So many decisions to be made! Do I face toward the front or do I turn my back? & if the front, do I present myself in good faith or do I do a bit of tweaking? No, not the Miley Cyrus type of tweak, I'm thinking Photoshop here. & which bowler hat do I wear? Which of my ties? Do I have sea- or landscape behind me, clouds or clear sky? & then the hard part. A bird or an apple before my face? After all, this is not a self-portrait.
An HP Pavilion 23". Maybe 4-5 years old. Shown in context. Magritte poster above; poem on the screen based on the same Magritte painting, from this blog; one of my five poetry books based on Magritte paintings to the right of the keyboard; one of the several books on Magritte I have on the shelf at the bottom right.
From Fanzine #176-2, edited by Francisco José Craveiro de Carvalho & Joana Costa.
Photo by Lauren Young
He has been lost for so long that the trees – once trimmed & turned into bilboquets — are now growing branches again. Lost for so long that the painter's style has under- gone several transform- ations in the interim. This from a classical period; airy, pastel-toned. A scene posed, as if disposed by a dramaturge, with the jockey center of the set, finally about to exit, stage left.
Elsewhere it is drawn by lions, on solid ground, even if it is a rough track rather than a road. Cherubs accompany her, either to keep her amused or on hand to push — while the lions pull — the chariot should it happen to get stuck. Allegory drawn large. The Virgin Mary on her way to heaven, assumed body & soul, traveling first class on a triumphal vehicle. Much the same thing here. The means of transport a shiny mirror, the suitcase closed as befits a virgin. Yet the perspective all wrong. If the mirror's right, then the case could only hold a single tube of lipstick. If the case is lifesize then a reasonable entourage could balance on the mirror comfortably. So what's the answer? Perhaps it lies in those marks on the mirror. Dare we suppose some lines of coke were snorted here, & the world now somewhat distorted.
He refused to work on the Sabbath, which is why the lights are all turned off — the moon gives me enough light to find my way around — & the painting is left upside down — I won't work but that doesn't stop my mind from turning over, so putting things in unusual places often helps as a sort of associative trigger when the next day comes around — & for any person passing by, an upturned apple is still an apple — I stole that idea from Gertrude Stein who I later paid back by painting rose after rose after rose — but no one has decreed that magic can't be done on this day — I deliberately put that half- full glass of wine there so that when it hangs upside- down with no spillage, what else can it be but magical?
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The curtains open. The summer sky takes center stage. Thinks the play's the thing: but there is no King. Apart from the slash of blue & white there is little light, & the only animate object in sight, a horse's bell, has lost its smile, lips quite tight, trapped inside a night of boredom.
Seeing several frames within the painting allows that a central premise could be: today & yesterday are so alike a past image can be positioned to present the present in such a way Derrida himself might find it hard to tell if what happened then has happened now or has time reversed.
Simplicity abounds. Each part of the room is mono- tone — floor, walls, the em- bossed dado, the ceiling & its cornice. Only the horse's bell rings out in- trusion, & that, perhaps, because of oversize alone.
Maybe we shouldn't go down the line of thought brought about by the ob- vious doggy position along with too much randy baluster, too little political correctness. But where else to go, seeking the meaning of the seem- ingly demeaning pose? Back to the future, I sup- pose, since this is identified as the invention of fire & thus comes first, gives birth to all those fiery euphoniums that were discovered later.
The whisperers are not exactly out in force. Just the two of them. Evidence enough, however, to group all rumor into two streams which their purveyors reflect. Those mur- murs that have some weight to them. The others baseless, can be easily seen through.
