But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable.If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language.Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts.It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way.You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn.This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.
And under the cicadas, deeper down that the longest taproot, between and beneath the rounded black rocks and slanting slabs of sandstone in the earth, ground water is creeping. Ground water seeps and slides, across and down, across and down, leaking from here to there, minutely at a rate of a mile a year. What a tug of waters goes on! There are flings and pulls in every direction at every moment. The world is a wild wrestle under the grass; earth shall be moved. tWhat else is going on right this minute while ground water creeps under my feet? The galaxy is careening in a slow, muffled widening. If a million solar systems are born every hour, then surely hundreds burst into being as I shift my weight to the other elbow. The sun’s surface is now exploding; other stars implode and vanish, heavy and black, out of sight. Meteorites are arcing to earth invisibly all day long. On the planet, the winds are blowing: the polar easterlies, the westerlies, the northeast and southeast trades. Somewhere, someone under full sail is becalmed, in the horse latitudes, in the doldrums; in the northland, a trapper is maddened, crazed, by the eerie scent of the chinook, the sweater, a wind that can melt two feet of snow in a day. The pampero blows, and the tramontane, and the Boro, sirocco, levanter, mistral. Lick a finger; feel the now. tSpring is seeping north, towards me and away from me, at sixteen miles a day. Along estuary banks of tidal rivers all over the world, snails in black clusters like currants are gliding up and down the stems of reed and sedge, migrating every moment with the dip and swing of tides. Behind me, Tinker Mountain is eroding one thousandth of an inch a year. The sharks I saw are roving up and down the coast. If the sharks cease roving, if they still their twist and rest for a moment, they die. They need new water pushed into their gills; they need dance. Somewhere east of me, on another continent, it is sunset, and starlings in breathtaking bands are winding high in the sky to their evening roost. The mantis egg cases are tied to the mock-orange hedge; within each case, within each egg, cells elongate, narrow, and split; cells bubble and curve inward, align, harden or hollow or stretch. And where are you now?
... so this is for us.This is for us who sing, write, dance, act, study, run and loveand this is for doing it even if no one will ever knowbecause the beauty is in the act of doing it.Not what it can lead to.This is for the times I lose myself while writing, singing, playingand no one is around and they will never knowbut I will forever rememberand that shines brighter than any praise or fame or glory I will ever have,and this is for you who write or play or read or singby yourself with the light off and door closedwhen the world is asleep and the stars are alignedand maybe no one will ever hear itor read your wordsor know your thoughtsbut it doesn’t make it less glorious.It makes it ethereal. Mysterious.Infinite.For it belongs to you and whatever God or spirit you believe inand only you can decide how much it meantand meansand will forever meanand other people will experience it toothrough you.Through your spirit. Through the way you talk.Through the way you walk and love and laugh and careand I never meant to write this longbut what I want to say is:Don’t try to present your art by making other people read or hear or see or touch it; make them feel it. Wear your art like your heart on your sleeve and keep it alive by making people feel a little better. Feel a little lighter. Create art in order for yourself to become yourselfand let your very existence be your song, your poem, your story.Let your very identity be your book.Let the way people say your name sound like the sweetest melody.So go create. Take photographs in the wood, run alone in the rain and sing your heart out high up on a mountainwhere no one will ever hearand your very existence will be the most hypnotising scar.Make your life be your artand you will never be forgotten.
The color-patches of vision part, shift, and reform as I move through space in time. The present is the object of vision, and what I see before me at any given second is a full field of color patches scattered just so. The configuration will never be repeated. Living is moving; time is a live creek bearing changing lights. As I move, or as the world moves around me, the fullness of what I see shatters. “Last forever!” Who hasn’t prayed that prayer? You were lucky to get it in the first place. The present is a freely given canvas. That it is constantly being ripped apart and washed downstream goes without saying; it is a canvas, nevertheless. But there is more to the present than a series of snapshots. We are not merely sensitized film; we have feelings, a memory for information and an eidetic memory for the imagery of our pasts. tOur layered consciousness is a tiered track for an unmatched assortment of concentrically wound reels. Each one plays out for all of life its dazzle and blur of translucent shadow-pictures; each one hums at every moment its own secret melody in its own unique key. We tune in and out. But moments are not lost. Time out of mind is time nevertheless, cumulative, informing the present. From even the deepest slumber you wake with a jolt- older, closer to death, and wiser, grateful for breath. But time is the one thing we have been given, and we have been given to time. Time gives us a whirl. We keep waking from a dream we can’t recall, looking around in surprise, and lapsing back, for years on end. All I want to do is stay awake, keep my head up, prop my eyes open, with toothpicks, with trees.