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"The Monument"
Now can you see the monument? It is of wood
built somewhat like a box. No. Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless. A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it...
"But that queer sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted. It looks old."
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking."

It is an artifact
of wood. Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood. Watch it closely.
--Elizabeth Bishop


"Your whole life you are really writing one book, which is an attempt to grasp the consciousness of your time and place--a single book written from different stages of your ability."
--Nadine Gordimer


"Naming is a difficult and time-consuming process; it concerns essences, and it means power. But on the wild nights who can call you home? Only the one who knows your name."
--Jeanette Winterson, Oranges Are Not the Only Fruit


"I'm a witch woman; high on tobacco and holy water. I'm a woman delighted with her disasters. They give me something to do. A profession of sorts. I have the magic of words."
--Sandra Cisneros


"To give a cause to damage is to contain a mess, to mop up a spillage. The figure of the feminist killjoy is rather like that of the broken jug: she too flies off the handle, an expression used to indicate the suddenness of anger.

"Maybe she snaps. She is snappy.

"Think of when a twig snaps. We might hear that snap as an origin of a movement, as the beginning of violence, because we don't notice the pressure on the twig. A feminist understanding of power attends to what I called in The Cultural Politics of Emotion (2004), 'a history of reaction,' a history that tends to be erased, of bodies that are pressed, contorted, reduced, by what they come up against.

"A snap is not a starting point.

"She snaps; it shatters.

"We can be shattered by what we come up against; we can shatter into a million pieces when we hurl ourselves against those walls, those hardenings of history."
--Sara Ahmed, "Fragility"

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