TRY TO PRAISE THE MUTILATED WORLD

I always think about it in a way
So inflected by the thought of places,
And of my distance from them; by other

People, and the measure of another
Year since they departed, that they get hard
To separate, like the thought of a day

From the day itself. I suppose the proof,
If there is one, is by analogy
With the kind of adolescent “knowledge”

I had on those afternoons in college
When I’d go to [the city], and the evening
Deepened, and then the lights came on. Aloof,

Yet somehow grounded in the real, it’s
Like an abstract diagram of a face,
Or the experience of memory

Drained of its vivifying imagery […]

Until the pure experience remains.
For over time, the personal details
Came to mean less to me that the feeling

Of simply having lived them, revealing
Another way of being in the world,
With all the inwardness it still sustains,

And the promise of happiness it brought.
So it began to take over my life—
Not like some completely arbitrary

Conception someone had imposed on me,
But more and more like a second nature;
Until it became my abiding thought.

—   John Koethe, section III of “The Secret Amplitude,” from Falling Water: Poems (Perennial, 1997)

(Source: apoetreflects)

mimbeau:

Ervin Marton
Le Dôme - Montparnasse - Paris 1950s

mimbeau:

Ervin Marton

Le Dôme - Montparnasse - Paris 1950s

nature-and-culture:

Édouard Boubat, 1983, ‘Parc de Sceaux, Cerisiers Japonais’

nature-and-culture:

Édouard Boubat, 1983, ‘Parc de Sceaux, Cerisiers Japonais’

elle-il-eux:

Henri Cartier-Bresson - Paris, 1953.

elle-il-eux:

Henri Cartier-Bresson - Paris, 1953.