure lovingly created and tended by me: that wall that division and rusty facade and now it’s breaking down, and everything glimmers green like the copper statue of the girl reading a book by the library’s koi pond, her head bowed the patina shining in the open air and sun.
About the Author:
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Fitzgerald's Depression Thomas Heise After forty, all life is a matter of saving face. For those whose successes have run out early, the years are measured less by the decreasing increments of honors achieved, than by the humiliations staved off and the reversals slowed. Among our canonical twentieth-century writers, none suffered this pronouncement—one avoids labeling it a fate—more than F. Scott Fitzgerald. Read More | How Western Europe Developed a Full Scientific Method Christopher Beckwith The lone survivor of traditional Western European ‘scientific’ culture is science. It has survived because it is now the handmaid of technology, without which contemporary civilization would collapse utterly. Anyone who doubts this should try to get a research grant for genuinely “pure” research. Read More | William Kentridge and The Benefits of Doubt Daniel Bosch He had started the series from inside Plato’s cave, so when William Kentridge launched his sixth and final Charles Eliot Norton Lecture with a retelling of the story of Perseus, he gave familiar things back to his audience — the myth itself, and art’s gesture of circling toward origin at closure. Read More |
