Josef Koudelka (b. January 10, 1938 in Boskovice, Czechoslovakia)
Repetition enables us to form habits and to accept the world as familiar
Rhythm is at the core of human life. It is, first of all, the rhythm of the organism, ruled by the heartbeat and circulation of blood. As we live in a pulsating, vibrating world, we respond to it and in turn are bound to its rhythm. Without giving much thought to our dependence on the systoles and distoles of flowing time we move through sunrises and sunsets, through the sequences of four seasons. Repetition enables us to form habits and to accept the world as familiar Perhaps the need of a routine is deeply rooted in the very structure of our bodies.
The Memory of Place: A Phenomenology of The Uncanny
Side Effects blog
Throughout the book, a central theme-and one I shall return to-concerns how our bodily identity is shape through being touched by the past. What does this complex theme signify? The phrase “touched by the past” signifies more than being merely affected or in casual contact with the past. What does this complex theme signify? The phrase “touched by the past” brings us into a region of memory and temporality that elicits the moment personal identity is marked in either an affirmative or disruptive manner by the experience of memory itself. Coupled with this exposure to the formation of identity, the inclusion of “touch” reinforces the bind between temporality and materiality. Being “touched by the past,” sets in place the centrality of place itself, implying a kinaesthetic and sensual recollection of the past. The result of this bind between identity and materiality is a challenge to the idea that memory and identity are solely temporal phenomena.
Burning, he walks in the stream of flickering letters, clarinets,
machines throbbing quicker than the heart, lopped-off heads, silk
canvases, and he stops under the sky
and raises toward it his joined clenched fists.
Believers fall on their bellies, they suppose it is a monstrance that
but those are knuckles, sharp knuckles shine that way, my friends.
He cuts the glowing, yellow buildings in two, breaks the walls into
pensive, he looks at the honey seeping from those huge honeycombs:
throbs of pianos, children’s cries, the thud of a head banging against
This is the only landscape able to make him feel.
He wonders at his brother’s skull shaped like an egg,
every day he shoves back his black hair from his brow,
then one day he plants a big load of dynamite
and is surprised that afterward everything spouts up in the explosion.
Agape, he observes the clouds and what is hanging in them:
globes, penal codes, dead cats floating on their backs, locomotives.
They turn in the skeins of white clouds like trash in a puddle.
While below on the earth a banner, the color of a romantic rose,
and a long row of military trains crawls on the weed-covered tracks.
I spend all day in my office, reading a poem
by Stevens, pretending I wrote it myself,
which is what happens when someone is lonely
and decides to go shopping and meets another customer
and they buy the same thing. But I come to my senses,
and decide when Stevens wrote the poem he was thinking
of me, the way all my old lovers think of me
whenever they lift their kids or carry the trash,
and standing outside the store I think of them:
I throw my arms around a tree, I kiss the pink
and peeling bark, its dead skin, and the papery
feel of its fucked-up beauty arouses me, lends my life
a certain gait, like the stout man walking to work
who sees a peony in his neighbor’s yard and thinks ah,
there is a subject of white interpolation, and then
the petals fall apart for a long time, as long as it takes
summer to turn to snow, and I go home at the end and watch
the news about the homeless couple who met in the park,
and then the weather, to see how they will feel tomorrow.
Art and the Aesthete
Ethel Spowers (1890-1947)
‘Wet Afternoon’ (1929)