Some Landscapes / Heart of the Spirit Wilderness

We raise a tongue in the animal wild for the snout of Fox and the eyes that watch, the still hunt mountain peak of ears, owl eyes. Civilization's burdens were heavy for mountain let alone plain. Ranch against fish, consumption against Fox.

Saguaro Mule Deer

Bodies everywhere in the spirit wild, the eyes of 1) prickly pear 2) Mule Deer 3) Saguaro, three species and a fourth, prickly pear mule deer 4) rock towers, ask, "enemy or friend?" Au natural  is the  answer in words we understand that the angel spoke to Joshua and Joshu: "neither!"

The mountain faced a masquerade of reason in the mountaineer, lassoed saguaros shot and hung. Civilization's burdened bubble, ranch against fish, consumption against Fox, rooster tail conscience cleaves to the mouth, "oh God!" It punches a tire off the hard pan to raise a tongue for the snout of Fox, the eyes that watch, still hunt on the mountain of Four Peak ears, owl eyes.

These saguaros saw the mouth of Danes. Not really Danes. Cold mouths unnerving, scape justice, not letting go, Spirit Heart pumping. "A pile of cans," mutters stream. Hunt asks elk, flint pile quartz, "where are you now? I am coming." Self-reliant  flushed  xylene, radioactive, will-thwarting, looks out on mirror mountain. Not mine, nor hunt, nor ranch nor fish, four wheel shop and dump! Wild Crowd Faces Depression! At last, warm and fed, entertained, but bored in bed, this man projects the face of mountain. Oil, gold questions, asked. Is that mask eternity? Arms, Legs, Thigh, Head ride the Back of Beast, design the crotch. Human bone twists bare bald sky, bodies disembody. Where are you hiding? A head remains. It needs some Ichabod Crane-ium to decapitate. Who put the headless horseman Head Man, Topknot Showing? In the Mazatal buttocks a woman is prepared (but not the Woman of the Wilderness, for the present you are spared). Prickly Poppy twists its grip around the naked kudzu cruciform.

Four Peaks

Prickly Poppy

There is no inherent wilderness connotes a response "culturally devised," without intrinsic "savageness...or bleakness." Landscape denotes mountain without response, brute fact, without thought. What could sound more plausible than to say "what we call a mountain is thus in fact a collaboration of the physical forms of the world with the imagination of humans--a mountain of the mind?" (Robert Macfarlane. Mountains of the Mind. London: Granta Books, 2003, 18,19)

If we say the mountain collaborates the doubled image of the mountaineer, sees itself in the man and his emotions provoked, the mountaineer is a collaboration of forces, a mountain anthropos.  Faces stare from the mountainsides, saguaro and canyon, as if life flowed on in the vast light sky, the born world without him! A mule deer saguaro for sure, but with ears of a prickly pear. Why is it looking? A vision of nature that never says a word. Landscapes tell the human cultural devise that collaborates physical forms extrinsic to nature, self identified, primitivism, rock art, verbal self-reflexion, Wordsworth's Lucy, geologic science, Darwin's Macfarlane. Do not deny perfect science, so careful to rule itself out as a cultural construct, perfectly.

Back of the Beast, and its rider.
Arms, Legs, Thighs, Heads

Head Man, Lock of Hair, Topknot Showing

Perfectly permanently anthropomorphically anthropos so intrinsic the vision of a bug corrects it, collaborations of grasshoppers, semantics of earth, terra obligata, terrestiva imperativita.

Grand Canyon Kachina

Creation discovered by science was an archetype of mountain, a wilderness beyond and in the human. Then science conferred itself Audacious and said to the mountain, move! For audacity we like the third side of Grand Canyon Kachina, who dances this rock.

What is wilderness? I will tell.
It is crowded beneath a bear that opens its mouth.
The tail is cedar,  bronze bones are subway tubes.
Is wilderness a man, to be so greeting him,
sons of men to be so glistening?
A wake-worn wilderness of undersides like potsherds of a trail. What could one capture to trap and pierce the nose?
Think deep white hair!
Beg mercy when you tie down with the eye that tongue put on a leash for girls.
Harpoon the head of gold, spear iron, fire its back down a row of shields.
You have it, strip off the coat, take flashes of light as your own. You can do it.

The Two

Supreme Court

Our Supreme Court is dressed sky blue. It looks a colloquy up close, first of three, just The Two. Say like angels they are servants as ourselves, were it fit to bow, the rock giants serve? They will not bow to you though wordless form deform.  Self recognition is better as self similarity the human has skewed. Similarity, a reflection, in the case of  bent is true, communication that identifies itself.

No matter how much the mountain is made to dissemble the view(er) and valued for the same, the question asked is not how empirical a mutual universe. It is hard to talk of spirit. MacFarlane poses Pieter Bruegel in Big Fish Eat Little Fish (1556) against no physical form collaborating mind. Faceless interchangeable cogs of pen and ink, folly of human, not fish, repeat, act also in Spring (1565) and Summer (1568): "Out of the mouth of a large beached fish tumble many smaller fish...the land and water are overrun by fish: a two-legged fish walks off with another fish in its mouth, a fish hand from a tree, and a fish-bird flies... (Nadine M. Orenstein. Pieter Bruegel the Elder: Drawings and Prints.Yale University Press, 2001,140). We don't call self identification a fish of mud or the mind. Mind fish are imaginative, not collaborative, not real, but mean to show a maxim, like an orc studied by an anthropologist outside the physical forms one could collaborate. Mind mountains conform to the pre-existing deaf.

Round the century turn Yeats "reformed," denied "power to the symbols...perceiving that irresponsible play with them brings danger. The images that really matter to men of genius and culture are the images which are not chosen but given...." (Austin Warren. Rage for Order. Chicago, 1948, 73).

Not chosen, but given, young C. S. Lewis in 1921, walked up Yeats' stairwell, "a long stairway lined with rather wicked pictures by Blake--all devils and monsters." saw cultural perspective, age, feelings: "it would be ridiculous to record it all; I could give you the insanity of the man without his eloquence and presence, which are very great. I could never have believed that he was so like his own poetry" (Letters. Edited by W. H. Lewis. NY: Harcourt, Brace, 1966. 56, 57).

Empiricist codes, esoteric Buddhists, religious puritans, or whatever theory of reality codifies a cultural norm like Yeats' symbols becomes dangerous when tempted to extrinsic, external practice, meaning give law to others. Practice law on yourself. Really you must do. Science doesn't mind doing it, neither does religion. Bruegel finds symbols that come to him (with some Bosch). Int he universal of his later work Yeats makes "a general defense of a more variously comprehensive universe than a positivist science will admit" (Warren 82). A nice way of saying there is conflict between the mountain of the mind-formed culture and what is "given." Close the eyes. If symbols come from the "given," let them come to the pure in heart, not the acculturate.