In Jane Hirschfield‘s slim but wisdom-packed book, Hiddenness, Uncertainty, Surprise: Three Generative Energies of Poetry, she includes a poem written in 1000 CE by the Japanese poet Izumi Shikibu:
It is true,
the wind blows terribly here—
also leaks between the roof planks
of this ruined house.
Shkikibu’s poem reminds its reader that beauty, and also the Buddhist awakening frequently signalled in Japanese poetry by the image of moonlight, will come to a person only if the full range of events and feelings are allowed into his or her life. Real permeability cannot be provisional. It is impossible to know what will enter if the house of the solidified and defended self is breached, and ruin is not a condition any person willingly seeks. Still, those gaps in the roof planks—not the assigned doors, the expected windows—are the opening through which the luminous arrives.
Permeability. It is a favorite both/and. Margins exist everywhere in our world for good reason—be they a roof or our skin—and yet “gaps in the roof” are essential for any creative undertaking, whether it is making a painting or making a life.
To feed the spirit of this paradox even further, here are a few more quotes garnered from previous postings on Slow Muse. Clearly this is an ongoing theme, and one that I never tire of pondering. So many leaky margins exist in our lives, and the nature of permeability continues to compel.
What Kafka had to be so clear and simple about was that nothing is clear and simple. On his death bed he said of a vase of flowers that they were like him: simultaneously alive and dead. All demarcations are shimmeringly blurred. Some powerful sets of opposites absolutely do not, as Heraclitus said, cooperate. They fight. They tip over the balance of every certainty. We can, Kafka said, easily believe any truth and its negative at the same time.
I do not know if it has ever been noted before that one of the main characteristics of life is discreteness. Unless a film of flesh envelopes us, we die. Man exists only insofar as he is separated from his surroundings. The cranium is a space-traveler’s helmet. Stay inside or you perish. Death is divestment, death is communion. It may be wonderful to mix with the landscape, but to do so is the end of the tender ego.
And then the kicker is this: in passing from the real to the imagined, in following that trail, you learn that both sides have a little of the other in each, that there are elements of the imagined inside your experience of the “real” world – rock, bone, wood, ice – and elements of the real – not the metaphorical, but the actual thing itself – inside stories and tales and dreams.