The scrolls contain the following of my poems in free letter distribution:
Enfold
the planet earth
world-encompassing
make it resound
with the small
and stammering voice
with the stammering
and gathering call
with the word
that was in the beginning
and worked with the breath
of regeneration
within you and me
enfold the planet earth
And do not forget the animals
our wordless siblings
do not betray them
for they crave justice
just as we do
return their dignity
return their rights of life
to them only thus may
the secret of human being
be rediscovered
as a light in the darkness
in the name of all
that lives and breathes
do not forget the animals
our wordless siblings
do not betray and market them
take not their dignity
away from them
Today the box arrived in the morning. What will I put in? Hopefully everything, or even better: The best. Before I start working I’ll make an extra walk through the garden, maybe I’ll be able to think of a more concise way of what I want to do because ‘the best’ is a kind of program, a wish, not an image. In any case, I’ll take the box with me, just like the little key for the upper garden. This garden begins behind the very romantic door that we once discovered hidden under a thick layer of ivy. Then we also discovered cannonballs made out of stone, old fashioned roses, wild orchids and rare lilies. All of which we probably owe to the nuns who had owned this garden. There also is an old, old walnut tree. I think of the history of the garden first owned by knights and later by the nuns. Since when do gardens exist in general? Looking at this carefully it seems that the history of gardens is very old as the history of mankind. Opening the door, I am thinking of PARADISE, but my small, ordinary key brings me back into reality. It cannot be compared to the masterpieces that we usually see on old pictures in the hands of St. Peter. I feel a little sorry looking down at my machine-made product. But, on the other hand, it is important to know what a key can do, not what it looks like.
Awareness goes back and forth between the reception of the piece of fake chocolate and the reception of the model of a seemingly dislocated house.
Question: Would you possibly, lost in thought, make little balls out of the wrapping paper of the chocolate that you have just eaten and/or ever tried to penetrate the deeper meaning of the many ways of reoccurring walls?
The little showcase represents nothing unusual in connection to museum life if it were not for the object on display missing. One becomes aware of many suggestions and clues on the object concerned.
Simple tape markings on the bottom of the case and the glass say: FRONT, BACK, ANOTHER, ONE. The signs are to be read from the inside, not from the outside, thus we can read the direction from the side from which we are just looking out the showcase. The rest of the directions remains to be read backwards. To imagine to be in the case does not stop irritation, because the pane says FRONT is not opposite of the one which says BACK. It is impossible to relate ONE-ANOTHER- BACK AND FRONT to a single central point. Wherever one is standing, in reality or in imagination, we are bound to arrange these terms in a systematic order related to the surrounding space.
This space has to be considered not only around the vanished object, that is, the inside of the showcase, but also the space all around the showcase.
A Strange Tricky Game: contradictory and meaningful.
People say that in some northern farmyards a cover closes the wells that are not in use anymore. The owners justify this closure, saying that children or visitors could, accidentally, fall to the bottom of one of these wells. The truth is that their motives are less thoughtful. What they fear is not that somebody might fall, but that the child who was thrown to the bottom of the well, like a family secret, suddenly surfaces again to the world.
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