I’d been waiting for life to come

It was my mistake

As I see you pass by

And I stare

I just can’t move

To the order of my legs

I’m numb

You talk to me

I can’t listen

You touch me

I can’t feel

My breath away

While I sit

The wind brings me memories of your scent

The sea recalls your voice

In my dreams I see your face

No turns

No excuses

I’ve been gone

And all I can

Is watch you go

My song

I sing for you

I can’t listen

You touch me

I can’t feel

My breath away

I’ve been gone

My song

I stare

I’ll stay

My dear teacher wanted the class to write “a general definition of nature, including its positive and negative aspects and how it influences culture”

obs. all he talks about in class are “the markers: anarchy, hierarchy, religion and nature”

This is what I wrote first:

Although the definition of nature is often written to differentiate animals, plants and landscape from people, humans are essentially a part of nature. The same neurons, neutrons and electrons build everything that exists, and surround it with the same mystery of simply being. Any form of human production and interpretation gathers a physical part, connected on its roots with the environment, and an abstract part, imagination. Similarly, the seasons are merely a concept created to categorize patterns in nature. The same ideas linked to the changes in weather can be postulated to cultural phenomena. The flame, the passion, the intensity of summer can well explain religion; the coldness, fear and seclusion of winter are characteristics of hierarchy; the falling leaves, death and apparent chaos brought by fall are also traits of anarchy; and, finally, the warmth, color and life in spring are certainly associated with the reason why civilizations call nature, mother.

he told me I needed “to focus on the specific negative aspects of nature as well as the positive aspects of nature”

This is the reference he gave the class:

“Nature is always a presence in any piece of fiction; its presence always varies. It appears as mountains, hills, prairies and deserts as general topography. In particulars, we know nature in rivers, lakes, streams, bayous, springs and brooks. We know nature in trees and vegetation. We know nature in rains, hurricanes, floods, droughts, landslides and earthquakes. We know nature in temperature and seasons. We know nature in the quality of soil on which we live: sometimes soil is rocky and barren; other times its is loamy and fertile. we know nature as a positive force as well as a negative force.”

(the part in italic is not me mistyping)

This is my second draft, with his comments:

Human culture is influenced positively and negatively by the different facets of nature.  Eliminate:Its abundant colors and shapes have inspired several artists such as Monet, Picasso and Van Gogh.   Amplify: Penicillin, Arnica and Chamomile are important therapeutic assets discovered through interaction with the immense variety in flora and fauna. An array of natural resources, including lumber, minerals and fossil materials offer the possibility of technical development in agriculture, transportation and communication. On the other hand, tsunamis and floods have destroyed entire cities, amongst them Lisbon (1755), Arica (1868), and Hilo (1946). Malaria, AIDS and Cholera still kill thousands every day and famine has generated war and conflict between Peoples throughout time.

He also said I needed to be more specific.

I don’t know what to do, seriously. I am specifically desperate.

WARNING: Bloody boring. I have the two pdfs in case you’re interested.

———————————————————————————–

A Comparison of Critical Views on the fairies in Shakespeare’s Midsummer Night’s dream

The studies by Minor White Latham in The Elizabethan Fairies (Columbia University Press, 1930) and Roger Lancelyn Green in Shakespeare and the Fairies (Folklore, Vol. 73, No. 2, 1962) are examples of research generated by a timeless admiration for fairies. Both authors regard Shakespeare and his Midsummer Night’s Dream as the focal point for the emergence of the modern fairy, giving rich and detailed arguments to prove their point, but fail to identify the cognitive importance of the theme.

Later fairies were considered plain pranksters, whereas the tricks played by the ones depicted in Shakespeare, become blessings. Green suggests the elves in Brut, by Layaman and the fairies in Chaucer’s Merchant’s Tale as possible inspirational sources. The resemblances are pointed out by Latham: the forest as ambiance, a preference for night time, a taste for singing and dancing, ability to find jewels, obsession for cleanliness, and presence of a human changeling (179). The references to kidnapping, mischief and danger have “been removed from the picture” (Latham, 180), presenting instead kind fairies “with a King and Queen who wish well to mortals” (Green, 93).

The two authors also identify Oberon as a clear allusion to the Auberon from Huon of Burdeux, and Titania to the Diana, from Ovid’s Metamorphoses, but at the same time agree that both king and queen differ a great deal from their predecessors. While humans feared Auberon, Oberon cares about Helena and wants to bless Theseus and Hippolyta’s wedding. Titania’s love for the orphan Indian boy shows some tenderness that Diana lacked. Latham argues that the sovereigns, although dressed with virtues and strengths from their mythological relatives, show a distinct connection with humans; they are “unfailingly beneficent and altruistic” (181). Green sees this different attitude as a product of previous amorous relationships between the fairy and human royalties (92).

This possibility of carnal interaction, though, is intriguing since the fairies are small enough to fit inside acorn cups. The reduction of size is celebrated by Latham and Green as a turning point in the history of fairy-tales. According to both texts, no previous literature or references to spoken traditions seem to depict fairies as miniature creatures. The speech Shakespeare wrote for Mercutio in Romeo and Juliet about Queen Mab, describes the fairy as “In shape no bigger than an agate-stone”, ratifying the two critics view. After the Midsummer Night’s Dream is published, in the 1600’s, an abundant number of tiny fairies is seen in many literary works, immortalizing Cobweb, Peaseblossom, Mote, Mustardseed, Titania and Oberon.

The evidences and points of view of Latham and Green delineate the picturesque nature of Shakespeare’s fairies, but do not clarify why they outlived their ancestors. The first critic states that the new version destroyed the ancient belief (193), but why? The new invented god-like features might be as appealing as the early demoniac ones. Green comes closer to an answer, concluding that the “’otherness’ of sheer ‘fairydom’” is what gave the fairies descendents in the following three hundred years (103). The importance of what he called ‘otherness’ and ‘fairydom’ resides in the awe of mystery to the human psyche.

While there is something magical and unreachable in a character or theme, it will survive and be re-told, re-invented, re-lived. That may be because it is a challenge, or because it withholds the possibility of containing answers to the nature of Man and existence, but most importantly, the mystery is a favorite because it resembles the emotions and feelings that cannot be touched, giving them a credible portrait.

” I know that I know nothing” – Aristotle

“We are stardust” – Joni Mitchell

“Nothing is created, nothing is destroyed, everything is transformed” – Lavoisier

 “We forget because we must, and not because we will” – Matthew Arnold

“Truth is nowhere to be found” – Isaiah 59:15

I’m always surprised when someone tells me they don’t think culture is important.

I have this belief that I should constantly re-evaluate my thoughts and ideas, so I’m always willing to imagine a world without culture.

Well, first of all we wouldn’t be able to talk, but let’s pretend that communication is not culture. All monuments and works of art (literature, music, painting, sculpture, etc) would be destroyed in a big “Indiana Jones” style (ups, movies are gone too)explosion. What a happy moment, when the only sound in the world would be that of machines and the only view, smoke. Do we want to resemble what we produce or do we produce in resemblance to ourselves? The practical is now god. Abstraction, philosophy, art are the devil; distracts us from being The Perfect Human Beings, productive in a “practical” way. Even though science keeps doing one mistake after the other, having to correct itself and find new parameters, Science is The Truth. The big explosion would certainly be a problem to our fallen angels… Not a lot of evidence about human psyche, how to deal with mental diseases, social disorders, and so forth. Guess this part of humanity could die after the explosion. Useless, you know. Man is a gadget. What do you do? I cut wood. What do you do? I put two cut pieces together. What do you do? I make screws. What a wonderful world.   (Ups, sorry, forgot about the explosion). Each person has a “read-me” chip, which they insert into the other person’s hd and then, well, that would solve the talking problem! Chips (can’t quite imagine a chip without design, but oh well).  Reproduction has to be measured. Why having a bunch of kids who might have mental diseases and then have to be sacrificed anyway? In the end you don’t even need to have sex, ’cause, you know, not very practical. Electrical waves at night give you better and safer pleasure. No suffering (no happiness either). Only plain living. Ah, the safety of living cultureless (Ups, no neologisms) without culture!

 – Ana, you’re being too dramatic! I am only saying that those dead guys are not important in education.

– So, what do you suggest? Give me one example of one thing that doesn’t have any influence of any kind of “those dead guys”.

– Geography!

– You don’t need math for Geography? You think maps doesn’t have history?

– We don’t need the dead guy. The satellites can make the maps.

– So you believe knowledge is intrinsic?

– in.. what?

– Never mind. How would you come up with statistics, analysis of the knowledge you have today without comparing it to previous works?

– If it works, it’s good. You can make statistics out of one work.

– And if it doesn’t work?

– Then we try again.

– Wouldn’t it be helpful to have other stuff you can look up to for ideas?

– Sure, other living people’s ideas.

– So, no competition, everybody should cooperate in the length of their life with their ideas and as soon as they die, those ideas are extinguished with them?

– Why no competition?

– Because you are just cooperating to make a map.

– We can compete to see who makes the best map.

– Would you give your ideas freely to a person you are competing with?

– Ok, what’s the problem with no competition, aren’t you defending a global value for culture?

– Yes.

– You are a drama queen.

– I probably am.

When my eyelid pulses, I know I’m going to cry unexpectedly.

I’ve tried everything.

Anticipated the tears so I could control it.

Decided not to cry for ANY reason.

Pretended I didn’t notice it.

Avoided People.

Avoided Books.

Tried to sleep through the day.

Went to parties.

Read Books.

Nothing works. My pulsing eyelid forecast never fails.

It is pulsing.

Anachronic

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