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Rob Urban Jun 2012
Lost in the dim
streets of the
Marunouchi district
I describe
this wounded city in an
  unending internal
monologue as I follow
the signs to Tokyo Station and
descend into the
underground passages
  of the metro,
seeking life and anything bright
in this half-lit, humid midnight.

I find the train finally
to Shibuya, the Piccadilly
and Times Square of Japan,
and even there the lights
are dimmer and the neon
  that does remain
  is all the more garish by
contrast.
I cross the street
near a sign that says
  "Baby Dolls" in English
over a business that turns
out to be a pet
  shop, of all things.

Like
the Japanese, I sometimes feel I live
in reduced circumstances, forced to proceed with caution:
A poorly chosen
adjective, a
mangled metaphor
could so easily trigger the
tsunami that
    sweeps away the containment
             facilities that
                   protect us
                        from ourselves
                                                            and others.
  
The next night at dinner, the sweltering room
     suddenly rocks and
        conversation stops
                  as the building sways and the
candles flicker.

'Felt like a 4, maybe a 5,'
says one of my tablemates,
a friend from years ago
in the States.

'At least a five-and-a-half,'
says another, gesturing
at the still-moving shadows
on the wall. And I think
     of other sweaty, dimly lit rooms,
      bodies in slow, restrained motion,       all
          in a moment that falls
                         between
                                     tremors.

         Then the swaying stops and we return
to our dinner. The shock, or aftershock,
isn't mentioned again,
though we do return, repeatedly, to the
big one,
         and the tidal wave that
                           swept so much away.

En route to the monsoon
I go east to come west,
   clouds gathering slowly
     in the vicinity of my chest.

Next day in Shanghai, the sun's glare reflects
  off skyscrapers,
and the streets teem
with determined shoppers
and sightseers
wielding credit cards and iPhone cameras, clad
in T-shirts with English words and phrases.
I fall
          in step
             beside a young woman on
                 the outdoor escalator whose
shirt, white on black,
reads, 'I am very, very happy.' I smile
and then notice, coming
down the other side,
another woman
wearing
        exactly the same
       message, only
                        in neon pink. So many
                                  very,
                                          very
                                                 happy people!
Yet the ATMs sometimes dispense
counterfeit 100 yuan notes and
elsewhere in the realm
      police fire on
      protestors seeking
                more than consumer goods,
while officials fret
about American credit
and the security of their investments, and
     the government executes mayors for taking
                       bribes from real estate developers.
    
    A drizzle greets me in Hong Kong,
a tablecloth of fog draped over the peaks
   that turns into a rain shower.
I find my way to work after many twists and turns
through shopping malls and building lobbies and endless
turning halls of luxury retail.
               At dinner I have a century egg and think
of Chinese mothers
urging their children,
'Eat! Eat your green, gooey treat.
On the street afterwards, a
near-naked girl grabs my arm,
pulls me toward a doorway marked by a 'Live Girls’
sign. 'No kidding,’ I think as I pull myself carefully
free, and cross the street.

On the flight to Bombay, I doze
   under a sweaty airline blanket, and
       dream that I am already there and the rains
         have come in earnest as I sit with the presumably
           semi-fictional Didier of Shantaram in the real but as-yet-unseen
            Leopold's Café, drinking Kingfishers,
              and he is telling me,  confidentially,
                     exactly where to find what I’ve lost as I wake
with the screech and grip of wheels on runway.
            

     Next day on the street outside the real Leopold's,
bullet holes preserved in the walls from the last terrorist attack,
I am trailed through the Colaba district
by a mother and children,  'Please sir, buy us milk, sir, buy us some rice,
I will show you the store.'
    A man approaches, offering a drum,
                        another a large balloon (What would I do with that?)
A shoeshine guy offers
                                           to shine my sneakers, then shares
the story of his arrival and struggle in Bombay.
     And I buy
             the milk and the rice and some
                      small cakes and in a second
                          the crowd of children swells
                               into the street
               and I sense
                     the danger of the crazy traffic to the crowd
                         that I have created, and I
think, what do I do?
           I flee, get into a taxi and head
                             to the Gateway of India, feeling
                                                                                  that I have failed a test.

                                       My last night in Mumbai, the rains come, flooding
     streets and drenching pavement dwellers and washing
the humid filth from the air. When it ends
           after two hours, the air is cool and fresh
                                  and I take a stroll at midnight
          in the street outside my hotel and enter the slum
   from which each morning I have watched
the residents emerge,  perfectly coiffed. I buy
some trinkets at a tiny stand and talk briefly
      with a boy who approaches, curious about a foreigner out for a walk.

A couple of days after that, in
the foothills of the Himalayas,  monks' robes flutter
on a clothesline like scarlet prayer flags behind the
Dalai Lama's temple.
I trek to 11,000 feet along a
narrow rocky path through thick
monsoon mist,
   stopping every 10 steps
to
   catch
        my  breath,
              testing each rock before placing my weight.
Sometimes
    the surface is slick and I nearly fall,
sometimes
    the stones
        themselves shift. I learn slowly, like some
             newborn foal, or just another
                clumsy city boy,
                   that in certain terrains the
       smallest misstep
                            can end with a slide
                                             into the abyss.
                  At the peak there's a chai shop that sells drinks and cigarettes
                                of all things and I order a coffee and noodles for lunch.
While I eat,
      perched on a rock in a silence that is both ex- and
      in-ternal,
the clouds in front of me slowly part to reveal
a glacier that takes up three-quarters of the sky, craggy and white and
beautiful. I snap a few shots,
quickly,
before the cloud curtain closes
again,
obscuring the mountain.
                                                
                                     --Rob Urban: Tokyo, Shanghai, Mumbai, Delhi, Dharamshala
                                        7/13/11-7/30/11
Johnny Noiπ Aug 2018
Already, a conscious courage is coming to life.
Here are some of the painters: Picasso, Braque,
Delaunay, Le Fauconnier; they are highly enlightened,
& do not believe in the stability of any system,
even if it were to call itself classical art.
Their reason is poised between the pursuit
of the fleeting and a mania for the eternal.
Quote of Jean Metzinger Note sur la Peinture (1910)
[the Cubist painters who]              continued to paint objects motionless, frozen, &                                                   all the static aspects of Nature;
they worship the traditionalism of                  w:Poussin, of w:Ingres, of Corot,     ageing & petrifying their art
      with an obstinate attachment to the past,
      which to our eyes remains totally incomprehensible;
                            Is it indisputable that several aesthetic
declarations of our French comrades
[the Cubists in Paris] display
a sort of masked academicism.
It is not, indeed, a return to
the Academy to declare that
the subject, in painting, has
a perfectly insignificant value?
To paint from the posing model
as an absurdity, and an act of
mental cowardice, even if the model
be translated upon the picture in linear,
spherical and cubic forms;
Quotes by Boccioni in his text
of 'Les exposants au public' - exh.
Cat. Galerie Bernheim-Jeune,                      February 1912, pp. 2, 3
Get all the information you can about the Cubists,
                 & about Georges Braque and Pablo Picasso. Go to Kahnweilers' art gallery. And if he's got photos of recent works –
                              produced after I left -,
buy one or two. Bring us the Futurists in Italy,
like Boccioni himself;                          back all the information you can get.
Quote of Boccioni,                                in a letter to Gino Severini,
staying in Paris in the Summer of 1911;                     as quoted in Futurism,
ed. Didier Ottinger; Centre Pompidou /
5 Continents Editions, Milan, 2008, p. 27.
We [the Futurists] must smash,
demolish and destroy our traditional harmony,
which makes us fall into a 'gracefullness'
created by timid and sentimental cubs
[this denigrating word refers to the French Cubists].
Quote by Boccioni in his 'Sculptural Manifesto' of 1912;
as quoted in Futurism, ed. By Didier Ottinger;
Centre Pompidou / 5 Continents Editions, Milan, 2008                    Is it indisputable that several aesthetic declarations
of our French comrades the Cubists display a sort of masked
academicism;   It is not, indeed, a return to the Academy
   to declare that the subject, in painting,
        has a perfectly insignificant value?
To paint from the posing model as an absurdity,
& an act of mental cowardice, even if the model
be translated upon the picture in linear,
                    spherical and cubic forms;
Quote of Boccioni, in 'Les exposants au public' - exh. Cat. Galerie Bernheim-Jeune, February 1912 pp. 2, 3.
The square is not a subconscious form.
It is the creation of intuitive reason. The face of the new art.
The square is a living, regal infant. The first step of pure creation in art.
Quote of Kazimir Malevich,
in 'From Cubism and Futurism to Suprematism: The New Realism in Painting' (November 1916)
Unless we are to condemn all modern painting,
we must regard cubism as legitimate, for it continues modern methods,
& we should see in it the only conception
of pictorial art now possible.
In other words, at this moment cubism is painting.

Quote of Albert Gleizes, Jean Metzinger,
in Du "Cubisme", Edition Figuière, Paris, 1912
(First English edition: Cubism, T. Fisher Unwin, London, 1913)
To understand Cézanne is to foresee Cubism.
Henceforth we are justified in saying that
between this school and previous manifestations
there is only a difference of intensity,
& that in order to assure ourselves
of this we have only to study the methods
of this realism, which, departing from the superficial
reality of Courbet, plunges with Cézanne
into profound reality, growing luminous
as it forces the unknowable to retreat.
Quote of Albert Gleizes, Jean Metzinger,
Du "Cubisme", Edition Figuière, Paris, 1912 (First English edition: Cubism, T. Fisher Unwin, London, 1913)
Johnny Noiπ Oct 2018
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Johnny Noiπ Oct 2018
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