Cuttings version 2.0: a book about happiness

I began blogging on this site on Jan 8, 2003: 21 years ago. I’ve posted more than 4,000 times so far.

To celebrate last year’s 20th anniversary, I selected about 70 posts on a general theme: whether and how to pursue happiness. I edited and organized those posts so that the juxtapositions intrigued and pleased me.

Some entries are short philosophical essays, usually responding to a quotation from a classic work. Some respond instead to literary texts, especially poems. Some are translations; a few offer original verse. The entries are meant to relate to each other, but the transitions are loose and suggestive.

I used the Four Noble Truths of Buddhism as a scaffold for the whole work, even as some of the entries explicitly challenge some of those theses. The text is meant to represent gradually increasing wisdom and equanimity. Unfortunately, that arc does not describe the real me. I didn’t write the entries in the order they appear. Ethical or spiritual growth is a literary conceit, not an autobiographical report.

I did not seek to publish Cuttings 1.0, because I saw it as a work in progress. As planned, I am now celebrating 21 years of blogging by issuing version 2.0. I have added and subtracted substantial amounts of material and reorganized and edited the whole text to produce this new version. I plan to do the same again in the future.

You could download a PDF version of Cuttings 2.0, click to view a Google doc version, or download an .epub version, which requires an e-reader like iBook or Kindle and provides the best experience. If you want an .epub version emailed to a regular email address or directly to a Kindle, please enter that address here.

The new cover art, which is in the public domain, is a still life by the Master of the Vanitas Texts, ca. 1650. I chose it because it illustrates “cuttings” from both plants and texts. Although those snipped things are now dead, we might coax them to regenerate.

As always, comments–including critical ones–are appreciated and are really the best reward.

(By the way, this anniversary might be an appropriate moment to advertise that you can subscribe to this blog as a weekly email, just like a Substack, or follow it on Mastodon, Threads, BlueSky, or Twitter.)

The Robe (a retelling of The Platform Sutra)

The Patriarch spent almost all his time alone in his study. Everyone assumed he was in there meditating or reading, but usually he was worrying. The finances of the House were fragile; loans barely covered monthly expenses. Although he was the only one who understood the financial situation, everyone seemed tense and unhappy. The Patriarch often saw people whispering and scowling and scurrying away.

Years earlier, the Patriarch had experienced insights that had brought him peace. He still considered himself a person of wisdom, but its actual meaning was now dim.

“I wish I could retire!” he said aloud. “I wish I could give my red robe to someone else. Then I could return to my inner life, before it’s too late. But who would succeed me? Who has enough skill and integrity to keep our House intact? Would my successor even protect me physically? I wouldn’t it put past some of these people to stab me in the back–quite literally!–if I renounced my robe.” And he pulled it tighter around his skinny frame, as if for protection.

The next day, as he received the usual line of tattered pilgrims, the Patriarch mentally tallied the likely expenses of alms for the poor visitors versus any possible revenue from those who might donate, and his mood sank below even its usual level.

One of the supplicants looked particularly poor, a youth in rags who might also be a foreigner. “And what do you want, boy?”

“Sir, I am only an ignorant street beggar, but I heard a man recite a poem that spoke to me as if I had known it already. He said that it comes from a book that brings unlimited merit. I have traveled all the way here in the hopes of being taught to read this work and other classics.”

The Patriarch’s interest was piqued. “Which verse did you hear?” he asked. The boy replied:

A flash in the night sky, a breeze,
All other things are just like these.

The Patriarch thought: “It is very clever to quote this particular couplet to me. He’s hoping to be admitted to our House. Maybe he simply wants daily rations and a warm place to sleep. Or maybe he has been trained and coached by someone who hopes to profit from his advancement. Still, he has talent–or at least someone does–and talent is scarce around here. I will test his obedience and see if I can make use of him.”

The Patriarch assigned the boy to work in the kitchen and asked the head cook to report regularly on his attitude.

A few days later, after much anguished dithering, the Patriarch decided to move ahead with a succession plan despite his own grave reservations. At the daily House meeting, he announced it:

“It is time for your venerable Patriarch to retire so that he can better serve you through private mental exertions. Someone else may gain merit from holding this burdensome office. All of you, go to your cells and write verses that demonstrate your understanding of our essential teachings. The author of the best poem will take the red robe.”

All the brothers except one thought to themselves: “There is no point. S. will write the best poem, or at least, the Patriarch will prefer it to anyone else’s. S. is obviously his favorite. Let S. write something and become our new leader. Maybe he will prove more competent than the boss we have today, and our living conditions will improve at last.”

As for S., he paced back and forth in his cell, thinking, “I must write a poem, but it probably won’t be any good. The truth always seems to elude my words. Maybe my motivations are wrong: I am striving to succeed when I should cease to strive altogether. But then I would write nothing, and the Patriarch would be disappointed. Besides, someone else would take over, and who could possibly do a decent job? I will do my best and post some anonymous lines on the wall. If the Patriarch approves them, I will acknowledge that I wrote them. If not, life will go on as before.”

He spent the night hours scribbling and erasing, sometimes giving up for a while and even wailing, “I’m finished! I’m finished!” At last, near dawn, S. tiptoed into the long main corridor and wrote these words on the wall in the most generic handwriting he could manage:

The body is a holy tree; the mind is a mirror.
Polish it constantly; make it ever clearer.

He scurried away, feeling ashamed, and lay awake until the morning meal.

When the Patriarch went for his rounds, he saw the poem and recognized S.’s hand immediately. The results did not surprise him: two conventional similes. He made a show of enthusiasm, saying: “Everyone, gather around and read these lines. They will do you good.” Then he went back to his study and put his face in his hands and tried to steady his turbulent thoughts.

S. knocked on the door and the Patriarch admitted him. “I presume you wrote the couplet on the corridor wall?”

“I admit it, sir. Is it any good at all? I meant to express the value of continual polishing, not to imply that the mirror can ever be clean.”

“Perhaps it is good enough,” said the Patriarch, privately acknowledging that he could have done no better. At least his plan was unfolding as he had expected. Soon S. would shoulder the burdens of office. The Patriarch did not think that S. would allow anyone to harm him in his retirement–assuming that the House remained in business at all.

At just this moment, in the kitchen, the beggar boy (who was grinding grain as always) overheard a more senior cook recite S.’s new poem. He asked where it came from and heard the story of the competition to become the new Patriarch.

“May I see the verse as it’s written on the wall?” he asked. “I cannot read a word, but I would like to pay my respects.”

The cook thought that this foreign boy was a good kid, quiet and hard-working. He always accepted teasing in a positive spirit. He showed the lad the poem.

Standing before it, the boy said, “Do you think you could write something for me? I promise I will do your chores as well as my own for a whole week.” And with his guidance, the cook wrote these words on the wall:

What's holy is no solid tree; mind is always clear.
What kind of substance could ever leave a smear?

The boy thought to himself, “The Patriarch will sort of appreciate this. Whatever he may privately experience, he at least understands the logic of his own teachings, and this verse expresses the conclusion more precisely than that ignorant poem by some old monk. But maybe I can do better.”

He asked the cook to write just one more couplet below the previous one.

A mirror with no surface or back:
What could that suffer or lack?

The boy thought: “This is the best answer, I think. At any rate, a paradox is always the most intriguing kind of thought, and someone might actually benefit from pondering this one. I have many ideas for running this House, and surely my skills will now be recognized. I cannot believe how many times these brothers have listened to lectures and readings without learning how to write. Honestly, it’s not that hard to come up with an enigma.”

On his evening rounds, the Patriarch encountered a knot of brothers gathered around the three verses, arguing about their meaning and which one was best. He could tell from the way they treated the beggar boy that he added some of the lines. The Patriarch’s first impression was confirmed; this youth understood the moves that one ought to make. But the Patriarch was not sure what to do as a result.

“All of these are useful,” he said, “but none is truly satisfactory.” And he walked back to his study, cultivating a mysterious air.

This time, it was the youth who knocked on his study door and acknowledged having written the verses.

“You can have my robe,” said the Patriarch. “I certainly don’t want it, and it seems that you do. We can say that I transmitted my teachings to you tonight, although I think you already get the point.

“The question is whether you really want this job. I have not disclosed our financial situation, but you may not want to inherit it. And you must realize what a fractious, quarrelsome group we have here. Frankly, if I were you, I would accept the robe as a sign of authority and go as far from here as you can. Use my gift to justify founding a whole new house. But travel quickly and watch your back; I wouldn’t be surprised if some of our friends try to track you down and even kill you for the Patriarch’s mantle.”

“And what of you?” asked the youth. “How will you manage if this House has no leader?” He watched the old man with sudden sympathy.

“Ah” said the Patriarch,

A flash in the night sky, a breeze,
All other things are just like these.

Sappho 31

That guy       a god
who sits       near you
Your voice     your eyes
For him

My heart       it stops
My tongue      it's stuck
To watch       you there
with him

I sweat        I'm cold
I shake        I'm pale
I'm grass      that's bleached
I'm stunned

My lips        won't move
My ears        hear buzz
I spark        lit up
I'm done

This poem by Sappho, which survives in the fragment beginning phainetai moi (“it seems to me”), may be the best known and most often translated lyric from ancient Greece or Rome. Here are 43 translations, offering diverse responses to Sappho’s lines and illustrating the evolution of English since the 1500s.

I tried a compressed translation, with no adverbs, no adjectives as modifiers (only predicates), and the fewest words possible. I chose 30 iambs to stand for Sappho’s 202 syllables. I consulted the Greek text but had many difficulties with the dialect (Aeolic), so I leaned on previous translations. This is like an amateur’s sketch of a famous painting, merely recording the outlines.

I agree with readers who see three persons here: the narrator, a man, and the “you” who is giving attention to that man. If the narrator is Sappho (or has her gender) then the poem is spoken by a woman who loves “you,” and you could be a second woman. However, the genders of the narrator and the beloved are never specified and can be imagined differently.

In a somewhat less compressed version, the man mentioned at the outset would not be a god. The text says that he seems similar to a god, and the point may be that his situation is divinely fortunate. The narrator is paler green than grass; and a thin or delicate signal fire flows through her. (I can’t help thinking of an electrical charge.) At the end, she says it seems she’s nearly dead, the verb “to seem” echoing the first line.

But that wasn’t the end of the original poem. This is all we have of the remaining stanzas:

But things      go on 
[…]             The poor        
[…]

One of many debated points is whether the narrator is jealous. I doubt it. She (?) focuses on and talks to the other person, and perhaps neither of them cares much about the man. Hence my somewhat dismissive opening (“That guy …”).

Another good question is what Sappho wrote after the last words that survive: “But all is to be endured, and the poor man/person …” Our text ends there because this poem only survived as a quotation in Longinus’ On the Sublime, and Longinus left off in mid-thought. Although I blame him for the lost strophes, I also find this a moving place to stop. Things must go on; we know that. But how did Sappho actually go on? And what did she say about “the poor”?

See also: when you know, but cannot feel, beauty (on “The Ode to a Nightingale,” which is influenced by Sappho 31); “The Wedding of Peleus and Thetis,” the sublime and other people, and “Madonna è disiata in sommo cielo.”

shelter

Dog in a shelter
Startles at unknown noises
So he’ll be put down

So he’ll be put down
On the long roll of heroes
He goes over the top

She goes over the top
Merges right and sees the long
Straight way to the end

Straight away to the end
Of the action flies the mind
Neglecting the act

Neglecting the act
The startled noisy mind
Bolts from shelter 

See also: Nostalgia for Now; Mindlessness; When the Lotus Bloomed

highways on the sea: from Machado to Paolo Freire

This is a perfect short poem from Antonio Machado’s Proverbios y Cantares (1912):

     XLIV

Todo pasa y todo queda:
pero lo nuestro es pasar,
pasar haciendo caminos,
caminos sobre la mar

Everything passes and everything stays,
But ours is to cease to be. 
We make a highway as we pass,
A highway on the sea. 

Machado had already juxtaposed caminos (roads, paths, journeys) with el mar (the sea) in the second poem of the volume:

     II

¿Para qué llamar caminos 
a los surcos del azar?... 
Todo el que camina anda, 
como Jesús, sobre el mar. 

Why designate as highways
furrows left aimlessly? ...
Anything that travels moves,
like Jesus, on the sea.

The same pairing recurs in the most-quoted lyric of the whole book:

     XXIX

Caminante, son tus huellas 
el camino y nada más; 
caminante, no hay camino, 
se hace camino al andar. 
Al andar se hace camino, 
y al volver la vista atrás 
se ve la senda que nunca 
se ha de volver a pisar. 
Caminante, no hay camino, 
sino estellas sobre la mar.

Traveler, the highway
is your footprints, nothing more;
Traveler, there is no highway,
you make it as you walk.
As you walk, you make the highway—
and the path you see when you turn back
is the route where you'll never be.
Traveler, there is no highway,
save for stars upon the sea.

In 1987, the Brazilian educator Paolo Freire (then 66 years old) and the American organizer Myles Horton (82) interviewed each other at the Highlander Folk School in Tennessee, which Horton had led. Freire says, “Myles, I think we could start our conversation by saying something to each other about our very existence in the world.” A little later, he adds, “It’s very important for Brazilian readers to have information about Myles. About me, they have already, but about Myles they don’t have and it’s very, very important.”

Horton adds, “Yes, but the people in this country need the same thing about you.” He then proposes to talk “mainly [about] the things that would help people understand where I came from in terms of my ideas and my thinking, what they are rooted in. Is that the idea?” Freire replies, “Yes. Everything you recognize as something important. I think that even though we need to have some outline, I am sure that we make the road by walking. It has to do with this house [Highlander], with this experience here. You’re saying that in order to start, it should be necessary to start.”

The resulting book, We Make the Road by Walking (Horton & Freire 1990), explains in a footnote that Freire is adapting “a proverb by the Spanish poet Antonio Machado, in which one line reads “se hace camino al andar,” or “you make the way as you go.”

For activists, this phrase suggests that people can make new pathways by taking action, and perhaps that we should learn the trails that our elders have left for us. But I think Machado’s original point was apolitical. He meant that the stories we tell about ourselves are not permanent–or even important–and they vanish as we pass through them.

Translations by Peter Levine. Photo by Candie Carawan in Horton & Freire, We Make the Road by Walking (Temple University Press 1990). See also: Machado: Glory is never what I’ve sought; Lorca’s rivers

Statistics

(Apologies to Wislawa Szymborska)

Attentive to all in a conversation:
Ten percent of the population. 
Someone's shame provokes a laugh:
Often true for over half. 
Ready and willing to reconcile:
Rare below the top quintile. 
Twenty percent, plus-or-minus three:
Those who’ll let an eccentric be. 
Almost three out of every four
Are quick to pity the sick or poor,
But doing something to counter hate: 
No more than one in any eight. 
Scoring high on all these measures:
We've found no such human treasures.
Of compassion, pure examples?
One or two in all our samples. 
But needing someone’s forgiving love:
Ninety-nine percent thereof.

See also: Cuttings: A book about happiness

reflections on modern Granada (Spain)

We’re leaving Granada tomorrow after living here for three months. My limited Spanish and a certain shyness have prevented me from learning a lot about contemporary life here. I feel better informed about the distant past than the present. Nevertheless, I’ll venture a few observations and hypotheses.

For those who have not seen it, the most salient feature of Granada is its beauty. The castle-palace of the Alhambra caps one hill, but around that romantic building are bigger summits, and the snow-capped Sierra Nevadas form the backdrop. Whitewashed houses with flowering gardens and little squares cascade down the hill of the Albaizin, where we lived. On the plain below are fine boulevards, marble-paved squares, and baroque domes.

Granada is not a big city. The population of the municipality is only 230,000. Although some legally protected green space has been lost, farmland and wooded hills remain in view. The university enrolls about 60,000 students, not concentrated on one campus but distributed through several neighborhoods. Numerous foreign students either visit the university or study Spanish in private schools. As a result, the population is quite youthful and informal. Hardly a business suit is seen.

Since three million people visit the Alhambra each year, the city is full of tourists. A substantial portion are Spanish, but Granada also draws people from the rest of the world, ranging from backpackers to bourgeois families to big tour groups. And there are many expats and some refugees. No particular foreign language dominates.

Andalusia is still fairly poor and dominated by agriculture. The region’s per capita GDP is $18,500, similar to Sicily’s and much lower than $42,000 for the EU as a whole. Many rural people moved to Granada in the postwar period and settled in neighborhoods like El Zaidin, where, apparently, conditions were at first pretty rough. I have walked through every part of the city proper and found all the streets pleasant: bustling, clean, safe, and well served by public transportation (including a brand-new subway line) and other facilities. Perhaps some of the apartments are small.

Rural life usually feels far away, but not always. We could regularly hear a burro bray from our house, and once we watched a man herd his goats up a nearby street.

Granada retains a small-town feel under the surface. On the bus that I often used to take home, the older clientele would frequently greet each other by name. People walk their dogs off-leash and leave them to wait outside of stores. Many enjoy a paseo in the late afternoon.

For me, a rough indicator of globalization is the variety of food. In Granada’s supermarkets, virtually all of the ingredients are meant for Andalusian dishes or Italian-style pizza and pasta. Except in the biggest “Ipermercado” and one little shop owned by a South Asian man, stores typically offer a single shelf with a few bottles of soy sauce and some “Old El Paso”-brand seasoning as their only foreign ingredients. Likewise, 98 percent of the city’s many restaurants offer Andalusian menus with very similar dishes. The situation is completely different in Madrid, where one can buy ingredients or cooked meals from anywhere in the world.

The previous paragraph is not a complaint. For one thing, Spanish food is good! Besides, we enjoyed being immersed in a place with a distinct culture. I do think Granada might be behind the curve (for better and worse) on globalization. That doesn’t mean it is unsophisticated, although some Castilians and Catalans may think so. For instance, the city boasts at least 14 independent bookstores, presumably serving the university community. It seems characteristic of Granada that these stores stock many new books for serious readers, yet almost every volume is in Spanish, and most are by Spanish authors. The same was true at the extensive annual book fair. One gets a sense of mild insularity–and pride.

There is a long and rich literary tradition of describing Granada as melancholy. As I wrote recently, Richard Wright observed Granada and all of Andalusia as fanatically Catholic, haunted by history, and static. I am reminded of how writers use the Turkish word hüzün (meaning something like “communal sadness”) to describe Istanbul. In both cases, outsiders are inspired by the tragic remains of past grandeur. In both cases, some local people adopt the visitors’ melancholy as their own. And both descriptions mislead.

In fact, Granada can give an impression of frivolity and subversiveness. Spanish people from other regions like to visit the city for pre-wedding parties. They dress in crazy matching costumes and tease the blindfolded fiancés. Although they are generally segregated into “hen” and “stag” groups, you see individuals expressing various gender identities. For every nun in a habit, there must be a hundred young people with tattoos and piercings. The graffiti art by El Niño de las Pinturas and others is well-known.

The first thing that Castilians say about Granada is that the Arab-Islamic heritage is strong there. They are not wrong. In our neighborhood, the layout, the surrounding walls, and the water system all date to the Emirate of Granada; and at the bottom of our hill, the Guadalquivir is simply the Wadi al-Kabir: the Big River.* More subtly, the streets are still repaved with black and white stones, a continuous practice since the Arab period; and even modern doors often have rows of iron studs that, in medieval times, would have been painted to indicate that the owner had accomplished the Hajj. Under our living room is a cistern, an aljibe, that is part of the irrigation system of Arab origin.

But I want to complicate this impression. First, the influence of Arab Islamic culture is far deeper in other places than many people realize. In English, there are about 900 words of Arabic origin, including “sugar” and “alcohol,” and there are about 4,000 in Spanish. Not only in Granada, but also in Chile and Texas, people use a lot of Arabic words. Americans eat meals in courses, wear lighter colors during the summer, and do many other things as a result of the customs of Arab al-Andalus.

Also, some of the explicitly Arabic influences in Andalusia are probably “invented traditions,” in Eric Hobsbawm’s phrase.

For instance, it’s worth experiencing an “Andalusian hammam” or Arab bath. That tradition dates all the way back to 1988. The Alcaicería is the city’s “bazaar” neighborhood, a warren of quaint shops. It burned to the ground in 1843, and the architecture you see there today is a Victorian fantasy of the Middle East. The Alhambra is one of the world’s greatest expressions of classical Arab culture, yet it probably consists of a selection of medieval buildings that had various owners and functions. Ferdinand and Isabella seized, heavily renovated and modified, and connected these buildings to form one renaissance-style palace, and then the rest of the neighborhood gradually vanished. The Alhambra has never stopped being transformed by ambitious architects who are responsible for things like the incongruous Victorian roofs and everything about its lovely gardens.

Arab and Romani/Gitano influences were as important for Granada’s modernists, Lorca and Manuel de Falla, as they have been for its folk arts, like flamenco. But this is not simply a case of the past influencing the present. For one thing, Arabs and Romani constitute living communities in Granada. In 2003, the Moroccan immigrant community of almost 5,000 people opened a beautiful new mosque across from the Alhambra, and Romani still dominate the Sacromonte district.

When audiences cry ¡Olé! to appreciate a flamenco dancer, they may be saying wa Ilâh (“by God”) in Arabic. Or that may be a false etymology that persisted as a myth because it sounded so romantic. In short, there is a long and complex history here of assimilation, appropriation, “othering,” ambivalence, celebration, nostalgia, and sheer invention. Andalusians have been hybrid and have been choosing to present themselves as hybrid ever since the Emirate.

Sad to leave Granada, I think of the last sultan, “Boabdil” (actually, Muhammad XII), and his famous “Moor’s Sigh” as he turned to face the Alhambra for the last time. Or of Carlos Cano’s lyrics:

Deep in the cistern, what should appear
But the sadness that killed Boabdil the emir.
And I left it under the shadow of an almond tree
On my way to the mountains of Guajar-Faragüit.

To see whether, during the time of honey,
There was a flowering of the light of thought,
And whether the town will recover its color,
That old-time Berber green-and-white.

Oh, country children,
Tender spikelets,
Go and run to tell the earth

That the poor wait for her at dawn.
At dawn, old earth, at dawn…

[my translation]
En el fondo de un aljibe me encontré
la tristeza que matara al rey Boabdil.
Y a la sombra de un almendro la dejé
por los montes de Guajar-Faragüit.

Por ver si cuando el tiempo de la miel
la luz del pensamiento diera flor
y el pueblo recobrara su color
verdiblanco de origen bereber.

Ay niños del campo,
espiguitas tiernas,
echad a correr.

Decidle a la tierra
que el pobre la espera
al amanecer.

Al amanecer la tierra,
al amanecer…

Then again, maybe nothing could be more typical of Granada than an American tourist (think: Washington Irving) recalling a mythologized medieval Andalusian Arab to taste some melancholic sublime on a cheerful day in a thriving city of tourists and students.

*Correction: the river at the bottom of our hill is the Darro, a tributary. See also: Richard Wright’s Pagan Spain; challenging the Reconquista; Lorca’s rivers; sabbatical update (from when we first arrived.)

Machado: Glory is never what I’ve sought

Antonio Machado begins the 53 short “Proverbs and Songs” from Fields of Castille (1912) with one that announces his intentions:

Nunca perseguí la gloria 
ni dejar en la memoria 
de los hombres mi canción; 
yo amo los mundos sutiles, 
ingrávidos y gentiles 
como pompas de jabón. 
Me gusta verlos pintarse 
de sol y grana, volar 
bajo el cielo azul, temblar 
súbitamente y quebrarse.

I’ve tried an English version that is a little loose to allow unforced near-rhymes that might honor Machado’s form:

Glory is never what I've sought,
not to print my song in others' thought.
I love delicate worlds, subtle
and weightless as a soap bubble.
I like to watch them decorate
themselves with sun and scarlet,
float below the sky's blue,
tremble, and--pop--they're through.

See also: “a poem should.”

Lorca’s rivers

Translating (or even privately reading) modern free verse in a language that has many cognates and grammatical similarities to English is partly a matter of choosing an English match for each word in the original and stringing those words together. You must accept the inevitable distortions, because the sounds and senses of the two languages cannot match perfectly. The original may also present larger choices.

This is an early Lorca poem about the city where we’re living for three months. The Darro River is 800 meters from the house that we’ve rented and is about one meter wide.

“The Guadalquivir River”
 
A little ballad of three rivers for Salvator Quintero
By Federico Garcia Lorca
 
The Guadalquivir River
goes between oranges and olives.
The two rivers of Granada
Come down from snow to wheat. 
 
Ah, love,
gone and not come back!
 
The Guadalquivir River
Has garnet stubble.
The two rivers of Granada
one weeping and the other blood
 
Ah, love
off in the air! 
 
For sailing ships,
Seville has a road;
In the water of Granada
Sighs alone could paddle.
 
Ah, love,
Gone and not come back!
 
Guadalquivir, high tower
And wind in the orange groves. 
Dauro and Genil, little towers
dead over the ponds
 
Ah, love
Off in the air! 
 
Who will say that the water carries
A will-of-the wisp of cries!
 
Ah, love,
Gone and not come back!
 
Carry orange blossom, carry olives, 
Andalusia, to your seas.
 
Ah, love
Off in the air! 

The Spanish text is here. For the refrains, Lorca uses relative clauses that begin with “que,” starting with: “Ay, amor / que se fue y no vino …” That could mean a love who or a love that. Spanish permits this ambiguity, which might have been especially attractive for Lorca, for whom a “who” would have been a man. Like Rolfe Humphries, who translated this poem for Poetry, I opted for a past participle, to retain the ambiguity.

I chose “sighs alone could paddle” for “sólo reman los suspiros,” partly because I liked the echo of paddle and stubble, and partly because the English monosyllable “row” is too easily misread as a noun.

Humphries must have found the literal meaning of the following verse confusing or unconvincing:

Guadalquivir, alta torre
y viento en los naranjales.
Dauro y Genil, torrecillas
muertas sobre los estanques

How can small rivers be “little towers” or “turrets,” and what does it mean for turrets to be dead over ponds? Humphries loosely offers:

Guadalquivir, high tower,
Wind among orange blossoms,
Darro and Genil, lowly
And dead among the marshes.

I like Humphries’ verse better than my translation, but I am not sure his conveys Lorca.

By the way, I love that the Guadalquivir is just the Wadi al-Kabir, the Big River, transliterated into Spanish.

Cuttings: A book about happiness

I began blogging on this site on Jan 8, 2003: twenty years ago. I’ve posted 4,114 short essays since then. To celebrate, I have selected 70 posts that I think retain some value, and all of which relate to one issue: happiness. What does it mean? Is it attainable? Is it the best objective? If we should pursue it, how?

I have edited, trimmed, and organized these 70 posts into a book, entitled Cuttings, that I’m making available here as a draft or version 1.0. I hope to revisit and expand this draft in the years ahead (which is one reason that I am not seeking a publisher for it).

You could download a PDF version of Cuttings, click to view an un-editable Google doc, or download an .epub version, which looks better in readers like iBook and Kindle. If you want an .epub version emailed to a regular email address or directly to a Kindle, please enter that address here.

Because Cuttings assembles short essays that address closely related topics without explicit connective arguments, it resembles–in its genre, although certainly not its quality–the aphoristic works of authors like Nietzsche and Wittgenstein. It fact, it begins with a mini-essay about why aphorisms are apt for describing the “unwedgeable and gnarled oak” of human nature.

Very few of the entries are original, and some could be described as advocating cliches. In numbers 27-29, I reflect on the moral pitfalls of striving to be original and the benefits of absorbing well-worn ideas.

Most of the entries wrestle with texts in some way. Michel de Montaigne gets the most frequent and positive attention. I am happy to see him play that role, although he is a better guide to individual happiness than political justice–a topic for other books. I also frequently address the Hellenistic schools (Stoicism, Epicureanism, and Skepticism) and classical Indian authors whom we classify as Buddhists or, in one case, possibly a Jain. These authors from the Mediterranean and India practiced what Pierre Hadot called “Philosophy as a Way of Life”: that is, philosophy as a set of meditative practices closely related to abstract arguments. I treat selected modern philosophers in a similar way–whether or not they would appreciate that treatment.

Many of the remaining entries comment on poems. Ovid, Keats, Gerard Manley Hopkins, and Anne Carson are among the poets I consider at length.

As always, comments–including critical ones–are appreciated and are really the best reward.

(By the way, this 20th anniversary might be an appropriate moment to advertise that you can subscribe to this blog as a weekly email, just like a Substack, or follow it on Mastodon, Post or Twitter.)