Another Poem of the Gifts

I want to give thanks to the divine
Labyrinth of causes and effects
For the diversity of beings
That form this singular universe,
For Reason, that will never give up its dream
Of a map of the labyrinth,
For Helen’s face and the perseverance of Ulysses,
For love, which lets us see others
As God sees them,
For the solid diamond and the flowing water,
For Algebra, a palace of exact crystals,
For the mystic coins of Angelus Silesius,
For Schopenhauer,
Who perhaps deciphered the universe,
For the blazing of fire,
That no man can look at without an ancient wonder,
For mahogany, cedar, and sandalwood,
For bread and salt,
For the mystery of the rose
That spends all its colour and can not see it,
For certain eves and days of 1955,
For the hard riders who, on the plains,
Drive on the cattle and the dawn,
For mornings in Montevideo,
For the art of friendship,
For Socrates’ last day,
For the words spoken one twilight
From one cross to another,
For that dream of Islam that embraced
A thousand nights and a night,
For that other dream of Hell,
Of the tower of cleansing fire
And of the celestial spheres,
For Swedenborg,
Who talked with the angels in London streets,
For the secret and immemorial rivers
That converge in me,
For the language that, centuries ago, I spoke in Northumberland,
For the sword and harp of the Saxons,
For the sea, which is a shining desert
And a secret code for things we do not know
And an epitaph for the Norsemen,
For the word music of England,
For the word music of Germany,
For gold, that shines in verses,
For epic winter,
For the title of a book I have not read: Gesta Dei per Francos,
For Verlaine, innocent as the birds,
For crystal prisms and bronze weights,
For the tiger’s stripes,
For the high towers of San Francisco and Manhattan Island,
For mornings in Texas,
For that Sevillian who composed the Moral Epistle
And whose name, as he would have wished, we do not know,
For Seneca and Lucan, both of Cordova,
Who, before there was Spanish, had written
All Spanish literature,
For gallant, noble, geometric chess,
For Zeno’s tortoise and Royce’s map,
For the medicinal smell of eucalyptus trees,
For speech, which can be taken for wisdom,
For forgetfulness, which annuls or modifies the past,
For habits,
Which repeat us and confirm us in our image like a mirror,
For morning, that gives us the illusion of a new beginning,
For night, its darkness and its astronomy,
For the bravery and happiness of others,
For my country, sensed in jasmine flowers
Or in an old sword,
For Whitman and Francis of Assisi, who already wrote this poem,
For the fact that the poem is inexhaustible
And becomes one with the sum of all created things
And will never reach its last verse
And varies according to its writers
For Frances Haslam, who begged her children’s pardon
For dying so slowly,
For the minutes that precede sleep,
For sleep and death,
Those two hidden treasures,
For the intimate gifts I do not mention,
For music, that mysterious form of time.

—Jorge Luis Borges, translated by Alan Dugan. A Thanksgiving poem courtesy of Whiskey River. Happy Thanksgiving, Whiskey.

As a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight.
Jorge Luis Borges (Thank you, misslexia & apoetreflects)
Years of solitude had taught him that, in one’s memory, all days tend to be the same, but that there is not a day, not even in jail or in the hospital, which does not bring surprises, which is not a translucent network of minimal surprises.
Jorge Luis Borges. With many thanks to Slow Muse & Whiskey River.
Tennyson said that if we could understand a single flower we would know who we are and what the world is. Perhaps he meant that there is no deed, however so humble, which does not implicate universal history and the infinite concatenation of causes and effects. Perhaps he meant that the visible world is implicit, in its entirety, in each manifestation, just as, in the same way, will, according to Schopenhauer, is implicit, in its entirety, in each individual.
Jorge Luis Borges, The Zahir (via touba)
Jorge Luis Borges: Luna de enfrente. Later  edition of Borges’ 2nd published collection of poems (1925). Illustrations by Juan Eichler
From amare-habeo.

Jorge Luis Borges: Luna de enfrente. Later edition of Borges’ 2nd published collection of poems (1925). Illustrations by Juan Eichler

From amare-habeo.

Which one of us has never felt, walking through the twilight or writing down a date from his past, that he has lost something infinite?
Jorge Luis Borges. Thank you and with much gratitude to the amazing Whiskey River.

Shinto

When misfortune confounds us
in an instant we are saved
by the humblest actions
of memory or attention:
the taste of fruit, the taste of water,
that face returned to us in dream,
the first jasmine flowers of November,
the infinite yearning of the compass,
a book we thought forever lost,
the pulsing of a hexameter,
the little key that opens a house,
the smell of sandalwood or library,
the ancient name of a street,
the colourations of a map,
an unforeseen etymology,
the smoothness of a filed fingernail,
the date that we were searching for,
counting the twelve dark bell-strokes,
a sudden physical pain.

Eight million the deities of Shinto
who travel the earth, secretly.
Those modest divinities touch us,
touch us, and pass on by.

- Jorge Luis Borges [this is Borges]

Thank you, Whiskey River

You Learn

You learn.
After a while you learn the subtle difference
between holding a hand and chaining a soul,
and you learn that love doesn’t mean leaning
and company doesn’t mean security.
And you begin to learn that kisses aren’t contracts
and presents aren’t promises,
and you begin to accept your defeats
with your head up and your eyes open
with the grace of a woman, not the grief of a child,
and you learn to build all your roads on today
because tomorrow’s ground is too uncertain for plans
and futures have a way of falling down in mid-flight.
After a while you learn
that even sunshine burns if you get too much.
So you plant your garden and decorate your own soul,
instead of waiting for someone to bring you flowers.
And you learn that you really can endure.
That you really are strong.
And you really do have worth.
And you learn. And learn.
With every good-bye you learn.

—Jorge Luis Borges Author Unknown.

Many thanks to Whiskey River.

…This web of time—the strands of which approach one another, bifurcate, intersect or ignore each other through the centuries—embraces every possibility. We do not exist in most of them. In some you exist and not I, while in others I do, and you do not, and yet in others both of us exist. In this one, in which chance has favored me, you have come to my gate. In another, you, crossing the garden, have found me dead. In yet another, I say these very same words but am in error, a phantom…Time is forever dividing itself toward innumerable futures…
Jorge Luis Borges (1899 - 1986) Garden of Forking Paths, Ficciones. From the Tao of Photography.
Borges and I
“The  other one, the one called Borges, is the one things happen to. I walk  through the streets of Buenos Aires and stop for a moment, perhaps  mechanically now, to look at the arch of an entrance hall and the  grillwork on the gate; I know of Borges from the mail and see his name  on a list of professors or in a biographical dictionary. I like  hourglasses, maps, eighteenth-century typography, the taste of coffee  and the prose of Stevenson; he shares these preferences, but in a vain  way that turns them into the attributes of an actor. It would be an  exaggeration to say that ours is a hostile relationship; I live, let  myself go on living, so that Borges may contrive his literature, and  this literature justifies me. It is no effort for me to confess that he  has achieved some valid pages, but those pages cannot save me, perhaps  because what is good belongs to no one, not even to him, but rather to  the language and to tradition. Besides, I am destined to perish,  definitely, and only some instant of myself can survive in him. Little  by little, I am giving over everything to him, though I am quite aware  of his perverse custom of falsifying and magnifying things. Spinoza knew  that all things long to persist in their being; the stone eternally  wants to be a stone and the tiger a tiger. I shall remain in Borges, not  myself (if it is true that I am someone), but I recognize myself less  in his books than in many others or in the laborious strumming of a  guitar. Years ago I tried to free myself from him and went from the  mythologies of the suburbs to the games with time and infinity, but  those games belong to Borges now and I shall have to imagine other  things. Thus my life is a flight and I loose everything and everything  belongs to oblivion, or to him.
I do not know which of us has written this page.”—Translated by James E. Irby, “In Labyrinths,” New Directions, New York, 1964. Photo by Gisele Freund.
(from Memory Green)

Borges and I

“The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitely, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I loose everything and everything belongs to oblivion, or to him.

I do not know which of us has written this page.”

—Translated by James E. Irby, “In Labyrinths,” New Directions, New York, 1964. Photo by Gisele Freund.

(from Memory Green)