The Period Of Childhood Is A Stage

Dreams, Memories, The Sacred--they Are All Alike In That They Are Beyond Our Grasp. Once We Are Even Marginally Separated From What We Can Touch, The Object Is Sanctified; It Acquires The Beauty Of The Unattainable, The Quality Of The Miraculous. Everything, Really, Has This Quality Of Sacredness, But We Can Desecrate It At A Touch. How Strange Man Is! His Touch Defiles And Yet He Contains The Source Of Miracles.

The Images Which The [press] Photographer Has Filtered From Reality, Whether Particular Events Or The Anguish Of Human Reactions To Them, Already Bear A Stamp Of Authenticity Which The Photographer Is Powerless To Alter By One Jot Or Tittle; The Meaning Of The Objects, By A Process Of Purification, Itself Becomes The Theme Of The Work.

He Was In A Room Of The Gesshuuji, Which He Had Thought It Would Be Impossible To Visit. The Approach Of Death Had Made The Visit Easy, Had Unloosed The Weight That Held Him In The Depths Of Being. It Was Even A Comfort To Think, From The Light Repose The Struggle Up The Hill Had Brought Him, That Kiyoaki, Struggling Against Illness Up That Same Road, Had Been Given Wings To Soar With By The Denial That Awaited Him.

The Purest Evil That Human Efforts Could Attain, In Other Words, Was Probably Achieved By Those Men Who Made Their Wills The Same And Who Made Their Eyes See The World In The Same Way, Men Who Went Against The Pattern Of Life's Diversity, Men Whose Spirits Shattered The Natural Wall Of The Individual Body, Making Nothing Of This Barrier, Set Up To Guard Against Mutual Corrosion, Men Whose Spirit Accomplished What Flesh Could Never Accomplish.

I Want To Make A Poem Of My Life.