Beat of Walking R ruiz scarfuto by Desarts Sonnants

Rosalinda Ruiz Scafuto ©Beat Walking 2013

*Antonio Machado (Extract from: Proverbios y cantares (XXIX)

The “Beat” of Walking: Wordsworth, Machado, Kerouac, Whitman How the rhythm of a poet’s muse has its roots in skipping across the land, like a stone across the water, making ripples in our natural/literary heritage

Abstract Heather H. Yeung (ed.) with the assistance of Mike Collier, Selected Essays from the On Walking Conference (Sunderland: Arts Editions North and the University of Sunderland, 2013). ISBN: 978-1906832-18-6 (e-book).

http://walk.uk.net/wp-content/uploads/2013/12/onwalkingbookv2.swf

Four poets’ act of walking transformed not only themselves, but also other artists. Antonio Machado was opposed to the act of Greek gymnastics, proposing walking in his boyhood Guadarrama Mountains to become fit in body and mind. Walt Whitman found a “leaf” of grass as the alternative to a “blade” of grass changing our view of semantics (violent or non-violent) as he walked his native grasslands of Long Island, New York; leaving (leafing) us his legacy to find the song of ourselves. Wordsworth wandered out to the Lake District, gathering on walks “Feather, or leaf, or weed, or 1

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withered bough,” that would serve to create collages of any kind. He drew writers from afar, intellectual urban dwellers, to follow in his skip to appreciate rural life as inspiration. Kerouac land-escapes to the forest after being On the Road and meeting G. Snyder (inspired by Basho), thus producing Dharma Bums. “Walk your talk” is how these poets commun-i-cated for the coming artists to be or not...

1. Introduction: In the modern age, 18th, 19th and 20th century, Western poetry as a literary art was committed to a written form with the Greek language in epic and lyrical poetry, passed down through traditions starting from Homer. Hieroglyphs from Egypt required a complicated scribe system that was abandoned in Greece. The introduction of the user-friendly Phoenician phonetic symbols (transferred to early Greek) in Homeric time enabled him to write down long tales and eventually weave them together into a plot (literature) such as the Odyssey. The Greek alphabet allowed the poet-choreographer such as Homer to quickly jot down notations of his complicated steps (choreography) that were hence sung and danced by a chorus. Eventually this led to the beginning of written literature in the West. The form of Homer’s expressed tale may have been dance theatre (A.P. David 2006) emphasizing the role of the foot versus the traditional analysis that formerly used pure metrics (Hardie, W. R. 1930, 1987). A. P. David’s revelation of the “foot” shifts poetic rhythm analysis to dance (focusing on the feet positions) instead of metric numbers (“origin of the hexameter”). A good description of this breakthrough on the topic is found in the university library catalogues describing A.P. David’s theory: “lead to essential new thinking about the genesis and the form of Homeric poetry” (University of Alcala Library, 2013) and “the voice of the dancer: a new theory of the Greek accent.” (Cambridge University Library, 2013).

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The round dance and narrative literary poetics is a complicated choreography of Homer as David explains with a thorough in-depth analysis. These two descriptions mark a change in intellectual development of the “muse” and bring poetry back to dancing words on a page and in the case of Homer, on the stage. (See Figure 1). The vital questions for this paper stem from this new paradigm proposed by A.P. David with his Dance of the Muses: Choral Theory and Ancient Greek Poetics breaking traditions to analyse poetry by a metric system and move beyond to what I will refer to as a “beat.”

2. Ancient knowledge revisited: Homer, Arcipreste de Hita, and Chaucer: a. Homer Homer sets the stage for Western poets, and I shall begin with three questions: 1. Was Homer a poet, choreographer or both? 2. Can the legacy of Homer be linked with the walking poet? 3. What is the rhythm of walking as a poetic dance? 3

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Dance in Homer’s time was expressed in two forms: processions and round dances with a chorus. Processions were repeated over time by foot and left “tracks that can be followed…a pathway made by use, by the pressure of dancers’ upon the ground.” (David 2008). Natural elements marked the dance/journey in processions to set out the route, such as trees and rivers, accompanied by poetry to re-enact a myth or heroic tale. Here we see the origins of “literary routes.” The lyrical poetic style as a legacy of Egyptian culture was passed to Greece, and subsequently forms part of Western European foundations in literary heritage; its roots connected to nature and music in a visual art form (dance is danced to be seen). The “shaping of Homeric speech” was a reflection of his contemplation of the orbits of the stars (star walking) and their natural regressions, which was then transferred to his dance choreography in a lyrical poem; a living-moving visual painting. Homer and the generations of muses thereafter started with the heart-beat, moved on to the drum-beat, noted down as a written beat, expressed in a lyrical beat and finally passed through to the foot-beat: Dance of the Muses. “Whereas in the case of the hexameter...the measure came first, and the rhythm of the words originally kept time to the thud and pulse of dancing feet...” (David: 2008, 67) “Danced verse intends to conjure a presence.” (David: 2008, 138) “As one danced to the florid chant of names in their rhythmic ideality, one felt the very presence of one’s ancestors gracing the communal circle: the storied warriors and their well-balanced ships...” (David: 2008, 140)

b. Arcipreste de Hita (Juan Ruiz) 1283 The introduction of El Libro de Buen Amor (Arcipreste de Hita 1330, 2010) by J. Cejador Y Fauca (Ed.) asks some insightful questions and describes the author as a mysterious genius walking around the Guadarrama Mountains. (See Figure 2A). El 4

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Libro de Buen Amor parallels Chaucer’s style with its ironic verse expressed in perfect metrical rhymes that a young reader would enjoy with the depth of knowledge a mature adult would appreciate. This novelty has lasted through the ages and has become a pillar of Spanish literary heritage. The beat is easy to follow and generations of writers were not only inspired by the text but also the place of his long walk around the Guadarrama Mountains. Cervantes, Quevedo, Machado, among other writers, have literary works inspired by this range of mountains which divides the two Castile regions (Leon and La Mancha). The highest point in this mountain range has been designated as a Natural Monument in honor of El Libro de Buen Amor for its 600-year anniversary publication due to its connection to the text. (See Figure 2 B). c. Chaucer 1340 Chaucer lived in times of change and his “beat” was along the lines of a gallop, as he was a page by profession and travelled great distances in short periods.

The

introduction by Cognill in Chaucer’s Verse (Chaucer 1387, 1972) provides us with a canvas to draw upon for this racing rhyme of metric genius. (See Figure 3 A & B). 2. Poets compose by walking: on a roll Four poets: Wordsworth, Machado, Whitman, Kerouac  Known to be walkers (self exposed)

 Compose to a walking rhythm (as opposed to sitting)  Stroll, trot, gallop, or a skip

 Land and mode determine beat  Create Art as poems of dance.

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The four modern age poets from the 18th (Wordsworth), 19th (Whitman) (Machado), and 20th (Kerouac) centuries express their love for walking and create from the beat of walking. Each poet with his own unique approach to walking and writing find a beat that suits his needs and plume. There is a profound difference in the “beat” of a walking poem compared to a sitting poem. The latter carries the weight of a room from a sitting position. In contrast, a walking poem expresses its beat with the wide open space that captures the wild into the heart and beats like a woodpecker on the old tree trunk summoning us to reflect on our contributions and retributions to humanity. There is no dead wood in these poems that capture the morning light, babbling brooks, a lost feather, and driftwood found upon a shore. From Kerouac’s desperation point at a lookout fire station to find the meaning of life in his Zen Buddhist budding heartbeat to Machado’s unknown “camino” that propels him to never stop walking, even to his death on the Pyrenees with a light suitcase as a refugee in the Spanish Civil War. Whitman spent a lifetime walking to perfect his “song” with the stride of a bard. A nurse on the battle ground of a civil war conflict, Whitman never took sides except the side of optimism for young soldiers in need of “hope.” The moment that Kerouac believed he has reach nirvana and enlightenment, proclaiming that HOPE is no more than a

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SNOWDRIFT, we come to the conclusion that syntax has a meaning whether derived on a walk around a lake, a stroll in a grassland, a hike up the side of a mountain, or stumbling in a bloody battleground. The heart beats for all living creatures and the poet records to memory how this musical rhythm sounds fusing with the muse. In concert, these poets walked with nature, while the stars gazed down upon them to en-lighten and commun-i-cate a universal “beat,” transposed to a personal pace. There be no other metric to measure the song of a poet, but the chest bursting with the need to take a walk for inspiration in nature’s classroom of errors. For Nature teaches us where we can go and where we fall short. Therefore the poet must walk to talk. Out in the cold, heat, and the wind the poet beats the land, skipping a meal to contemplate a challenge. These poets returned at sunset, rounding up the beat of the day, composing a few lines to treasure for ages to come.

a. Wordsworth (1770-1850) William Wordsworth, a Cambridge fellow, was caught in a stylistic format that he learned early on at school, but he masters its rules to plot his own keen observations after a hop, skip, and jump through the landscape into a poetic justice. Dorothy, his sister, expresses her own poetic prose in her diary, recording these walks that filled the morning or evening pastimes. (Wordsworth, D. 1794). William’s notebooks were filled with emotions and passions exposed on walks combined with landscape souvenirs (feathers, driftwood, etc.). He created poems like a painter assembles collages made of mementos after a nature adventure. (Barker 2009, 212). Wordsworth’s poetic juxtaposition of syntax in lines such as “woods decaying, never to be decayed,” or “rocks mutter” and “crags spake,” pushes the voice of nature into an eternal beat trodden once and recorded hence. (Kelley 1998, 107). 7

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Wordsworth records to memory his draft of “Lines 1798” like an Olympic runner crossing the finish line. He sits down after a long ramble over brooks, stones, and bridges to reach the threshold of a dry place to put quill to hand and draft the masterpiece that pushes up from the Earth, literally on the heels of the wind. Wordsworth writes a short introduction to this poem stating that he walked along without taking notes and not until he reached his destination did he write it down. (See Figure 4 A & B).

b. Whitman (1819-1892) Whitman was fully aware and well read in the European classics to know how to use metrics assigned to letters in their most sophisticated form. (Johnson 1938, 11). Whitman scholars identify his freedom from the European traditional metric system as opening up a new genre connected to his sense of being uniquely American. In free verse, this is exemplified to parallel the writer’s natural heart-beat. (See Figure 5A & B). Whitman paused in his walks and observed details as minute as the blades of grass; 8

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hence his beat varies considerably from traditions. (Steiner 2010, 7). From his stride, lines were spewed out with pauses, repetition, or long winds; reverberating the trajectory of a content walker. (Asselineau 1999, 52). A compilation of poems dedicated to Whitman from around the globe demonstrates the value his free verse stimulated by walking his native grasslands beginning with R.W. Emerson in 1905, and stretching across the continents to South America, Europe, Russia, and Japan, including over 80 poems; Borges, Neruda, Levertov, Wakoski, Lorca, Lawrence and Pessoa are amongst those who followed in Whitman’s footsteps choreographing their own poetic dance. (Perlman, et al.1981).

c. Machado (1875 -1936) Antonio Machado’s poetic style is metaphorical and metaphysical, utilizing the richness of the Spanish language to create a rhythm for all ages based on intuition more than logic; an intuition that arises from his heart beat. [latir]. (Carilla, E. 1964, 247). Interestingly enough, Machado even writes his novel Juan de Mairena with his unique style, conveying his philosophy to a general public with a steady beat like a mountaineer. Antonio Machado refers to his connection with walking in his novel, Juan de Mairena, to stay fit and reach an old age with agility and vigor. (Machado 1936, 2116). From age eight Machado participated in school excursions exploring the Guadarrama Mountains (summit: 2430 meters) near Madrid with his beloved teacher, Giner de Ríos, who founded an inter-disciplinary method for teaching art, science, literature, and sociology using Guadarrama as an outdoor laboratory. Machado walked to stay healthy, when tuberculosis was rampant [his father and wife died from this

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illness]. Machado’s walking poem expresses “No Hay Camino” [There is no road] (Machado 1935) with a solid beat of eight syllables (reminiscence of a Sappho time). It has become a mythical jingle in the Spanish culture. (See Figure 6 A, B, C).

d. Kerouac (1922-1969) Kerouac began as a disciplined writer at his home in Lowell with aspirations to join the great writers. Following his idols to the “West” he bought special shoes to walk miles between rides as he hitch hiked “On the road.” (Kerouac 1957). His beat was determined by the path he walked, whether on an asphalt road or a dirt path that led to the waves telling him stories in the midnight hours in Big Sur. (Kerouac 1962). Up on the mountain, Kerouac had a revelation of the meaning of life; life is a void, infinity, and love. To love life was beating in his chest and to not be. (Kerouac 1965, 1995; 5-6). The rhythm of Kerouac on these walking journeys has been proclaimed as mind streaming and “forsakes the traditional prose form” (Hrebeniak 2006, 25) of his former writing styles. We must acknowledge the contrasting locations of Kerouac’s writing The Town and the City and On the Road, which were significantly juxtaposed from a 10

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static room in his house to a moving landscape. His beat launches us into his walking shoes. We can experience his steps with the lines of his prose and imagine ourselves literally walking on the road to catch the next ride, or lazily observing a group of people on a stroll in Brooklyn as expressed in the poem “Hym.” Kerouac describes his style in On the Road as “spontaneous prose” (Swartz 1999, 9) and we can assume it arises from his spontaneous walkabout journey that changed his life and writing style. 3. Visual Aids: Art Skipping For further discussion, visual aids that illustrate the beat of the poets carry on our imagination in 3D. Here we could skip to the good part, where the visual aids propel us into laughter or sadness. For example, the rhythm of the muse Dr. Seuss has young readers convinced that Green Eggs and Ham is running away from Sam. Children need the visual art form to complete the beat of the prose with colours to remind the senses that Nature calls the wild in us and the muse grips us to the page in bedtime stories. For if we had not read or been read to from the muse of our mothers and fathers alike, could we appreciate the power of the word? The beat goes on, and the visual aids our memory. (See Figures 8 A, B, C). 4. Summary Although metrics has been analysed significantly for poets since Homer, we seldom have attributed variations and idiosyncrasies to lifestyle choices. The lifestyle of walking as an inspiration to compose literary texts has played a major role in the “beats” of Wordsworth, Whitman, Machado and Kerouac. Breathing is as individual as the poet, and the lungs work in tandem with the legs to produce a stride. Wordsworth and Machado were locked into the European metric systems, while Whitman and Kerouac were free to stroll at their own pace from their new American perspective. These

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differences show up in their stanzas and metric analysis. All refer to Homer as their dance teacher and the subsequent influences of these poets on their successors have been well documented. Kerouac breaks all moulds of European metrics following Whitman as he paused on a work day morning to observe a painful moment of bygones clenching their newspaper news like it was a life saver on the slippery ice of a New York dime. No one heard him breathe the “Hym” of [Him] as he walked home from a night of nowhere special. Special was the morning that taught him to cry on a lonely stroll under the Brooklyn Bridge memorializing a moment as a man with his heart, beating the odds of the muse: are we a-mused? (Kerouac 2002, 118-119). Muses that arise from the ripple in Nature gathering their treasures: observing the sky, the wind, the trees, even leaves of grass inspire us all. This paper is part of a larger study on “Poetic Dance” and literary routes inspired by nature; a project that will merge the beat of the poet’s lines with their dance inspired by Nature; the symphony called life.

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Figure 1 Cambridge and Alcala Library Catalogues Cambridge University library on-line catalogue description of A.P. David’s Dance of the Muses: “Choreia and the musical text -- The voice of the dancer: a new theory of the Greek accent -- The form of the hexameter: the origins of caesura and diaeresis -The choral signifier: the shaping of Homeric speech -- Retrogression, episode and anagogy: the round dance and narrative form -- The genesis of Homeric poetry (a brief synthesis): the Intemporizing cataloguer -- The lyric orchestra.” University of Alcalá de Henares library on-line catalogue description of A.P. David’s Dance of the Muses: “This book develops an authentic and at the same time revolutionary musical analysis of ancient Greek poetry. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. David offers a thoroughgoing treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a 'dance of the Muses', lead to essential new thinking about the genesis and the form of Homeric poetry. He also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, which applies a new theory of the Greek tonic accent and considers concretely the role of dance in performance.”

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Figure 2 A Cejador Y Fauca (Buen Amor) [Translation mine].  Who was the extraordinary man?

 “Other than what we may infer from his book, Libro de Buen Amor (1330), we know not even a word...”  “...this book so naturally artistic and so ironic...  “...the author still today remains an enigma.”

 Journey from Hita to Segovia over the Guadarrama Mountains (hence a new name).  Poetic verse of a tale of travelling through the villages and pine trees of the mountains (style of Homer).  Reference for Spanish writers and poets such as Cervantes and Machado (legacy to walking writers).” Figure 2 B Libro de Buen Amor (1330)  Después de esta aventura, me fui para Segovia,  Pero no a comprar joyas para la Chata troya:  Fui a ver una costilla de la serpiente groya

 Que mató al viejo Rando, según dicen en Moya.  En la ciudad estuve y gasté mi caudal,

 No encontré pozo dulce ni fuente perenal;

 Dije; al ver que mi bolsa se encontraba muy mal:  “Mi hogar y mi casita más de cien sueldos val”.  Volví para mi tierra de allí al tercero día

 Sin pasar por Lozoya, pues joyas no traía;

 Pensé tomar el puerto que llaman la Fuenfría

 Y equivoqué el camino, como quien no sabía  Por el pina abajo encontré una vaquera

 Que guardaba sus vacas en aquella ribera.

 Dije:”Ante vos me humillo, serrana placentera,  O me quedo con vos o mostradme carrera”. 14

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Figure 3A Cognill Introduction (Chaucer’s Verse)  “a great narrator...a great portrait-painter: indeed, he invented the wordportrait and the autobiographical monologue...”  “to mingle happily with all kinds and classes of men and women, with trenchant yet amused understanding, and no lack of charitable sympathy in his wit, and sense of fun.”

 “...a tale with a happy ending was just as philosophical an image of life, as serious, and in the long term truer, than one ending in sorrow and despair.”  “...it takes courage as well as other virtues (such as faith, HOPE and charity) to think like this, with all the evidence of human grief and wickedness that stares us in the face.”

 “Chaucer ...was born into the Age of the Black Death, the Hundred Years’ War, the Great Schism, sporadic famine, the Peasants’ Revolt...”

 “He remained and communicated a cheerfulness and warmth of heart so powerfully that we can feel them still, and take them into our own lives difficult as they are

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Figure 3B Chaucer 

“The Friar’s Tale” 1387 “So it befell upon a certain day

 This Summoner rode forth to take his prey,  A poor old fiddle of the widow-tribe,

 From whom, on a feigned charge, he hoped a bribe.  Now as he rode, it happened that he saw  A young yeoman under a leafy shaw;

 He bore a bow with arrows bright and keen  And wore a little jacket of bright green

 And had a black-fringed hat upon his head.

 ‘Hail! Welcome and well met! The Summoner said.  ‘Welcome to you, and all good lads!’ said he;  Whither away under the greenwood tree?...”

Figure 3C The Friar’s Tale” 1387 (Part II)  “The Summoner battered at the widow’s gate.  ‘I have’ the Summoner said ‘a summons-bill;  On pain of excommunication, see

 That you’re at court, at the Archdeacon’s knee,  ‘Help me!’ She said ‘I neither can nor may,  I have been sick aye, and for many a day;  I couldn’t walk so far’ she said, ‘or ride,

 Couldn’t you write it down, to save the journey,  And I could answer it through my attorney,  The charge I mean; whatever it may be?

 ‘Yes, if you pay at once’ he said, ‘let’s see;

 Twelve pence to me, and I’ll secure acquittal; I get no profit from it---very little...”

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Figure 4 A Wordsworth (Intro: Lines) “No poem of mine was composed under circumstances more pleasant for me to remember than this.” “I began it upon leaving Tintern, after crossing the Wye, and concluded it just after I was entering Bristol in the evening...”

Figure 4 B Wordsworth “Lines” (1798)

 Five years have past; five summers, with the length (10) Of five long winters and again I hear (10)

 These waters, rolling from their mountain springs (10)  With a soft inland murmur,---Once again (10)  Do I behold these steep and lofty cliffs, (10)  That on a wild secluded scene impress (10)

 Thoughts of more deep seclusion; and connect (10)  The landscape with the quiet of the sky.... (10)  A worshipper of Nature, hither came (10)

 Unwearied in that service: rather say (10)

 With warmer love---oh with far deeper zeal...(10)

 Of absence, these steep woods and lofty cliffs, (10)  And this green pastoral landscape, were to me (10)

 More dear, both for themselves and for thy sake!”(10)

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Figure 5A Whitman A child said, What is the grass? Part I A child said, What is the grass? fetching it to me with full hands; How could I answer the child?. . . .I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropped, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child. . . .the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same. Part II What do you think has become of the young and old men? What do you think has become of the women and children? They are alive and well somewhere; The smallest sprouts show there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceased the moment life appeared. All goes onward and outward. . . .and nothing collapses, And to die is different from what any one supposed, and luckier.

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Figure 5B Whitman Calamus [In Paths Untrodden] In paths untrodden, In the growth by margins of pond-waters, Escaped from the life that exhibits itself, From all the standards hitherto publish'd, from the pleasures, profits, conformities, Which too long I was offering to feed my soul, Clear to me now standards not yet publish'd, clear to me that my soul, That the soul of the man I speak for rejoices in comrades, Here by myself away from the clank of the world, Tallying and talk'd to here by tongues aromatic, No longer abash'd, (for in this secluded spot I can respond as I would not dare elsewhere,) Strong upon me the life that does not exhibit itself, yet contains all the restâ&#x20AC;Ś

Figure 6 A Machado (Juan de Mairena) “Si vais para poetas, cuidad vuestro folklore. Porque la verdadera poesía la hace el pueblo. Entendámonos: la hace alguien que no sabemos quién es, o que, en último término, podemos ignorar quién sea, sin el menor detrimento de la poesía.” Si /va/is /pa/ra /po/e/tas, (8) cui/dad /vu/es/tro folk/lo/re. (8) Por/que (2) la (1+1pause) = (2) ver/da/der/a /po/e/sí/a (8) la /ha/ce /el /pue/blo. (6) En/ten/dá/mo/nos: (5+ 1 pause) = (6) la/ ha/ce /al/gui/en (6) que no sa/be/mos /qui/én/ es, (8) o que, (2) en úl/ti/mo /tér/mi/no, (10) po/de/mos/ ig/nor/ar (6) qui/én /se/a, (4) sin/ el /me/nor (4) de/tri/men/to /(4) de/ (pause 1+1) = (2) la /po/e/sía.(4)

Figure 6 B Machado (Juan Mairena) 



“Si logrará...en cambio despertar en el niño el amor a la naturaleza, que se deleita en contemplar o la curiosidad por ella, que se empeña en observarla y conocerla, tendríamos más tarde hombres maduros y ancianos venerables capaces de atravesar la sierra de Guadarrama en los días más crudos del invierno, y por deseo de recrearse en el espectáculo de los pinos y los montes...” (Machado1961, Juan Mairena XIII) “If one could achieve it…instead to awaken in the child the love of nature, that is to contemplate or have curiosity for her, to get him/her involved in observing and to know it, then we would have mature men and venerable seniors able to cross over the Guadarrama mountains in the coldest days of winter, and the desire to play in the spectacular place of the pines and mountains…” [Translation mine].

Figure 6 C Machado Proverbios y cantares (XXIX)

Ca/mi/nan/te,/ son/ tus/ hue/llas/= 8 el/ ca/mi/no y/ na/da/ más;/= 8 Ca/mi/nan/te,/ no hay/ ca/mi/no,/= 8 se ha/ce/ ca/mi/no al/ an/dar./= 8 Al/ an/dar/ se ha/ce el/ ca/mi/no,/= 8 y al/ vol/ver/ la/ vis/ta a/trás/= 8 se/ ve/ la/ sen/da/ que/ nun/ca/= 8 se ha/ de/ vol/ver/ a/ pi/sar./= 8 Ca/mi/nan/te/ no hay/ ca/mi/no/= 8

Figure 7 A Kerouac Desolation Angels  “I had to wait and get to see the face of reality---and it finally comes that afternoon August 8 as I’m pacing in the high alpine yard on the well worn path I’d beaten, in dust and rain, and many a night...”

 “...it finally comes to me, after even tears...it comes in these words...the Void is not disturbed by an kind of ups and downs...”

 “Hold still man, regain your love of life and go down from this mountain and simply be-be-be the infinite fertilities of the one mind of infinity...”

 “To and not to be...”

Figure 7 B Kerouac

“Hym”

And when you showed me Brooklyn Bridge In the morning, Ah God, And the people slipping on ice in the street, Twice Twice two different people came over, goin to work, so earnest and tryful, clutching their pititful Morning Daily News slip on the ice & fall both inside 5 minutes and I cried I cried That’s when you taught me tears, Ah

God in the morning... 22

Figure 7 C Kerouac (Part II)

“Hym”

Ah Thee So whatever plan you have for me Splitter of majesty Make it short brief Make it snappy bring me home to the Eternal Mother today At your service anyway, (and until)

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Figure 8 A Dr. Seuss

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Figure 8 B Dr. Seuss

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Figure 8 C Dr. Seuss