Picasso and Dali discuss life

They are speaking in A Century is Nothing.

"Have you thought of a name for your new work my friend?” asked Dali.

   “Guernica comes to mind,” Pablo said.

   “How appropriate,” Dali replied, stroking his exquisite mustache. “It will become a classic. It will connect the wild subconscious and rationality. It’ll make you famous, old boy.”

   Picasso’s Guernica commemorated the small Basque village of 10,000 in northern Spain. It was market day on Monday, April 27, 1937. In the afternoon waves of planes from the Condor Legion, Heinkel 51s and Junker 52s piloted by Germans blasted Guernica. Survivors found 1,660 corpses and 890 wounded people in the rubble.

   “Be that as it may,” Pablo replied. “Art historians and critics will have their say hey kid. It will shock supporters of social realism and propaganda art in France and Spain.”

   “How did you do it?” Dali queried.

   “From May 1st to June 4th in 1937 I made forty-five drawings on blue or black paper. I incorporated the bull, the horse, classic bullfighting figures and the lantern from my 1935 Minotauromachy. I used the weeping Dora Maar because she has always been a woman who weeps. Guernica is a bereavement letter saying everything we love is going to die. And that is why everything we love is embodied in something unforgettably beautiful, like the emotion of a final farewell.”

   “I still think your vision aspires to greater heights,” said Dali. “Your work contains your fantasies meeting the objective violence of history.”

   “You are too kind my dear Dali. People are talking about your work. Your intentional dreams, so strangely manifested, in the way you masterfully allowed your subconscious free rein on the canvas. Most amazing, your Persistence of Memory.”

   “You are too generous Pablo. I merely reflect the ongoing crisis in society, the surreal absurd nightmare, with shall we say, a twisted rather sordid but truthful elusive creative beast we must acknowledge to allow our perverse authenticity freedom wherever it leads us.”

   “So true my friend, for we are only the conduit of the magic,” said Pablo. “We paint what we see with our innermost senses, born by authentic inner visions.”

   “We are the mysteries speaking through the mysteries,” said Salvador. 

Deeper

‘Quick! Into the tunnels!’

They sat sweltering, crying, still. Hearing the dull roaring threaded whoosh as steel and iron napalm canisters thudded, this tremor, shredding forests, fields, homes danced into flames. Heat soared over tunnels bathing them in sweat. They went deeper. Deeper, following hollow carved earth trails. The earth swallowed their breath, their bones fertilized soil. Ancestor bones cried in their sleep.

The sweet silence, save all the crying and wounded after all the foreign devils packed and left, fleeing in terror as peasants streamed down from the mountains, out of caves and tunnels, poling rivers, attempting to escape, walking on water, drinking all the oceans in their creation myth, draining lands of blood, driving them into the sea. A blue green sea danced red.

This easing down of their voice flowing between crumbling sand, crushed red bricks laid haphazard. Cement walls blocked everything but the sound of their anger, frustration and repressed bitterness in life’s twisted fateful reality.

Their memory was a fiction and this fiction created their memory.  

exposure

after a lost time

in Tibet

animate and inanimate objects

focused their attention on a voice whispering

mindfulness

in the moment

because

living safely is dangerous

Walk

"There are some good things to be said about walking.

Walking takes longer, for example, than any other known form of locomotion except crawling. Thus it stretches time and prolongs life.

Life is already too short to waste on speed. I have a friend who's always in a hurry; he never gets anywhere. Walking makes the world much bigger and thus more interesting.

You have time to observe the details. The utopian technologists foresee a future for us in which distance is annihilated and anyone can transport himself anywhere, instantly. Big deal, Buckminster.

To be everywhere at once is to be nowhere forever, if you ask me."
- Edward Abbey

Tibetan Pain

Inside Drapchi prison near Lhasa, Chinese guards beat Tibetan nuns and monks with rubber hoses filled with sand.

They applied electric cattle prods to their bodies, sending wire cranked juice through skeletons, extracting screams. Denounce the Dalai Lama, screamed one soldier, a young lackey from Human Province. He tightened metal screws around a woman’s wrists, bending them back at a horrendous angle until she screamed from pain, Never!

He wiped her blood off his broken glasses and increased the pressure. It was a job.

I am doing my DUTY, he screamed.

Save my face, sang a Chinese girl, an innocent victim of the national genocide one-child policy wringing out a mop made of spider webs inside water rainbows.

She languished in a large bland cavern classroom at a private business university in Fujian. It was private because all the students had failed higher level exams for more prestigious universities. They settled for this prison. She cleaned crumbling uneven cement floors with strands doing her Duty.

Beijing operatic actors fashioned death masks for their performance in a funeral formula. 

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