On Beauty in Retrospect

“The great artists are the ones who dare to entitle to beauty things so natural that when they’re seen afterward, people say: Why did I never realize before that this too was beautiful?”

– André Gide

Impossible to Tell

Slow dulcimer, gavotte and bow, in autumn,
Bashō and his friends go out to view the moon;
In summer, gasoline rainbow in the gutter,

The secret courtesy that courses like ichor
Through the old form of the rude, full-scale joke,
Impossible to tell in writing. “Bashō”

He named himself, “Banana Tree”: banana
After the plant some grateful students gave him,
Maybe in appreciation of his guidance

Threading a long night through the rules and channels
Of their collaborative linking-poem
Scored in their teacher’s heart: live, rigid, fluid

Continue reading

Ahead of Existentialism

‘Did I request thee, Maker, from my clay
To mould Me man? Did I solicit thee
From darkness to promote me?’

– John Milton, Paradise Lost (1674) Book X, 743-5

The Chaos

Dearest creature in creation
Studying English pronunciation,
I will teach you in my verse
Sounds like corpse, corps, horse and worse.

I will keep you, Susy, busy,
Make your head with heat grow dizzy;
Tear in eye, your dress you’ll tear;
Queer, fair seer, hear my prayer.

Pray, console your loving poet,
Make my coat look new, dear, sew it!
Just compare heart, hear and heard,
Dies and diet, lord and word. Continue reading

To Work With Love

‘And what is it to work with love?
It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth.
It is to build a house with affection, even as if your beloved were to dwell in that house.
It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit.
It is to charge all things you fashion with a breath of your own spirit.’

– Gibran. K. 1923. De Profeet [The Prophet] Den Haag, The Netherlands: Mirananda (2000) p. 24-25


In Ancient Greece, the boustrophedon, meaning literally “to turn like oxen”, was the writing of alternate lines in opposite directions, one line from left to right and the next from right to left, like the oxen would do when ploughing a field.

Common styles of boustrophedon writing include:

  • Inversion of every other line, but not the words themselves.

E.g. So again we have learned something,
Greek the about joke cheap a making of instead
civilisation upon which everything around us depends

  • Inversion of every other line, as well as the words themselves, but not each individual letter.

E.g. gnihtemos denrael evah ew niaga oS
daetsni fo gnikam a paehc ekoj tuoba eht keerG
sdneped su dnuora gnihtyreve hcihw nopu noitasilivic

  • Inversion of every other line, the words themselves as well as each individual letter.

Some Etruscan texts have also been written in boustrophedon style, as have some early Hungarian and Polynesian scriptures.