First Five Lines of a Late, Late, Late Beat Poem Begun Halfway up the Pacific Coast Highway between LA and SF and Abandoned in a Smoking Chevy Nova by the Side of a Road on the Southern Outskirts of San Francisco, Summer 1995.
I left the painted angels
down at Hollywood and Vine
to drive the olive coast and find
salvation
in the city of the saint.
Saturday, March 19, 2016
Pieces of Poems / Poem in Pieces -- A Poem by B. A. Oard
[These fragments of poems from my mid-1990s notebook seem to work surrealistically well together. Let's call it a single poem.]
Pieces of Poems / Poem in Pieces
...for the darkness will lengthen like shadows
and threaten a drowning
...where the rose petals scatter
below the bush with blowing arms...
--zoning out--
blackness past the searchlight,
lost in the waves.
Remember the brown grass
that blows there
Remember the faces
that laid you in the dust
I know there is something crying
under the broken sidewalk
something barely human calling
something understood...
and an ancient secret
like a child
chained to a bed;
and the vision that failed you then:
a flock of geese rising to sunlight--
only to crash down and shatter
the water's dark glass...
a package of razor blades
bulging your pocket like the weight
of jingling change.
The mind a darkened corridor,
The soul a vacant lot,
The beast that lingers in the brain
behind the door to gone insane
appreciates the strangeness of the plot.
Pieces of Poems / Poem in Pieces
...for the darkness will lengthen like shadows
and threaten a drowning
...where the rose petals scatter
below the bush with blowing arms...
--zoning out--
blackness past the searchlight,
lost in the waves.
Remember the brown grass
that blows there
Remember the faces
that laid you in the dust
I know there is something crying
under the broken sidewalk
something barely human calling
something understood...
and an ancient secret
like a child
chained to a bed;
and the vision that failed you then:
a flock of geese rising to sunlight--
only to crash down and shatter
the water's dark glass...
a package of razor blades
bulging your pocket like the weight
of jingling change.
The mind a darkened corridor,
The soul a vacant lot,
The beast that lingers in the brain
behind the door to gone insane
appreciates the strangeness of the plot.
Politicks -- A Poem by B. A. Oard
[Here's another poem I wrote 20 years ago and have only now rediscovered in an old, forgotten notebook from the middle of the 1990s. Did I really write this? I feel a bit like the Burroughs character in Cronenberg's Naked Lunch who comes out of a drug haze to find his novel already written for him by his hallucinated animate typewriter.]
Politicks
The political is a panicked eyeball stabbed with a sword of
summer grass:
Television is a two-way mirror
in The General's interrogation room;
Economists impale themselves on tusks of murdered elephants
while The General fucks a knot-hole in a mortar-blasted palm
tree
as The Secretary of State bursts into flame while surfing off
Kauai
and children on the beach are building
houses we will never understand.
A 747 engorged with tourists explodes above the Technicolor
jungle;
Plaid shirts purple shorts and boiled tennis shoes hang like
laundry from the vines;
A peasant's shadow is reflected in a man-high fragment of the
fuselage
sprouting knifelike from the steaming blackened earth;
He checks his hair and notices the smell
of burning pig
rising to the nostrils of the gods.
Television camera crews parachute to the rescue as The
General
finally comes against his palm
and children on the beach are building
houses we refuse to understand.
The General tours his torture chamber listening to the soothing
music
streaming from his screaming concrete rooms;
in his head a silver box with wires red and green controls
the bomb that turns the jungle red and green;
his eyes compile lists of enemies endless long. He sees them
skinned alive amidst the cheering of the marketplace and
grinds their bones to dust to feed the poor.
The President Of The United States commends his
humanitarianism and
courageous adherence to the principals of a free market
economy
and children on the beach are building
houses we will trample into sand.
Politicks
The political is a panicked eyeball stabbed with a sword of
summer grass:
Television is a two-way mirror
in The General's interrogation room;
Economists impale themselves on tusks of murdered elephants
while The General fucks a knot-hole in a mortar-blasted palm
tree
as The Secretary of State bursts into flame while surfing off
Kauai
and children on the beach are building
houses we will never understand.
A 747 engorged with tourists explodes above the Technicolor
jungle;
Plaid shirts purple shorts and boiled tennis shoes hang like
laundry from the vines;
A peasant's shadow is reflected in a man-high fragment of the
fuselage
sprouting knifelike from the steaming blackened earth;
He checks his hair and notices the smell
of burning pig
rising to the nostrils of the gods.
Television camera crews parachute to the rescue as The
General
finally comes against his palm
and children on the beach are building
houses we refuse to understand.
The General tours his torture chamber listening to the soothing
music
streaming from his screaming concrete rooms;
in his head a silver box with wires red and green controls
the bomb that turns the jungle red and green;
his eyes compile lists of enemies endless long. He sees them
skinned alive amidst the cheering of the marketplace and
grinds their bones to dust to feed the poor.
The President Of The United States commends his
humanitarianism and
courageous adherence to the principals of a free market
economy
and children on the beach are building
houses we will trample into sand.
Friday, March 18, 2016
Traveling Under Thomas Pynchon's Name -- A Poem by B. A. Oard
[Leafing through an old notebook excavated from the bottom of a desk drawer, I rediscovered this poem I wrote 20 years ago (and, it seems, immediately forgot). It's still fun.]
Traveling Under Thomas Pynchon's Name
Arriving incognito
in the fleshpots of Manhattan,
Kansas,
I heard the clerk at HoJo's calling,
"Mr. Pine-chawn! Mr. Pine-chawn! You forgot
your bag." I said, "It's Pin-chon, like you're
pinching someone." So I pinched him and he
was dreaming... of Celine's ellipses... ...
The New York City sewer system smelled
like a dead cat's colon back in '41,
and deep inside that backward turning
I'm cornered by Gary Cooper playing
Plasticman... He looses the alligators
and far away a rifle ricochets...
"Anus mundi!" I yell into echoes
of beneficent Latin profanity...
...but listen I'm coming unstitched in time
and I Vonnegut myself back home...
Changing my name to Anthony Burgess,
who doesn't 'really' exist,
I marry a Maoist contessa
and argue with a thug-faced inspector
at Valletta Customs convinced my autographed copy
of Gravity's Rainbow is really the Anarchists'
Cookbook in pseudonymous guise...
(the poor fucker was right but 30 years
too early to seize
a book against the Maltese day)
At the Barnes and Noble in Salt Lake
City, I sign every copy of Lot 49:
"To my best buddy Brigham / Best wishes,
Joe Smith"... and for thirty-five mornings
I travel the Washington woods disguised
as a shaman with hiccups...
...a-and meanwhile back in Manhattan, a voice as
iron as Jeremy Irons announces, "Stay tuned
for the News of the World--"
Mary Maria Marina Masha Mashenka
Orgoborgoborolynska
my 53rd Street Ukrainian femme fatale
from Odessa by way of Fyodor's St. Petersburg
clicks off the television and runs
a pointy-nailed finger
painfully up my thigh...
Fuck the world
We are in love.
Traveling Under Thomas Pynchon's Name
Arriving incognito
in the fleshpots of Manhattan,
Kansas,
I heard the clerk at HoJo's calling,
"Mr. Pine-chawn! Mr. Pine-chawn! You forgot
your bag." I said, "It's Pin-chon, like you're
pinching someone." So I pinched him and he
was dreaming... of Celine's ellipses... ...
The New York City sewer system smelled
like a dead cat's colon back in '41,
and deep inside that backward turning
I'm cornered by Gary Cooper playing
Plasticman... He looses the alligators
and far away a rifle ricochets...
"Anus mundi!" I yell into echoes
of beneficent Latin profanity...
...but listen I'm coming unstitched in time
and I Vonnegut myself back home...
Changing my name to Anthony Burgess,
who doesn't 'really' exist,
I marry a Maoist contessa
and argue with a thug-faced inspector
at Valletta Customs convinced my autographed copy
of Gravity's Rainbow is really the Anarchists'
Cookbook in pseudonymous guise...
(the poor fucker was right but 30 years
too early to seize
a book against the Maltese day)
At the Barnes and Noble in Salt Lake
City, I sign every copy of Lot 49:
"To my best buddy Brigham / Best wishes,
Joe Smith"... and for thirty-five mornings
I travel the Washington woods disguised
as a shaman with hiccups...
...a-and meanwhile back in Manhattan, a voice as
iron as Jeremy Irons announces, "Stay tuned
for the News of the World--"
Mary Maria Marina Masha Mashenka
Orgoborgoborolynska
my 53rd Street Ukrainian femme fatale
from Odessa by way of Fyodor's St. Petersburg
clicks off the television and runs
a pointy-nailed finger
painfully up my thigh...
Fuck the world
We are in love.
Monday, March 14, 2016
Six Waves of Modernism: A New Periodization of Modern Art and Literature
Instead of conceptualizing Modernism in terms of a facile Modernist-Postmodernist binary or--even more naively--as a univocal, monolithic movement that can be easily characterized, it might be more productive and provocative to think of Modernism as a series of waves, each successive wave of artistic production arising as a response to, reaction against, or transformation of, the previous wave. The six major waves (each of which contains multiple 'wavelets') can be roughly identified as follows. (Dating is highly approximate and reflects the years during which the identified tendency was at its height; like waves, the periods overlap, and characteristics of each period exist as minor tendencies in all others.)
1. Avant-Gardism; or, The Redemption of the Real (1860-1885). The first wave of Modernism begins with Manet's defiantly original paintings of the early 1860s (Luncheon on the Grass, Olympia), includes the whole of the Impressionist movement (Monet, Pissarro, Degas, Morisot, Sisley, Renoir, Caillebotte, Cassatt, et al.), and is also exemplified by the ironic lyrical realism of Flaubert's Madame Bovary and Sentimental Education, the naturalism of Zola, Whitman's Leaves of Grass, the great novels of Tolstoy and Turgenev, Chekhov's plays and stories, the realism and eroticism of Courbet, the paintings of Winslow Homer, the best essays of Emerson, the art criticism of John Ruskin, the space-carving, cathedral-like steel-frame architecture of the great 19th-century railroad stations, such as those still standing in Paris.
2. Decadence; or, The Fascination of the Object (1885-1900). Modernism's second wave pushes the avant-garde's redemptive gaze into a grotesque fascination with the object-as-other (or, in other words, the object as mirror of disavowed subjectivity). This wave is best exemplified by the poems of Baudelaire and Emily Dickinson, the paintings of Gustave Moreau, Dostoevsky's great novels, the works Huysmans and Lautreamont; Bram Stoker's Dracula; the portraits of Thomas Eakins, the portrait photography of Nadar, Matthew Brady and others, the films of Melies and the Lumieres, the sculpture of Rodin, the prose of Walter Pater, the fiction and later plays of Oscar Wilde.
3. Experimentalism; or, The Deconstruction of the Object (1900-1918). The Cubism of Picasso and Braque is the most obvious example of third wave Modernism's analytic fragmentation of the supposedly 'known' world, but we might also point to Matisse and the Fauves and their redemptive dissolution of reality into colors livelier than life. We can hear an Experimentalist impulse in Schoenberg's early adventures in atonality and Stravinsky's pounding rhythms. We see it in the chromatic slashing of Expressionist painting. We read it in T. S. Eliot's early poetry and the prose of Gertrude Stein; it's the real reason Pound could never make his Cantos 'cohere'. It reaches a probably ultimate horizon in Dadaism's anti-art provocations: Duchamp's urinal as an invitation to piss on the objects we have come to worship--a provocation repeated so often that it has now become clich�d (only the aesthetically ignorant could truly have been shocked by Serrano's Piss Christ).
4. Syncretism; or, The Labyrinth of Subjectivity (1918-1960). Cramming all the years between the end of WWI and the election of JFK into a single artistic period is surely the most provocative part of my proposed periodization. But I contend that these years, often seen as radically fragmented by multiple historical traumas (Stalinism, Great Depression, Fascism, WWII, Hiroshima, Auschwitz, Cold War), can be more usefully viewed as connected by a single--albeit radically pluralistic--aesthetic through-line: during these years the various innovations of earlier Modernist waves were syncretized in artistic explorations of the labyrinth of human subjectivity. (Webster's Ninth defines syncretize as "to attempt to unite and harmonize esp. without critical examination or logical unity," thus differentiating it from the logical synthesis of the Hegelian and Marxist dialectics. Syncretism is a more instinctual, artistic way of thinking, independent of the demands of traditional logic and reason.) Obvious examples of such syncretism are Joyce's Ulysses, Proust's voluminous A la recherche du temps perdu, Virginia Woolf's Mrs. Dalloway, To The Lighthouse and The Waves; Picasso's paintings from The Three Dancers (1925) through Guernica (1937) to his explicit Old Master pastiches of the 1950s; Surrealist art with its cult of irrational juxtaposition of objects (literal syncretism) and its goal of exploring the unconscious (the labyrinth of subjectivity); the drip paintings of Pollock, De Kooning's women and Rothko's geometries, which can all be seen as bastard stepchildren of European painting of the 20s and 30s; expressionist cinema from Caligari to Laughton's Night of the Hunter; the literary through-line that runs unbroken from Kafka to Schulz to Borges to Kis; the tone-row compositions of Schoenberg, Berg and Webern; Berg's Lulu, Brecht's Dreigroschenoper and Beckett's Endgame; Eisenstein's Ivan the Terrible, Welles' Citizen Kane, Hitchcock's Vertigo, Bergman's Wild Strawberries.
5. Anarchism; or, The Object Strikes Back (1960-1996). Academic discourse most often refers to this period as 'postmodern,' but it might with more historical validity be called the era of decolonization, postcolonialism, postimperialism, feminism, neoliberalism... Indeed, it might be named after any number of developments far more materially important than the collected works of Derrida, Foucault and Lacan. I prefer to think of these years as the era of artistic anarchism, a period of anti-authoritarianism in which artists radically critiqued the discourse of mastery that underlay previous waves of Modernism. We see this most dramatically in the final phase of Modernist painting's greatest capital-M Master, Pablo Picasso. In the paintings, drawings and prints Picasso produced from the early 1960s until his death, the elderly master becomes younger than he ever was; he throws off the weight of art history, the museum he carried in his mind, and proceeds to play in paint. The canvases of these years evince a new liveliness in the artist, a Matissean simplicity and vibrancy in his brushwork, a new and utterly uncensored concentration on the materiality of sex and the body. All authority gone, Picasso is left with all his passion still to spend, and in this last decade he spends it lavishly. We might also think of this as Picasso striking back against the forces that threatened to freeze him into an object, a safely museumed old master. And this points to the second (or is it simultaneous?) moment of Modernism's fifth wave: into the void of authority flows all the stuff that was previously silenced, marginalized, devalued, objectified. These former 'things' now seize the sites of subjectivity and speak for themselves. We see this in the science fiction novels of Ursula Le Guin and Samuel Delany, the fictions of William Burroughs, the poetry of Allen Ginsberg, the novels and plays of Jean Genet; the hardcore postmodern novels of Barth, DeLillo, Pynchon and Wallace, as well as the softercore pomo of Vonnegut and Heller; underground film from Maya Deren to Kenneth Anger to Stan Brakhage; Warhol, Rauschenberg and the early years of Pop Art before it became corporate wallpaper; Toni Morrison's novels, Salman Rushdie's Midnight's Children and Shame, Gabriel Garcia Marquez, Gunter Grass and other magic realists; the later figurative paintings of Philip Guston; Robert Crumb's comics; Dennis Hopper's Easy Rider; the hippie fiction of Richard Brautigan and Tom Robbins; Philip Roth's Portnoy's Complaint and Sabbath's Theater; the unhinged visions of David Lynch.
6. Cosmopolitanism; or, The Subject Goes Global (1996- ). Even Isaiah and Ezekiel would probably agree that prophecy is a mug's game, but if forced to guess the future's judgment of the most important trend in our present aesthetic moment, I would settle on cosmopolitanism, world-citizenship, with its connotations of pluralism, cultural liberalism and global humanism. (Despite everything from the stolen 2000 U. S. election to al qaeda, the Iraq fiasco and the rise of Herr Drumpf, I remain optimistic about this century; if we survived the 20th, we'll make it through the 21st.) Conrad and Nabokov might be seen as the multinational, multilingual precursors of our time. Salman Rushdie's Satanic Verses and his subsequent novels and nonfiction are among our moment's quintessential artistic products. Likewise the four full-length fictions of W. G. Sebald, the works of Roberto Bolano, J. M. Coetzee's Disgrace, the sf and fantasy novels of China Mieville, Zadie Smith's White Teeth, the films of Guy Maddin, Charlie Kaufman's screenplays, Kiarostami's Certified Copy, the recent films of Lars von Trier, the literary and cultural criticism of Edward Said, John Ralston Saul's Voltaire's Bastards, the novels of David Grossman, Haruki Murakami, Kazuo Ishiguro, Doris Lessing; the essays of Susan Sontag, the late poetry of John Ashbery, the paintings of R. B. Kitaj, Cormac McCarthy's borderless Border novels; William T. Vollmann's literary explorations of just about everything, everywhere...
(Needless to say--but I'll say it anyway--this schema is offered only as a generalized, shorthand way of thinking about Modernist art. It is suggestive, not exhaustive. It's an attempt at description, not prescription; and no judgments of relative aesthetic value are implied.)
1. Avant-Gardism; or, The Redemption of the Real (1860-1885). The first wave of Modernism begins with Manet's defiantly original paintings of the early 1860s (Luncheon on the Grass, Olympia), includes the whole of the Impressionist movement (Monet, Pissarro, Degas, Morisot, Sisley, Renoir, Caillebotte, Cassatt, et al.), and is also exemplified by the ironic lyrical realism of Flaubert's Madame Bovary and Sentimental Education, the naturalism of Zola, Whitman's Leaves of Grass, the great novels of Tolstoy and Turgenev, Chekhov's plays and stories, the realism and eroticism of Courbet, the paintings of Winslow Homer, the best essays of Emerson, the art criticism of John Ruskin, the space-carving, cathedral-like steel-frame architecture of the great 19th-century railroad stations, such as those still standing in Paris.
2. Decadence; or, The Fascination of the Object (1885-1900). Modernism's second wave pushes the avant-garde's redemptive gaze into a grotesque fascination with the object-as-other (or, in other words, the object as mirror of disavowed subjectivity). This wave is best exemplified by the poems of Baudelaire and Emily Dickinson, the paintings of Gustave Moreau, Dostoevsky's great novels, the works Huysmans and Lautreamont; Bram Stoker's Dracula; the portraits of Thomas Eakins, the portrait photography of Nadar, Matthew Brady and others, the films of Melies and the Lumieres, the sculpture of Rodin, the prose of Walter Pater, the fiction and later plays of Oscar Wilde.
3. Experimentalism; or, The Deconstruction of the Object (1900-1918). The Cubism of Picasso and Braque is the most obvious example of third wave Modernism's analytic fragmentation of the supposedly 'known' world, but we might also point to Matisse and the Fauves and their redemptive dissolution of reality into colors livelier than life. We can hear an Experimentalist impulse in Schoenberg's early adventures in atonality and Stravinsky's pounding rhythms. We see it in the chromatic slashing of Expressionist painting. We read it in T. S. Eliot's early poetry and the prose of Gertrude Stein; it's the real reason Pound could never make his Cantos 'cohere'. It reaches a probably ultimate horizon in Dadaism's anti-art provocations: Duchamp's urinal as an invitation to piss on the objects we have come to worship--a provocation repeated so often that it has now become clich�d (only the aesthetically ignorant could truly have been shocked by Serrano's Piss Christ).
4. Syncretism; or, The Labyrinth of Subjectivity (1918-1960). Cramming all the years between the end of WWI and the election of JFK into a single artistic period is surely the most provocative part of my proposed periodization. But I contend that these years, often seen as radically fragmented by multiple historical traumas (Stalinism, Great Depression, Fascism, WWII, Hiroshima, Auschwitz, Cold War), can be more usefully viewed as connected by a single--albeit radically pluralistic--aesthetic through-line: during these years the various innovations of earlier Modernist waves were syncretized in artistic explorations of the labyrinth of human subjectivity. (Webster's Ninth defines syncretize as "to attempt to unite and harmonize esp. without critical examination or logical unity," thus differentiating it from the logical synthesis of the Hegelian and Marxist dialectics. Syncretism is a more instinctual, artistic way of thinking, independent of the demands of traditional logic and reason.) Obvious examples of such syncretism are Joyce's Ulysses, Proust's voluminous A la recherche du temps perdu, Virginia Woolf's Mrs. Dalloway, To The Lighthouse and The Waves; Picasso's paintings from The Three Dancers (1925) through Guernica (1937) to his explicit Old Master pastiches of the 1950s; Surrealist art with its cult of irrational juxtaposition of objects (literal syncretism) and its goal of exploring the unconscious (the labyrinth of subjectivity); the drip paintings of Pollock, De Kooning's women and Rothko's geometries, which can all be seen as bastard stepchildren of European painting of the 20s and 30s; expressionist cinema from Caligari to Laughton's Night of the Hunter; the literary through-line that runs unbroken from Kafka to Schulz to Borges to Kis; the tone-row compositions of Schoenberg, Berg and Webern; Berg's Lulu, Brecht's Dreigroschenoper and Beckett's Endgame; Eisenstein's Ivan the Terrible, Welles' Citizen Kane, Hitchcock's Vertigo, Bergman's Wild Strawberries.
5. Anarchism; or, The Object Strikes Back (1960-1996). Academic discourse most often refers to this period as 'postmodern,' but it might with more historical validity be called the era of decolonization, postcolonialism, postimperialism, feminism, neoliberalism... Indeed, it might be named after any number of developments far more materially important than the collected works of Derrida, Foucault and Lacan. I prefer to think of these years as the era of artistic anarchism, a period of anti-authoritarianism in which artists radically critiqued the discourse of mastery that underlay previous waves of Modernism. We see this most dramatically in the final phase of Modernist painting's greatest capital-M Master, Pablo Picasso. In the paintings, drawings and prints Picasso produced from the early 1960s until his death, the elderly master becomes younger than he ever was; he throws off the weight of art history, the museum he carried in his mind, and proceeds to play in paint. The canvases of these years evince a new liveliness in the artist, a Matissean simplicity and vibrancy in his brushwork, a new and utterly uncensored concentration on the materiality of sex and the body. All authority gone, Picasso is left with all his passion still to spend, and in this last decade he spends it lavishly. We might also think of this as Picasso striking back against the forces that threatened to freeze him into an object, a safely museumed old master. And this points to the second (or is it simultaneous?) moment of Modernism's fifth wave: into the void of authority flows all the stuff that was previously silenced, marginalized, devalued, objectified. These former 'things' now seize the sites of subjectivity and speak for themselves. We see this in the science fiction novels of Ursula Le Guin and Samuel Delany, the fictions of William Burroughs, the poetry of Allen Ginsberg, the novels and plays of Jean Genet; the hardcore postmodern novels of Barth, DeLillo, Pynchon and Wallace, as well as the softercore pomo of Vonnegut and Heller; underground film from Maya Deren to Kenneth Anger to Stan Brakhage; Warhol, Rauschenberg and the early years of Pop Art before it became corporate wallpaper; Toni Morrison's novels, Salman Rushdie's Midnight's Children and Shame, Gabriel Garcia Marquez, Gunter Grass and other magic realists; the later figurative paintings of Philip Guston; Robert Crumb's comics; Dennis Hopper's Easy Rider; the hippie fiction of Richard Brautigan and Tom Robbins; Philip Roth's Portnoy's Complaint and Sabbath's Theater; the unhinged visions of David Lynch.
6. Cosmopolitanism; or, The Subject Goes Global (1996- ). Even Isaiah and Ezekiel would probably agree that prophecy is a mug's game, but if forced to guess the future's judgment of the most important trend in our present aesthetic moment, I would settle on cosmopolitanism, world-citizenship, with its connotations of pluralism, cultural liberalism and global humanism. (Despite everything from the stolen 2000 U. S. election to al qaeda, the Iraq fiasco and the rise of Herr Drumpf, I remain optimistic about this century; if we survived the 20th, we'll make it through the 21st.) Conrad and Nabokov might be seen as the multinational, multilingual precursors of our time. Salman Rushdie's Satanic Verses and his subsequent novels and nonfiction are among our moment's quintessential artistic products. Likewise the four full-length fictions of W. G. Sebald, the works of Roberto Bolano, J. M. Coetzee's Disgrace, the sf and fantasy novels of China Mieville, Zadie Smith's White Teeth, the films of Guy Maddin, Charlie Kaufman's screenplays, Kiarostami's Certified Copy, the recent films of Lars von Trier, the literary and cultural criticism of Edward Said, John Ralston Saul's Voltaire's Bastards, the novels of David Grossman, Haruki Murakami, Kazuo Ishiguro, Doris Lessing; the essays of Susan Sontag, the late poetry of John Ashbery, the paintings of R. B. Kitaj, Cormac McCarthy's borderless Border novels; William T. Vollmann's literary explorations of just about everything, everywhere...
(Needless to say--but I'll say it anyway--this schema is offered only as a generalized, shorthand way of thinking about Modernist art. It is suggestive, not exhaustive. It's an attempt at description, not prescription; and no judgments of relative aesthetic value are implied.)
Sunday, March 13, 2016
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Saturday, March 12, 2016
Human Rights in Islam - Hadith about Kindness and Equality in Islam
Humna Rights in Islam
Fundamental human rights in Islam are well defined.
Protection of human life is fundamental objective and principle of Islamic teachings. The Holy Qur�an says:
�Whoever kills a human being without (any reason like) murder, or corruption on earth, it is as though he had killed all mankind.� (5:32)
�God does not like that evil be spread.� (4:148)
�O believers! Avoid suspecting each other: In some cases suspicion is an offence, and do not spy on or speak ill of each other in the absence.� (49:11)
�O believers! Do not enter houses of others, without respectfully seeking permission of their occupants; this is the conduct enjoined on you. And if you find none in a house, do not enter it unless directed otherwise. And go back if you are not allowed entry, this is what behooves you; and God knows all that you do. There is nothing wrong on your part, if you enter uninhabited places, if they are of any use to you; but God knows what you express or conceal.� (24:27-29)
�O mankind! God has created you from one man and one woman, you are divided into nationalities and communities, only so that you may identify one another; in the sight of God the most pious among you is most respectable among you; verily God is oft-knowing, well acquainted.� (49:13)
�Do not envy those whom God has given more than you, to every man belongs what he earns; and to every woman belongs what she earns; seek God�s grace; verily He knows everything well.� (4:32)
�O believers! Do not unlawfully benefit from one another�s property, but have trade of goods by mutual consent.� (4:29)
�Come to a word common between us and you�(3:64)
Fundamental human rights in Islam are well defined.
Protection of human life is fundamental objective and principle of Islamic teachings. The Holy Qur�an says:
�Whoever kills a human being without (any reason like) murder, or corruption on earth, it is as though he had killed all mankind.� (5:32)
�God does not like that evil be spread.� (4:148)
�O believers! Avoid suspecting each other: In some cases suspicion is an offence, and do not spy on or speak ill of each other in the absence.� (49:11)
�O believers! Do not enter houses of others, without respectfully seeking permission of their occupants; this is the conduct enjoined on you. And if you find none in a house, do not enter it unless directed otherwise. And go back if you are not allowed entry, this is what behooves you; and God knows all that you do. There is nothing wrong on your part, if you enter uninhabited places, if they are of any use to you; but God knows what you express or conceal.� (24:27-29)
�O mankind! God has created you from one man and one woman, you are divided into nationalities and communities, only so that you may identify one another; in the sight of God the most pious among you is most respectable among you; verily God is oft-knowing, well acquainted.� (49:13)
�Do not envy those whom God has given more than you, to every man belongs what he earns; and to every woman belongs what she earns; seek God�s grace; verily He knows everything well.� (4:32)
�O believers! Do not unlawfully benefit from one another�s property, but have trade of goods by mutual consent.� (4:29)
�Come to a word common between us and you�(3:64)
Hadith: You have a duty to your Lord, you have a duty to your body and you have a duty to your family so give each one its rights" (Sahih Bukhari:1867)
Hadith: "Spend (on charity) O son of Adam and I shall spend on you"
Hadith: "He is not a true Believer who eats his fill while his neighbour is hungry"
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Hadith: "A funeral procession passed in front of our Prophet (PBUH) and he stood up. When he was told by the people that it was the coffin of a Jew, he said, "Was he not a human being? (Bkhari) |
Hadith: "Feed the hungry, visit the sick and set the captives free" (Bukhari)
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