The Tiny Bee That Hovers at the Center of the World
(Sprache: Englisch)
An ethereal meditation on longing, loss, and time, sweeping from the highways of Texas to the canals of Mars by the acclaimed essayist and author of Shame and Wonder
David Searcy s writing is enchanting and peculiar,...
David Searcy s writing is enchanting and peculiar,...
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An ethereal meditation on longing, loss, and time, sweeping from the highways of Texas to the canals of Mars by the acclaimed essayist and author of Shame and Wonder David Searcy s writing is enchanting and peculiar, obsessed with plumbing the mysteries and wonders of our everyday world, the beauty and cruelty of time, and nothing less than what he calls the whole idea of meaning. In The Tiny Bee That Hovers at the Center of the World, he leads the reader across the landscapes of his extraordinary mind, moving from the decaying architectural wonder that is the town of Arcosanti, Arizona, to driving the vast, open Texas highway in his much-abused college VW Beetle, to the mysterious, canal-riddled Martian landscape that famed astronomer Percival Lowell first set eyes on, via his telescope, in 1894. Searcy does not come at his ideas directly, but rather digresses and meditates and analyzes until some essential truth has been illuminated and it is in that journey that the beauty is found.
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1About seventy miles north of Phoenix, Nancy (my girlfriend then, eventually my wife) spots a highway sign for Arcosanti. Good Lord. I had no idea. I would have thought it too abstract for a highway sign. This way to the strangely pure yet vague accumulation of ideas toward what the future ought to look like made of sand, as it seemed to me (or sandy concrete, I suppose), back in the seventies when you d hear about it now and then, get glimpses on the news, a Sunday feature on the visionary architect Paolo Soleri and his followers who, termite-like, appeared to form those weird utopian architectural notions out of desert. I can t see anything out there but scrubby desert. We are on our way to Flagstaff, to Lowell Observatory. That s where Percival Lowell glimpsed canals on Mars a hundred and twenty years ago. His great refracting telescope, still maintained in its dome, at the time was among the largest in the world, with a twenty-four-inch objective lens by Alvan Clark and Sons, whose achromatic optics are, to this day, unexcelled. There s a famous photograph of Lowell peering through it suit and tie, his cap on backward, sitting in a simple wooden chair like a kitchen chair on a platform crankable into position along the rails of this contraption like a giant library ladder. Such an awkward and elaborate presentation of himself to the tiny eyepiece of this brontosaurian instrument angled down to him for all the world as if he were the object of inspection. As I guess he would eventually become.
We ve left the highway. I have learned to trust her instincts with regard to these departures from the path. We take a long, descending dirt road toward a scatter of undistinguished structures and storage containers, old construction equipment imperfectly hidden behind the ragged yellow plastic slats woven into a chain-link fence. I m not encouraged. But, descending a little farther to the parking lot, we see we re on the back side. Not the side for presentation. We
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re to struggle a bit. I see. Get past the stages of denial, disbelief to find ourselves at last arrived into the dreamy concrete future Paolo Soleri had in mind and kept in mind, though it would seem in the minds of fewer and fewer believers all these years.
I can remember in the seventies really admiring those somehow virtuous cast-bronze bells from Arcosanti. People hung them up like prayer flags souvenirs of our better selves. Our better future selves, I guess. My friend Tim Coursey had one hanging from a tree in his backyard. I liked the strain of its exoticism. Such a tiny, ordinary thing to be utopian, futuristic. Look! A wind chime from the future! How can you tell? Well, first of all it s asymmetrical a sign of freedom, spiritual progress, I should think. And then the uninterpretable abstract decoration. Though the blue-green oxidation might incline one to imagine great antiquity. There s always that ambivalence. The way exoticism doesn t care in which direction it departs the here and now. It s the departure that beguiles and mystifies us, I suppose. Yet it seemed clear that here was a little bell from the future in my friend s backyard. We d hear it ring sometimes and think, Well here it comes. The future is approaching.
So, how strange to come upon that future now, descended into. Not approached across the endless nowhere I had always imagined like a mirage, like something glimpsed out there in the middle of Ray Bradbury s Martian desert, where it s always seemed the future ought to be. But down a dirt road, past the junkyard. You descend into a recognition of it still and always under construction. Oh yes there s that concrete tower of round-fenestrated cubes. And yonder now that I can see them; from the road I d thought them Quonset huts the arching ever-futuristic, open c
I can remember in the seventies really admiring those somehow virtuous cast-bronze bells from Arcosanti. People hung them up like prayer flags souvenirs of our better selves. Our better future selves, I guess. My friend Tim Coursey had one hanging from a tree in his backyard. I liked the strain of its exoticism. Such a tiny, ordinary thing to be utopian, futuristic. Look! A wind chime from the future! How can you tell? Well, first of all it s asymmetrical a sign of freedom, spiritual progress, I should think. And then the uninterpretable abstract decoration. Though the blue-green oxidation might incline one to imagine great antiquity. There s always that ambivalence. The way exoticism doesn t care in which direction it departs the here and now. It s the departure that beguiles and mystifies us, I suppose. Yet it seemed clear that here was a little bell from the future in my friend s backyard. We d hear it ring sometimes and think, Well here it comes. The future is approaching.
So, how strange to come upon that future now, descended into. Not approached across the endless nowhere I had always imagined like a mirage, like something glimpsed out there in the middle of Ray Bradbury s Martian desert, where it s always seemed the future ought to be. But down a dirt road, past the junkyard. You descend into a recognition of it still and always under construction. Oh yes there s that concrete tower of round-fenestrated cubes. And yonder now that I can see them; from the road I d thought them Quonset huts the arching ever-futuristic, open c
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Autoren-Porträt von David Searcy
David Searcy is the author of Shame and Wonder, Ordinary Horror, and Last Things, and the recipient of a grant by the National Endowment for the Arts. He lives in Dallas and Corsicana, Texas.
Bibliographische Angaben
- Autor: David Searcy
- 2021, 208 Seiten, Maße: 13 x 20,2 cm, Kartoniert (TB), Englisch
- Verlag: Random House Trade Paperbacks
- ISBN-10: 0593133641
- ISBN-13: 9780593133644
- Erscheinungsdatum: 04.08.2021
Sprache:
Englisch
Pressezitat
Praise for David SearcySearcy is drawn instinctively to moments, the way parcels of time expand and contract in memory, conjuring from ordinary experience a hidden sense of all that is extraordinary in the world, in being alive. The New York Times Book Review
Everywhere, David Searcy finds the strange and marvelous in careful examination of the quotidian. NPR
Once you step inside David Searcy s sentences, you will not want to leave: artful, Sebald-like, they are as far-reaching as the telescope he hauled out one autumn night in Texas when he showed me the moon. . . . If you have a soul, you will love this book and Searcy s writing. LitHub
Searcy probes moments that pulse with secret electricity. . . . I will keep thinking about the inquisitive intelligence of this book for the rest of my life. Leslie Jamison, author of The Empathy Exams
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