What we call the beginning is often the end And to make an end is to make a beginning. The end is where we start from. And every phrase And sentence that is right (where every word is at home, Taking its place to support the others, The word neither diffident nor ostentatious, An easy commerce of the old and the new, The common word exact without vulgarity, The formal word precise but not pedantic, The complete consort dancing together) Every phrase and every sentence is an end and a beginning, Every poem an epitaph.
Three years ago this past August, Matt, Ty, Tom, and I were getting ready to get on the Tuichi River in the Bolivian Amazon. It was an adventure of a lifetime that was being recalled as we gathered at the Quaker Meeting House in Tucson for a memorial service for Tom Markey — sharing happy times in a moment of sadness. (August 20, 2019)– Image by kenne
“Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. Other echoes Inhabit the garden. Shall we follow?”
For most of us, There is only the unattended Moment, The moment in and out of time, The distraction fit, lost in a shaft of sunlight, The wild thyme unseen, or the winter lightning Or the waterfall, or music heard so deeply That it is not heard at all, but you are the music While the music lasts.
— from Four Quartets, “The Dry Salvages” by T. S. Eliot
"Let me disclose the gifts reserved for age
To set a crown upon your lifetime's effort.
First, the cold friction of expiring sense
Without enchantment, offering no promise
But bitter tastelessness of shadow fruit
As body and soul begin to fall asunder.
Second, the conscious impotence of rage
At human folly, and the laceration
Of laughter at what ceases to amuse.
And last, the rending pain of re-enactment
Of all that you have done, and been; the shame
Of motives late revealed, and the awareness
Of things ill done and done to others' harm
Which once you took for exercise of virtue."
Are become unsubstantial, reduced by a wind, A breath of pine, and the woodsong fog By this grace dissolved in place
What is this face, less clear and clearer The pulse in the arm, less strong and stronger — Given or lent? more distant than stars and nearer than the eye Whispers and small laughter between leaves and hurrying feet Under sleep, where all the waters meet.
Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear At five o’clock in the morning. Between the idea And the reality Between the motion And the act Falls the Shadow
Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable.
For most of us, there is only the unattended Moment, the moment in and out of time, The distraction fit, lost in a shaft of sunlight, The wild thyme unseen, or the winter lightning Or the waterfall, or music heard so deeply That it is not heard at all, but you are the music While the music lasts. These are only hints and guesses, Hints followed by guesses; and the rest Is prayer, observance, discipline, thought and action. The hint half guessed, the gift half understood, is Incarnation.
Fallen Leaves On Mt. Lemmon — Photo-Artistry by kenne
In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised. In a warm haze the sultry light Is absorbed, not refracted, by grey stone. The dahlias sleep in the empty silence. Wait for the early owl.
In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised.
— from Four Quartets by T. S. Eliot
Tom’s Signature
Eliot’s Four Quartets rests on my desk not only because I love his poetic masterpiece but because my first copy was given to me by my brother, Tom, who wrote “. . . I’ve become obsessed with it . . . with time . . . with memory . . . with language, all of which are concentrated in this work. It has become such a part of me.”
Tom went on to write — “To use a few of Eliot’s words; ‘As we grow older the world becomes stranger, the pattern more complicated . . . ‘ Complications, ambiguities, non sequitur I keep searching for clarity . . . lucidity, and I know each time I seek that, I’ll become more entangled. No. I’m not bored—just Scarred. I’m moving toward a sort-of silence . . . I know what you’re thinking: ‘Bull-shit!’ Since the significant things, I want to say have the wrong inflections, intonations for most arenas of conversation; I ramble on into oblivion. A series of non sequitur.” (7/27/84)
Old Western Morning (Sonoran Desert) — Photo-Artistry by kenne
Two-Windows (Tucson Arizona) — Photo-Artistry by kenne
Becoming is Superior to Being 