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| 1 | --- | ||
| 2 | title: 'Proverbs' | ||
| 3 | project: 'Book of Hezekiah' | ||
| 4 | project-order: 4 | ||
| 5 | project-prev: 'philosophy.html' | ||
| 6 | project-next: 'movingsideways.html' | ||
| 7 | genre: 'prose' | ||
| 8 | ... | ||
| 9 | |||
| 10 | [Nothing matters; everything is sacred. Everything matters; nothing is | ||
| 11 | sacred][sacred].[^1] This is the only way we can move forward: by moving | ||
| 12 | sideways. Life is a great big rugby game, and the entire field has to be run | ||
| 13 | for a goal. The fact that the beginning two verses of this chapter have the | ||
| 14 | same number of characters proves that they are a tautological pair, that is, | ||
| 15 | they *complete each other*. Sometimes life seems like a dog wagging its tail, | ||
| 16 | smiling up at you and wanting you to love it, just wanting that, simple simple | ||
| 17 | love, oblivious to the fact that it just ran through your immaculately groomed | ||
| 18 | flower garden and tracked all the mud in onto your freshly steamed carpet. | ||
| 19 | Life is not life in a suburb. [There are no rosebushes, groomed never. There | ||
| 20 | is no carpet, steamed at any time.][rosebush] The dog looks at you wanting you | ||
| 21 | to love it. It wants to know that you know that it's there. *It wants to be | ||
| 22 | observed*.[\^2] | ||
| 23 | |||
| 24 | [sacred]: words-meaning.html | ||
| 25 | [rosebush]: lovesong.html | ||
| 26 | |||
| 27 | [^1]: Thank you Tom Stoppard. Ha ha ho ho and hee hee. | ||
| 28 | |||
| 29 | [^2]: Ah ha! I knew this was going to happen at some point. Now things | ||
| 30 | are going to get more interesting because the dog wants what we | ||
| 31 | thought was a bad thing, right? Right? Didn't we go through that | ||
| 32 | part about how observing made it impossible to really know anything, | ||
| 33 | and I had to start over because it's really hard to figure out what | ||
| 34 | you're talking about when reality slips out of your hands like a | ||
| 35 | fish, but you're not a cat with claws so it just flops right outta | ||
| 36 | your hand back into the lake. (By the way, Nirvana is thought to be | ||
| 37 | what a drop of water feels upon flopping into a lake---doesn't that | ||
| 38 | seem important? Doesn't it seem like a fish and a drop of water here | ||
| 39 | are connected? It helps, of course, that the fish represents Reality | ||
| 40 | here.) | ||