Poetry:

Mountaintop to Mountaintop

Aphorists in Dialogue

Yahia Lababidi and Fraser Logan

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Yahia Lababidi: We live and unlearn. 

Fraser Logan: Few learn the difference between critical thinking and criticising without thinking. 

YL: When the student is not ready, imposters appear.

Torment is a prerequisite of intellectual growth, not something to stifle in students. 

Let humiliation be your teacher. 

Mockery exposes falsehoods, but truth is already naked. 

Desert: the spiritual sensuality of the world, denuded. 

Alone, the heart denudes itself of pleasantries and splatters forth vulgarities. 

Style is the garment we shed on our way to nakedness. 

Stylised nakedness puts the art in cathartic. 

Art for art’s sake is a dead end; art for heart’s sake is the way out. 

Art today defies old masters and defiles the world with new disasters. 

Good artists are heralds of the world to come. 

A few artists hear the echo of an ancient starting gun; but we deem them rigid and unfree. 

Being hostage to beauty: the strength and weakness of artists. 

The best artists love morals as much as they hate them. 

We inhabit a moral universe—amorality is immorality.

Truthfulness is moral, but there are immoral truths. 

The best and most dangerous lies are mixed with truth. It’s truth that attracts others and allows them to accept untruths. 

Speak the truth, or speak to soothe. 

We are granted different powers to help one another. 

Socialite virtues are troglodyte vices. 

Some human sins, such as jealousy and pride, are Divine virtues. 

We sinned against the earth—by inventing sin. 

Strange, how what is life-giving―if not handled with care―can become life-threatening.

Those who contradict life, invariably suffer from life—until they are contradicted by death. 

Those with apparent contradictions are better equipped to understand Life’s inherent paradoxes. 

Fear of contradiction ties the tongue. 

If you cannot do good, practice biting your tongue. 

There are nowadays no individual palates, only tastebuds on a common tongue. 

Silence is a powerful punctuation mark. 

The talkative hiker spoils the view. 

The straight path is available to all who forsake crookedness. 

Beware the will which never wandered. 

We are unfree when we stray from Divine Will. 

True freedom oscillates between anarchy and constraint, tires of oscillating, tires of being tired… 

The path less trodden is harder on the feet, but better for the soul. 

When we advance on our enemies, we often use their paths and lose our friends along the way. 

To despair, hate or seek revenge is to be seduced by evil. 

Honesty marries hatred in the prison cell of love. 

When we love our prison, we no longer see the bars. 

Man is carried in the wind, like a leaf; but the wind is also carried in man. 

One day, leaf. One day, branch. One day, root. 

Youth climbs up single branches, hoping to be seen at the top of the tree. Adolescence longs for the all-encompassing view, but ends with a snap. 

Doubt, as a season of the soul, is like a strong wind that prunes trees — loosening dead leaves and weak branches — to fortify our foundation against future storms of the spirit. 

Maturity stands back to contemplate the tree, judging that every branch can bear fruit. Wisdom seeks out new seeds, advising youth to do the same. 

Wisdom is recovered innocence. 

The sight of youth upsets the old, but overjoys the elderly. 

Much of the suffering in our world is the result of wounded children, parenting. 

Man can suffer from pleasure or take pleasure in suffering. 

Spiritually understood, everything can be used for our development and advantage. 

The eradication of pain would be insufferable; the maximisation of pleasure miserable. 

The punishment for avoiding suffering is superficiality; the reward for embracing it is spirituality. 

Even stars have blackspots. 

We inhabit ourselves more fully when we find our inner light switches in the dark... 

Honesty is strike paper, and we are pyrophobic match-heads. 

Metaphors, like all possible explosives, should be handled with care and by those who know what they’re doing. 

Honesty erupts at the election booth; scholars hide away in yellowing ivory towers. 

Imagine if presidential candidates were required to be well-versed in moral philosophy. 

Politics is a zero-sum game in which dishonest politicians represent an alethophobic electorate. 

Nations fail for the same reason that people fall: they lose their balance. 

Most political arguments stem, not from curiosity, but from the impression that lopsided people need to be righted—or lefted. 

Birds use their wings, not only to fly, but also for balance―just like us. 

There is virtue in being a vole, if one is a vole; but life amongst soil and shrubbery is a cage to those with wings. 

Anything freed from the marble is an angel. Never cease chiselling... 

Greatness is sculpted. 

Better to be good than great. 

Only those who fall from great heights ever make a sound; but we are flattening the earth. 

If you ask to be raised in spiritual station, expect trials to match such an elevation. 

Hardship accelerates maturity. 

In imperilled states, the soul defends itself with poetry. 

The best writings begin with misery and find merriment along the way. 

Poetry is what happens to prose at boiling point. 

Aphorisms are muses brought to climax. 

Aphorisms are the sushi of literature. 

Aphorisms should be chewed on and swallowed—or spat out. 

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Yahia Lababidi, an Egyptian-Palestinian author of ten books, has been called "our greatest living aphorist". He has contributed to news, literary and cultural institutions throughout the USA, Europe and the Middle East, such as: Oxford University, Pearson, PBS NewsHour, NPR, and HBO.

Lababidi’s latest work includes: Revolutions of the Heart (Wipf and Stock, 2020), a book of essays and conversations exploring crises and transformation, Learning to Pray (Kelsay Books, 2021) a collection of his spiritual aphorisms and poems as well as Desert Songs (Rowayat, 2022) a bilingual, photographic account of his mystical experiences in the deserts of Egypt.

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Fraser Logan is an M4C-funded PhD student in Philosophy at the University of Warwick, UK. His project examines Nietzsche's views of honesty. Fraser’s aphorisms have been commended by the Oscar Wilde Society, and he has written a book, titled Eruptions, of 600 original aphorisms.

Book review: Divine Wisdom in the Art of Aphorism

Miniature from Vani Gospels

 

The Prelude of Divine Wisdom in the Art of Aphorism 

By Zura Shiolashvili 

ISBN 978-0-9565175-2-4

This slim volume, under the title of The Prelude of Divine Wisdom in the Art of Aphorism. represents a revised third edition of Zura Shiolashvili’s long and earnest study of Nietzsche and the art of aphorism. I reviewed an earlier version, ten years ago (how time flies!) and this is a much broader and deeper work. 

That earlier edition was a little too strident in its attack on Nietzsche, but here is a more nuanced view, that I think throws more light on the strange conflict in Nietzsche’s writing between contempt and dismissal of Christianity and yet a kind of grudging respect and admiration. 

‘I regard Christianity as the most disastrous lie of seduction there has ever been, as the great unholy lie. I draw its after-growth and tendrils of ideal out from under all other disguises, I resist all half and three-quarter positions towards it - there must be war against it’, wrote Nietzsche in Notebook 10, written in 1887. Over a century later, Shiolashvili, by contrast, is very much writing as a believer, indeed a preacher, as one who starts from the perspective of one seeking to defend Christian truth from the ‘withered aphorisms’ of the ‘most eloquent Antichrist of the nineteenth century’. 

In his earlier writing, The Art of Aphorism and Nietzsche's Blind Passion, Shiolashvili found in Nietzsche’s prescription a kind of absurdity - for how can a roe deer resist the jaws of a wolf, if its fate is to be weak in its beauty? For the existing world is inseparable from sorrow and beauty. This, he says, is a pessimistic reality innate to the logic of the natural world… 

Because, if soo, ‘by Nietzsche’s psychological metamorphosis and will to power, a roe deer should turn itself into a wolf to become strong and save its life, denying its tenderness and beauty’. 

In such ways, through advocating his ‘barbaric ethic’, Nietzsche ‘did not want to see everything that is weak is not ugly, and everything that is strong is not lovely’. Nietzsche’s spirituality, Shiolashvili prefaces this edition by saying, ‘starts with his carnal self and ends with psychological delusion’. In fact, for the German nihilist, he adds, depravity represents ‘not psychological degradation but rather the truth of the free spirit’. 

In this slim but elegantly illustrated volume is a mix of prose analysis and commentary on Nietzsche that draws on sources such as Cambridge University Press’ invaluable (for Nietzsche scholars) Writings of the Late Notebooks, as well as elements of Freud and Jung, and philosophers such as Schopenhauer, Hegel, Kant and Hume - the first and last committed atheists. 

Shiolashvili’s claim is Nietzsche reduces thought itself to the ‘will to power’, a notion Nietzsche appropriated from Schopenhauer, who saw the life force as manifesting itself identically in humans, in animals and in rocks. The result is that: ‘Nietzsche's philosophical psychology states the absolute priority of animal desire over the sublime value of mind’. 

In consequence, just as Nietzsche openly promised, the ‘highest becomes the lowest’. It is in resistance to this that Shiolashvili offers his aphorisms, no less than 327 of them in this book! The first is: ‘It is pure thought that beautifies a human being’, while the last is ‘Roses plucked from heaven never wither’.

The aphorisms do, in a curious way, help to clarify and highlight the Nietzschean idea under examination - the search for meaning in a universe with no meaning, other than that pursuit of power. Aphorism 17, for example: ‘You stand on the peak, the bottom of the precipice moves your soul even there - this is the emptiness’. 

By choosing, in this way, to write with an unconventional blend of literary aphorisms, textual quotation and complex, multilayered analysis, Shiolashvili, an unabashed critic of Nietzsche, is also one of his followers.

Kikaku leads the way

Posted by Alex Stein*

Image by senunez

Sometimes people ask me how I came to be a writer of aphorisms. To that, I reply:

I came to the aphorism by way of haiku and I came to haiku by ways still vague to me. I was 25, living in Seattle, and in thrall to the prose of Jack Kerouac. I spent my days and evenings filling notebook after notebook with stream of consciousness twaddle. Perhaps, I would have continued at this until I was good and dead. There was really no reason not to. I enjoyed the activity. Notebooks were cheap. The hours flew by.

Then something odd: in the middle of the twaddle, I wrote a little poem. 

Dandelion, roar!
Simple thing,
speak your simple mind.

I looked at the poem, and here is the curious thing: the poem looked back at me. Not long after that I wrote:

Hold light,
butterfly;
for a short life:
Praise
!

The more I looked at these poems, the more they looked back at me. “What?” I asked. “What do you want?” “Divine us,” they replied. “How?” I asked. “Divine us,” they repeated.

In a bookstore in downtown Seattle, I found a haiku anthology. In it, I read Kikaku’s:

Above the boat,
bellies
of wild geese.

Over the next few years, I must have read that poem a thousand times. Then, one day, I wrote in the margin:

Perhaps our world is the spirit world of some other world. Perhaps our birdsongs are heard but faintly in some other world, and only by certain ears. Perhaps a poem is like an airlock that carries the breath of one world into the lungs of the next.

I read Kikaku’s:

  Evening bridge,
  a thousand hands
  cool on the rail.

 I wrote:

Kikaku’s bridge spans both the construct of space and the abstract of time; so, all those hands, “cool on the rail,” are also the hands of the dead in their various phases of crossing-over.

 Kikaku! That was the unlikely name of the piper who led me on.”

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*Alex Stein is (with James Lough) the co-editor of, and a contributor to, Short Flights: Thirty-two Modern Writers Share Aphorisms of Insight, Inspiration and Wit, the first EVER anthology of contemporary writers of aphorism. Other aphorists in Short Flights include Charles Simic, Stephen Dobyns, Irena Karafilly, and Yahia Lababidi.