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The Language of the Birds
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Richard Siken
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1 A man saw a bird and found him beautiful. The bird had a song inside him, and feathers. Sometimes the man felt like the bird and sometimes the man felt like a stone--solid, inevitable--but mostly he felt like a bird, or that there was a bird in- side him, or that something inside him was like a bird fluttering. This went on for a long time. 2 A man saw a bird and wanted to paint it. The problem, if there was one, was simply a problem with the questions. Why paint a bird? Why do anything at all? Not how, because hows are easy--series of sequence, one foot after the other--but existen- tially why bother, what does it solve? And just because you want to paint a bird, do actually paint a bird, it doesn't mean you've accomplished anything. Who gets to measure the distance between expe- rience and its representation? Who controls the lines of inquiry? We do. Anyone can. Blackbird , he says. So be it, indexed and normative. But it isn't a bird, it's a man in a bird suit, blue shoulders instead of feathers, because he isn't looking at a bird, real bird, as he paints, he is looking at his heart, which is impossible. Unless his heart is a metaphor for his head, as everything is a metaphor for itself, so that looking at the paint is like looking at a bird that isn't there, with a song in its throat that you don't want to hear but you paint anyway. The hand is a voice that can sing what the voice will not, and the hand wants to do something useful. Sometimes, at night, in bed, before I fall asleep, I think about a poem I might write, someday, about my heart, says the heart. 3 They looked at the animals. They looked at the walls of the cave. This is earlier, these are different men. They painted in torchlight: red mostly, sometimes black-- mammoth, lion, horse, bear--things on a wall, in profile or superimposed, dy- namic and alert.
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Ton pseudo sera publié. Laisses les champs vide pour rester anonyme.
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