Nathan Spoon is an unheralded
treasure in the nonduality community. This issue shares some of
the gifts that Nathan shares throughout his world.
photo: Nathan and Jamie
Nathan writes: Another wonderful
quote from Kepler: “We do not ask for what useful purpose the
birds do sing, for song is their pleasure since they were
created for singing. Similarly, we ought not to ask why the
human mind troubles to fathom the secrets of the heavens. The
diversity of the phenomena of nature is so great and the
treasures hidden in the heavens so rich precisely in order that
the human mind shall never be lacking in fresh nourishment.”
More offerings from Nathan:
As you leave the world, you will come into that
out of which the world was made. ~Jacob Boehme
“Simplicity is indifference to the egoistic
reactions of the soul; it is imperturbable and calm
concentration on the “one thing necessary.” – Frithjof Schuon
To see things objectively means to die a little.
Do not allow your mind to wander here and there;
endeavor to make it one-pointed; have one single end in view.
~Sri Anandamayi Ma
The truth is that there is really no “profane
realm” that could in any way be opposed to a “sacred realm”;
there is only a “profane point of view”, which is really none
other than the point of view of ignorance. ~Rene Guenon
Nathan is a bookseller at Parnassus Books in Nashville.https://www.facebook.com/parnassusbooks1
of Nathan’s links, I arrived here:
Nothings: Emily Dickinson’s Envelope Poems [Hardcover]
Emily Dickinson (Author), Jen Bervin (Editor), Marta Werner
(Editor), Susan Howe (Preface)
the first full-color facsimile edition of Emily Dickinson’s
manuscripts ever to appear — is a deluxe edition of her late
writings, presenting this crucially important, experimental late
work exactly as she wrote it on scraps of envelopes. A
never-before-possible glimpse into the process of one of our
most important poets.The book presents all the envelope writings
— 52 — reproduced life-size in full color both front and back,
with an accompanying transcription to aid in the reading,
allowing us to enjoy this little-known but important body of
Dickinson’s writing. Envisioned by the artist Jen Bervin and
made possible by the extensive research of the Dickinson scholar
Marta L. Werner, this book offers a new understanding and
appreciation of the genius of Emily Dickinson.
Some reviews from
A Feast for the
Mind October 16, 2013
These pieces are highly condensed art, thought in
motion, playful, provocative, engaging, rich. The photo
reproductions let you see not only how Dickinson adapted to the
spaces of these texts but how she did so intentionally. This is
concrete poetry avant la lettre, wonderful, powerful,
meditative, and profound.
Love it! November
By real world
The editors have spared nothing in the art, the
words, the cataloguing, and the sharing of a side of Emily
Dickinson–her writing on fragments. the crossings out and
divisions of words, the careful spacing on fragments of paper,
the love of the poet and her life that they put in this project.
For anyone who wants to understand Dickinson as a real person he
or she can reach through her poetry, I recommend this book.
Motions of Light and Words December 6, 2013
By Charles Alexander
This is a gorgeous book and well worth your
attention. The people who put it together have superb editorial
and artistic sensibility, and the book takes one so close to
Dickinson’s modes of thinking and composition that it
practically brings shivers. Having spent some time in archives,
seeing some of the sketchings of words and images on cards and
all sorts of paper, of Charles Olson and David Jones, I think
there is something quite opening (to the mind and sensibilities)
about such encounters. I have perhaps some slight qualms about
then putting them into books, as it’s not the same thing, i.e.
it makes something a little more formal and distanced out of the
experience, yet there is simply no other way for many people to
encounter such writings, fragments, hesitations, moments of
consciousness — and I can’t imagine anyone doing it better than
Marta Werner and Jen Bervin have managed to do it here. Bravo!
A should have
October 26, 2013
By Grandpa M
Everyone who has spent substantial time with
Dickinson’s poetry and learned all that can be learned about her
life, as well as life in Amherst at that time, should obtain
this reproduction of the way she wrote. Frankly, no one seems to
have taken into consideration a number of influences that
dictated the way she wrote, namely poverty, her father’s
stinginess (perhaps too strong), the difficulty of having clean
or any paper to write on, and more, all of which led to her
having to seize scraps anywhere and any way they were available
to have something upon which to write. The reproductions in this
book verify, they confirm that approach. I learned this from my
wife, who — I say this as a scholar myself, though in a
different field — knows as much and I believe more than anyone
else about Dickinson, her life and work.
January 2, 2014
Emily’s ethereal jottings matched with her unusual
handwriting makes for an unusual treat for the Dickinson fan.
The book itself is large, heavy, intentionally stark yet rich
with detail. I asked for this book for Christmas and, when I
received it, was more touched by it than by any other gift.
experience December 18, 2013
I couldn’t wait for the delivery (sorry, Amazon).
I sped down to my local bookstore where a copy waited for me. I
carefully took it upstairs, got my cup of tea, and sat at a
table to browse through it. No sooner had my fingertip traced
the markings on one of the images when I felt the most amazing
warmth … energy. I could do nothing but sit there are look at
this magnificent book. I was enchanted. This is Emily’s hand.
These are her thoughts as they came to her, edits and all. It
was magical. The book was much thicker than I expected because
each envelope/scrap was photographed from all possible angles,
front and back, and all was reproduced in full size. It is a