To engage contemporary Europeans and American thought in battle one must enter the city and take a stand for the sake of Love's revolution. This is to the point: Rimbaud is not revolutionary.
Made out first visit to Sanjusangendo - took in (that is as we moved along) the 1,000 Kannona & "the principal image" - plus its "subordinate" gods - an impressive sight: calm juxtaposed with aspectual "fierceness". Then we walked along Higashiyama - and some where past the street leading up to Senuji we found a bench in front of a bus stop: the three of us stopped to react and point ourselves toward the final light.
Feel more than ever the need to get back to America - nothing can be done here except to pro-pogandize for these - we've said this before, but as always the iteration won't hurt. If I could come away with some tools necessary for the argument then I should say the time was not wasted. Am I longing for Spring?
Because of the austerities one has set for himself, there is the temptation to fall back on the way of others - for example Baudelaire's etc. How easy it is to fall under the spell of the voice ( the material ideal: the states: nature as furnished by mentality whose presupposition in motion - that is when stripped of its virtual mask, matter as first principal comes thru) that draws one toward darkness.
My songs lament over the failure of individuation to come thru because of the ambiance that renders the will tortuous, therefore where is there a lack of fullness of experience? if one views from the "angle" of our present form of economy then he's always looking for the close up that is type rather then the ambiance that keeps individuation from coming thru. The Comedy is in the direction of the differential - therefore I don't go for that modernity that's of the image of a man's shadow lengthened on a slope in snow.