I’ve noticed that when we follow a train of thought farther and farther out we begin to come around “full circle.” Like circumnavigating the globe, worlds of thought seem to be circular or maybe even spherical in form. This seems to be one way of verifying the validity of that kind of inclination.
An example: I began following what forsakers of worldly things say about the act of seeking non-materialism, and suddenly find them talking about abundance and enough. Now, whose to say whether they truly believed that they had enough in their Ghandi-esque relinquishing of the world or whether they were simply painting again and again the bars of what they perceived to be their cage.
I also noticed that the more I accept being “here,” the more I find that I am taken to exotic places.
Lisa told me that after returning from our weekend at my boss’ condo she found herself tidying up our backyard because making our own backyard seem more appealing seemed to her a logical thing to do. I told her about what Emerson called “the importance of tending your own plot.” We spent the weekend in one of those exotic places and both came home a bit shaken from it. It was great and (I would have said a couple of years ago): “Shouldn’t we be trying to stay there?” But instead we returned to our home at 506 S. Charles, she to straighten up the back yard, me to pace nervously and eventually find myself here, at the keyboard of my computer trying to give some form to it.
I heard a Woody Allen interview today that was remarkable. He sounded so much like a father, a very normal guy who had coexisted with a very exotic world that he kept bumping up against. He spoke about how people try to discern who he must be based on what they’ve gleaned from his movies. He talked about mistaken impressions of him. The kicker being that he must have been a cerebral introvert who is a bumbler in the real world. Actually, he said, I was a very good athlete. I enjoy drinking a beer in a t-shirt while watching a baseball game.
He talks about how there is no “answer” to what the final scene in Manhattan means. No secret understanding of what happens next. He says that movie, like his others, is a collaboratively created collection of interesting comedic moments to be developed by him and savored by his audience.
At the beginning of the interview Terri Gross seemed to be trying to pass as a Woody Allen fan when she asked him to comment on the obviously delivered line that repeatedly comes up in his movies that the only thing you can sum up about life is that it’s big and mysterious and sometimes horrible and that it’s over much too soon.
He also mentioned that life is best when it distracts us from the fact that it is finite. I immediately thought of the (I feel) more important scene in Manhattan when he goes down a list of things that are worth living for ending with his character’s girlfriend’s smile. My list of things worth living for would include Woody Allen diversions. And this too is one of those strange realizations that seems to double back upon itself. I always thought that I wanted direct, in the moment, reality, but in fact, I enjoy when my reality distracts me and I get caught up in it.
So, this is one of this places where I feel things come full circle synthroid cost. Woody Allen refers to a moment that Czsentmihily calls “Flow.” Optimal Experience. The feeling of intense oneness with the world. A kind of trance we don’t want to be awakened from.
I think this is what adayon is about, this exhilaration in the moment whether it be a moment of intense normalcy or intense intensity. I think it is what the artist has perhaps the most direct bead on because the artist seeks to give form to his distraction. He lives playfully. The fantastic is brought home.