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It was Colonel Parkman who upped stakes, crossed the border, and named our town, thus perversely commemorating a battle in which he'd lost. (Though perhaps that's not so unusual: many people take a curatorial interest in their own scars.) He's shown astride his horse, waving a sword and about to gallop into the nearby petunia bed: a craggy man with seasoned eyes and pointed beard, every sculptor's idea of every cavalry leader. No one knows what Colonel Parkman really looked like, since he left no pictorial evidence of himself and the statue wasn't erected until 1885, but he looks like this now. Such is the tyranny of Art. On the left-hand side of the lawn, also with a petunia bed, is an equally mythic figure: the Weary Soldier, his three top shirt buttons undone, his neck bowed as if for the headman's axe, his uniform rumpled, his helmet askew, leaning on his malfunctioning Ross rifle. Forever young, forever exhausted, he tops the War Memorial, his skin burning green in the sun, pigeon droppings running down his face like tears. ↗
#reality-check #truth #war #wit #art
Looking at the sky, he suddenly saw that it had become black. Then white again, but with great rippling circles. The circles were vultures wheeling around the sun. The vultures disappeared, to be replaced by checkers squares ready to be played on. On the board, the pieces moved around incredibly rapidly, winning dozens of games every minute. They were scarcely lined up before they started rushing at each other again, banging into each other, forming fighting combinations, wiping the other side out in the wink of an eye. Then the squares scattered, giving way to the grille of a crossword puzzle, and here, too, words flashed, drove each other away, clustered, were erased. They were all very long words, like Catalepsy, Thunderbird, Superrequeteriquísímo and Anticonstitutionally. The grille faded away, and suddenly the whole sky was covered with linked words, long sentences full of semicolons and inverted commas. For the space of a few seconds, there was this gigantic sheet of paper on which were written sentences that moved forward jerkily, changing their meaning, modifying their construction, altering completely as they advanced. It was beautiful, so beautiful that nothing like that had ever been read anywhere, and yet it was impossible to decipher the writing. It was all about death, or pity, or the incredible secrets that are hidden somewhere, at one of the farthest points of time. It was about water, too, about vast lakes floating just above the mountains, lakes shimmering under the cold wind. For a split second, Y. M. H., by screwing up his eyes, managed to read the writing, but it vanished with lightning speed and he could not be sure. It seemed to go like this: There's no reason to be afraid. No, there's no reason to be afraid. There's no reason to be afraid. There's no reason to be afraid. No. No, there's no reason to be afraid. No, there's no reason to be afraid. ↗
An individual, in promoting his own interest, may injure the public interest; a nation, in promoting the general welfare, may check the interest of a part of its members. ↗
