Cat’s Cradle
Ambassador Minton went to the seaward parapet with his memorial wreath still in its case. And he delivered an amazing speech in honor of the Hundred Martyrs to Democracy. He dignified the dead, their country, and the life that was over for them by saying the “Hundred Martyrs to Democracy” in island dialect. That fragment of dialect was graceful and easy on his lips.
The rest of his speech was in American English. He had a written speech with him—fustian and bombast, I imagine. But, when he found he was going to speak to so few, and to fellow Americans for the most part, he put the formal speech away.
A light sea wind ruffled his thinning hair. “I am about to do a very un-ambassadorial thing,” he declared. “I am about to tell you what I really feel.”
From the archives
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2015
The Argonauts
Before we met, I had spent a lifetime devoted to Wittgenstein’s idea that the inexpressible is contained—inexpressibly!—in the expressed. This idea gets less air time than his more reverential Whereof one cannot speak thereof one must be silent, but it is, I think, the deeper idea. Its paradox is, quite literally, why I write, or how I feel able to keep writing.
For it doesn’t feed or exalt any angst one may feel about the incapacity to express, in words, that which eludes them. It doesn’t punish what can be said for what, by definition, it cannot be. Nor does it ham it up by miming a constricted throat: Lo, what I would say, were words good enough. Words are good enough.
It is idle to fault a net for having holes, my encyclopedia notes.
In this way you can have your empty church with a dirt floor swept clean of dirt and your spectacular stained glass gleaming by the cathedral rafters, both. Because nothing you say can fuck up the space for God.
Read more of this excerpt...
The Argonauts
Before we met, I had spent a lifetime devoted to Wittgenstein’s idea that the inexpressible is contained—inexpressibly!—in the expressed. This idea gets less air time than his more reverential Whereof one cannot speak thereof one must be silent, but it is, I think, the deeper idea. Its paradox is, quite literally, why I write, or how I feel able to keep writing.
For it doesn’t feed or exalt any angst one may feel about the incapacity to express, in words, that which eludes them. It doesn’t punish what can be said for what, by definition, it cannot be. Nor does it ham it up by miming a constricted throat: Lo, what I would say, were words good enough. Words are good enough.
It is idle to fault a net for having holes, my encyclopedia notes.
In this way you can have your empty church with a dirt floor swept clean of dirt and your spectacular stained glass gleaming by the cathedral rafters, both. Because nothing you say can fuck up the space for God.
Read more of this excerpt...
WORDS TO LIVE BY
2010 ·
NON-FICTION
NEW MUSIC